8 replies to this topic

[SmashySmashy]

Hey guys. Down the line I am looking at getting a new electric guitar, and I have had my eyes set on a Gibson semi-hollow body guitar. Now that I have a good quality amp, I think I deserve a good quality guitar. My skills have been improving and I have been playing more and more, I might look at joining a band even if it's to play cover tunes. So I had a couple of inquiries about the various ES series of guitars.

What's the real difference between an ES-335, 336 or a 339? Are there slight physical characteristics involved or are the differences really glaring?

One of my favourite guitar players hands down, played an ES-336 for many years, that man being Alex Lifeson from Rush. I know that Gibson released an arctic white model of the 335 under his name a few years ago, but in the early days of the band he apparently played an ES-336, which I am pretty sure the one in this video is, I know he played the same few guitars for several years (one of my dad's friends has an old 335 that he played when they were my age).



They all look pretty much identical on the Gibson website. I was playing one that seemed too cheap to be a Gibson Custom, but I recall that's what the tag said, and it was a 3200 dollar axe, sounded great though that's for sure. It was a Dot model, it didn't have the block inlays and I think it might have been a year old model because Gibson doesn't have one currently listed with zebra stripe uncovered pickups.

In the end though, between a 335, 336 and 339 does it matter which one I pick?

[Dave C]

A 336 and a 339 are both smaller than a 335.

[dadfad]

Go for the 335. (Out of those three.) I have five Gibson hollow-bodies. (And, electrically-speaking, I am pretty much a "hollow-body guy." I almost always much prefer them to solids.) I'd also suggest you look at some even older guitars. Previously owned Gibson hollow-bodies were usually owned by someone who took excellent care of their instrument and so they're usually in excellent condition. My personal favorite of mine is an ES-347 (which is similar to a 335 with a few more features). My number-2 is an ES-175 (number-3 being my ES-335). They are all great guitars (the ES-175 is a bit harder to "control", but still an excellent instrument).

Older more vintage Gibsons aren't always ridiculously priced either. Of course a vintage ES-335 has skyrocketted because of its widely-known association as THE blues guitar (and to a lesser degree the ES-175 for jazz and blues). But other lesser-known but equally good (or even superior) models are often quite reasonable. For example an ES-347 might be a little more uncommon, but they aren't "rare" and because they aren't as well-known usually go for about $3000-ish or less.

In the end, you really can't make a "bad" choice, as they are all excellent. To me, nothing beats the sound of the natural overdrive of a hollow-body through tubes.




(My ES-347)

[Dave C]

I love my epi Casino, which inspired the Gibson 330. But it's useless live because of the feedback.

[dadfad]

I love my epi Casino, which inspired the Gibson 330. But it's useless live because of the feedback.

Dave, being a full-hollow (as opposed to a semi-hollow) feedback is definitely an issue. I had the same problem when I first started using my ES-175 as my main-electric (before I got my ES-347). A combination of stuffing rags into it through the f-holes and just getting used to muting any unused string as I played worked pretty well. I also tried to angle the amps away from the guitar (aiming toward the back of the room where the ceiling and back-wall meet) and when possible put them off to the side or in front. I never had a Casino, but it might help.

(The worst guitar I have for feedback is an old '50s Harmony Rocket. Rags didn't help at all and just a very monentary lapse in muting and the string(s) would immediately "take off." Great very "raw" sound when you could control it, but that wasn't very often! It's been relegated to a sometime-used slide-guitar for styles where the strings are always either muted or being slid (with no additional fingerstyle or hybrid work being done) like George Thorogood-ish kind of stuff.)

[tenn_jim]

Pretty nice 335. i gave it a little tryout and the sound is great. Perhaps a little overpriced though. But I'm sure a buyer could negotiate!



http://fretmill.com/...w-1968-70-2500/

Edited by tenn_jim, 31 July 2012 - 12:29 PM.

[Matt B]

I love my epi Casino, which inspired the Gibson 330. But it's useless live because of the feedback.

I play my Gretch G5120 live all the time with very few feedback problems. I do sometimes let out some feedback squeels if I'm not careful, but its pretty rare anymore. I usually just keep the guitar volume all the way off unless I'm actually playing.

Edited by Matt B, 01 August 2012 - 04:48 AM.

[SmashySmashy]

Feedback isn't something I am concerned about unless it's actual amp squeal. One thing I like about the semi hollow bodies is that you can naturally cause feedback easier then with a solid body. It doesn't take much though.

[Matt B]

I do like controlled feedback. Putting on my Dyna Comp and Carbon Copy with some overdrive and my Gretsch can be a lot of fun, building it up and and shaking the bigsby. I don't think I'd ever do it with my current band, but it's still fun to do every once in a while at a jam.