The Mystery of the Center Block
Here's a 63 with the cutout in the center block. I think most 63's don't have it but I need more data.
I’ve touched on this before but now we’ll go into some more detail and I’ll also elicit your help to try to figure out the timeline for this. Originally, the ES-335 (but not the 345 or stereo 355) had solid block down the middle with no cutouts of any kind. There were holes through the block for the pickup wires but nothing else. The harnesses were actually put into the guitar through the f-hole. At some point, it occurred to the bean counters at Gibson that it was taking rather a long time to get the damned harnesses through that little hole and they intended to do something about it. Someone had the bright idea to cut out a section of the center block so that the pickup cavity was open to the hollow part of the guitar. It probably didn’t require much thought since they had already done this on the 345 to accommodate the varitone chokes-which are those two (connected) big silver boxes that add all the weight to a 345. They are actually transformers for the varitone circuitry-1 for each pickup. The mystery part is that it really isn’t very clear when they started doing this and when they stopped using the block without the cutout. Gibson likes to do things gradually, using up all the “old style” units-whatever they may be-and phasing in the new unit. they did thid with PAFs and patent number pickups, they did it with Mickey Mouse ear bodies, new and old style ABR1 bridges, tuners, tailpieces and just about everything else. The transitions took place over varying lengths of time. The bridge transition seemed to take about a year (65-66), the Mickey Mouse ears a bit less than a year (63) and PAFs around 2 years (early 62-late 63). Well, the transition from solid block to cutout block took even longer. Tom H. who runs the excellent ES-335.net site says the cutout shows up as early as 62, although he’s heard some say that it showed up in some 61′s. I own a guitar (“The Mexican”) from early 65 that has no cutout. My 64 doesn’t have it either. My 62 didn’t have it. My 63 did. So, if there are any readers who can take a look at your 61-65 335′s and tell me if there is or isn’t a cutout, it would strike a blow for knowledge and understanding in the world of ES-335′s. Interestingly, the existence of the cutout doesn’t seem to make much difference in the sound of the guitar. Even though the ones with the cutout have a bit more hollow “area”, they don’t seem any more resonant. I’ve heard some folks say that the ones without the cutout sustain better which is one of the reasons the early 335s sound better than the later ones. I find that a bit far fetched. I think the bigger difference occurred when they went from the stop tail to the trapeze which seems to follow the existence of the cutout to some degree. It seems that most ES 335s with the stop do not have the cutout. How many more remains unknown. perhaps I’ll get some responses from owners. I tried that on the Les Paul Forum but I got nowhere. I guess that’s why it’s called the Les Paul Forum and not the ES-335 Forum.
Here's the rout on my 65. This is the only 65 I've seen without the cutout. By this time, most ES-335s had a trapeze tailpiece and the cutout in the block.
This is a great blog – I follow it closely and appreciate the info. Real reason I am writing, though, is a recent eBay travesty. See if this isn’t wrong on a lot of different levels!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=230512491133&ssPageName=STRK:MEWAX:IT
Hey Doc-It’s interesting-I don’t find it so much a travesty as a surprise. While I consider a 79 to be the nadir for the 335, it is possible to get one that plays well. I think $2800-sight unseen-for a 79 just shows how badly the buying public needs to read my blog. For $2800, you could get a mid 60′s 345 that will blow this one away. You’d have to look pretty hard but they are moist definitely out there. The travesty part is the description. Trapeze=Sustain? I think not. Articulation due to maple top, back and sides? It’s plywood and it has little or nothing to do with articulation. The center block has more to do with it. But in any case, it’s really just a typical over hyped sale and, frankly, it must have worked because I wouldn’t have paid half that for a 79. His information about the dot is wrong too-it was introduced in 81 but that’s a nitpick. Still, it’s a 335 and worthy of our examination. There has to be a best year and a worst. That one pretty much defines everything that Norlin (beer/concrete) did wrong.
I actually own an ’81 that I picked up cheap, and it’s a good “utility instrument” – plays well,good build, just has the quirky Norlin features. I like it well enough, but it is what it is. I guess my concern was the way the seller hyped the guitar. I mean really, “so this is one of the last years of the 335 in all its glory” (!). Also, by serial number, this is a 1980, not a ’79. Does ’79 sound more “vintage” than ’80? Of course it does. Dual Patent Number pickups? Highly doubtful. And am I wrong, or does that not look like a walnut finish? I guess the sad thing is, the seller says he is an authorized Gibson dealer, and the buyer only has 10 eBay history. Good thing the guy doesn’t sell used cars. “A true classic from Gibson”.
Agree the buying public needs to follow this blog. Keep up the good work, you are appreciated!
I think trapeze or stopbar is a big challenge. I put trapeze on my lucille and the fell is very different, the sustain remain the same but attack is much like an hollow body, smoot, I like this because let me to play really in jazz feel.
Question: Who know the composition of a center block? I see is not a one piece but seems maple/Spruce on my lucille. Really appreciate any info on this. Compliment to this site.
The center block in the early 335s is maple. The ends are usually mahogany and there is a piece of kerfed spruce between the block and the top. Pretty complex design that was simplified in subsequent years.