Why settle for something less when you can have the ultimate all-in-one? But let’s face it, adding this gem to your collection probably won’t make downsizing any easier.
Gibson ES-335, Figured Ice Tea
During the late ‘50s, Gibson was in a slightly precarious situation. Its Golden State competitor, Fender, was on a hot streak of inventing iconic guitar designs that were to go down in history. Being seen as innovative during the postwar United States was the recipe for success; we’re talking about a time when people saw the emergence of the transistor radio, computer modems, Sputnik and the hovercraft no less. A brand resting on its laurels would lag behind and be left in the dust, or so Gibson concluded.
Image credit: Gibson. Slash’s Bigsby-Equipped 1958 Gibson Explorer
So, with an eye keenly fixed on market trends and a mind brimming with ‘50s-inspired technological consumerism advancements, Ted McCarty, the Head Honcho at Gibson, turned to his design team and posed a challenge: create something modern. And create something modern they did, releasing the Explorer and Flying V in 1958. However, the Kalamazooites were ahead of the market by about 20 years, and the Explorer and Flying V proved to be too futuristic for the tastes of the day.
On the other hand, McCarty did have one ace up his sleeve. Influenced by Gibson’s archtop heritage, McCarty claimed that he came up with the idea of putting a solid block of maple in an acoustic body. The result was a blend of traditional acoustic resonance in an electric guitar that could be played at much higher volumes, fitting with the new trends of rock ‘n’ roll, without ear-piercing feedback. And so, the ES-335 was born.
Image credit: Gibson
While there was a societal infatuation with modernity and advancement, guitar players often lean towards tradition. The ES-335, with its more traditional and recognizable guitar-esque design, didn’t flop like its offset and pointy siblings released the same year. Even the ‘ES’ part of the guitar’s moniker, which stands for ‘Electric Spanish’, was influenced by traditional flamenco guitars. This designation was used to distinguish it from the Hawaiian lap steels, which were the first style of electrified stringed instruments produced by Gibson.
Image credit: Gibson. An example of the Electric Hawaiian Lapsteel that predated the Electric Spanish range.
On top of this, the new ES-335 was well-balanced, had fantastic upper fret access thanks to the introduction of the double cutaway and was much lighter than Gibson’s new solid-body design, the Les Paul. Sales were steady, peaking in 1967, all the while variations like the ES-345 and ES-355 were introduced in ‘59 and of course, the Trini Lopez Standard hit the market in 1964.
Image credit: Photo by Diego Mora Barrantes on Unsplash Dave Grohl playing his signature Gibson DG-335, which is based on a Gibson Trini Lopez.
Is the ES-335 the most versatile guitar of them all?
There’s been a considerable passage of time between now and 1957, but the question that remains on the guitar-playing public’s lips is whether the ES-335 is the most versatile guitar on the market. There are plenty of arguments to suggest that it is.
You only need to take a look at the eclectic list of 335 players to be convinced of its genre-mastery. We’re talking about artists as different as B.B. King and Emily Wolfe to Jim Root – yup, that’s right, the Slipknot axman has a 335 in his collection – and Roy Orbison to Tom DeLonge and Noel Gallagher. Sure, on some occasions, each guitarist will have their own pickup configuration different from the original, but the spirit of the semi-hollow double cut is exactly the same.
Image credit: Gibson. Noel Gallagher’s Epiphone Riviera
Arguably the most influential studio guitarist to date, Larry Carlton has relied on a 335 for almost his entire career. Versatility is paramount for a studio guitarist, and Carlton has seamlessly contributed to bands like Steely Dan and Joni Mitchell. If his extensive use of the 335 doesn’t demonstrate its versatility, it’s hard to imagine what else would.
However, you don’t just have to take the word of modern music’s alumni; from a business perspective, the ES-335, alongside the pointy-horned SG, is among the only Gibson models to remain in continuous production since their inception. This longevity even outperforms the company’s most recognizable invention, the Les Paul. Perhaps one reason for this enduring popularity is the ES-335’s widespread applicability across a vast array of genres, playing styles, and preferences.
Why is the ES-335 so popular?
So, there’s a long history of artists trusting the ES-335 to deliver their musical ambitions, but why is it so popular? Well, there are perhaps a few explanations. Of course, as mentioned above, the ES-335 is incredibly versatile. It’ll do just about every genre from pop punk to country and blues. While you may struggle with seriously high-gain music on the ES-335, don’t underestimate its versatility. With the right pedals, the 335 can handle metal with surprising prowess.
Unlike a Les Paul, the ES-335 has a double cutaway. Access to the upper frets is a lot more comfortable as you don’t have that upper bout getting in the way of your hand. If you like getting up and down the fretboard, chances are you’ll find that the ES-335 plays like a dream. Again, in comparison to the Les Paul, the ES-335 is notably lighter. It’s not difficult to see why; with half of the 335’s body being hollow compared to the solid body of a Les Paul. Even though the ES-335 has a wider body, its lightweight feel is a total game-changer whether you’re standing or sitting.
Tonally, the 335 gets the perfect balance. Its semi-hollow construction adds an acoustic breathiness and full throatiness that compliments the humbuckers superbly. If you’re unsure, get a 335 on your lap, tune it to an open chord, put it through a cranked Blues Junior and riff away. Combining playability, comfortableness and fantastic tone, it’s no wonder the ES-335 is so popular.
The post The Gibson ES-335: Why is it so popular? first appeared on Kenny’s Music Blog.