Coming to Max Guitar this week as part of a limited Max guitar run for 2020: A classic in all black! The one that Keith would pick! This is a 2020 reissue of Gibson's 1959 ES-355 mono w/ Bigsby in Ebony in ultra aged Ebony finish! It looks absolutely cool in this finish. Comes with Gibson Custom case, COA, etc. The guitar is dressed to kill, has been set up and is playing great! It's a stunning guitar that has everything! The looks, the playability, and the incredible sounds!
The ES-355 is the top of the ES semi-solid range, dressed in an elegant and, in this case, a heavily aged Ebony vintage finish set off by gold hardware and a Bigsby tremolo tailpiece. In addition to its luscious looks complemented by large block mother of pearl fingerboard inlays and multi-ply body and headstock binding this guitar features a set of Custom humbuckers for the prized PAF crunch and tone, the Memphis Tone Circuit wiring harness, rolled fingerboard binding. The feedback-resistant semi-hollowbody construction, the two humbucking pickups with individual volume and tone controls, the legendary sonic versatility and exceptional playability - and kicks it into overdrive with an ebony fretboard that's adorned with 50s pattern mother of pearl block inlays and 22 authentic medium jumbo frets. A split diamond headstock inlay, multi-ply binding, and gold hardware further reinforce the fact that the ES-355 is the top of the line ES model. This expertly crafted Custom Shop rendition's attention to detail makes it an outstanding recreation of the legendary and highly-prized 1959 ES-355. A five latch Lifton™ case is also included.
The original guitar has been in Keith possession since the late 60s, and he still plays it on stage nowadays. He was seen playing it live on “(I Can’t Get No) Satisfaction”, “Oh No Not You Again”, “She’s So Cold” and a couple of others. Keith’s 355 features ebony/black finish, two Gibson PAF pickups, no pickguard, and a Bigsby tremolo bridge. During a photo session for a Louis Vuitton-ad in 2007, Keith’s 355 appeared with a black tape over the neck pickup pole pieces, but it was never seen with the tape during a concert.
This 'ES-355’ specifications include hide-glue joints, thin lacquer, a vintage-correct specs and neck tenon that extends into the neck pickup cavity and for instance a Historic truss-rod assembly with no tubing. The fret wire here is a little fatter than vintage. Gibson Custom employees are hand-ageing these instruments; while their surprisingly primitive tools and processes can produce results that look a little stylized next to a vintage example, the various dings and razor-cut lacquer checking here makes for an appealing overall look that will bed in nicely when the guitar finds a permanent home and the owner adds some real-life road wear of their own.
As usual, a nicely rounded 50s-style Gibson neck instantly feels like ‘home’ but fans of slimmer profiles shouldn’t be intimidated – it’s no monster and, in combination with the aforementioned medium-jumbo fret wire, this is a real joy to play and one of those guitars that encourages you to push the boundaries of your abilities a little harder. The nylon nut helps keep tuning stable and friction low, even with Bigsby abuse. the proximity of the B7’s tension bar to the ABR-1 creates a similar break angle across the bridge to that of a stop tailpiece, while the nylon nut helps reduce friction and keep tuning solid, even with vigorous whammy bar use. As you would hope when playing an instrument in this price bracket, there’s a world of inspiration here and for the right player it’s hard not to lose hours just drinking in the possibilities unlocked by this guitar. Getting the choice of amplifier right is key, too.
The complex harmonics, easy musical feedback and touch dynamics of a small tube amp allow you to go from sweet to savage just by varying picking-hand intensity.
Two Rock Studio Pro 35
ThorpyFX The Dane
Chase Bliss Tonal Recall RKM
Origin Effects RevivalTREM