Philadelphia Jazz, Funk, and R&B
Silver Supporting Member
Did you try one with a Schaller roller bridge? I find that makes a vast improvement in tuning stability. Locking heads and plenty of graphite in the nut slots help too.I've tried many that had factory Bigsbys and even owned a great one that had been converted as you suggest (photo below) . Tuning stability was an issue on all of them, even with two different "pro" setups, and I don't play with a heavy hand. I keep searching.
edited to add that I have had Bigsby guitars with no tuning stability issues, just no 335s (yet). Sure wish I could have kept this one. It was special until it went out of tune after about 10 minutes with minimal and light, Bigsby usage.
That CME sale will live on in the annals of GAS history. I picked up the beauty below, love it from tip to tail and it'll be the last guitar in my collection I ever part with!I love my 2017 335 Studio that I got in the famous CME blowout. Grabbed it for a song (pun intended) and still can't believe how much I like it.
Thanks.335s 345s 355s have always been laminates.
Somr might think I'm crazy, but I hear a funky kind of quality often in the laminates. It's a big part of what I love about them. Not always and using effects can kill it. Generally the cleaner and quieter, the more I hear it. I can be elusive but to me it what a 335 is all about. The solid tops IMO tend to have a purer sound, whether that's better or worse is a matter of taste. The one carved top semi I had was a CS336. Those do have a smaller body and that's gotta be a factor, but I thought it had a really different character. Very nice, but I'll take the lams. A lot of people would prefer the solid carved top though.Thanks.
I’m weighing up laminate and solid top options from Eastman ATM. A 335 is out of my budget ATM unfortunately
The main difference appears to be the potential for more feedback in the solid top? I assume there’s other differences in tone, etc
Thanks ! Not sure what the asterisk means( original mid 60's 3*5s) but I do know that in terms of how they originally sounded the varitone apparently tends/tended to drift over time plus Gibson tried a few things to eliminate some of the weight. It's interesting that a number of 345's made it to the U.K as used by everyone from George Harrison to Tony Hicks(Hollies ) and many other British Invasion players - far more than was seen here in the U.S.To my knowledge, the earlier 345s (90s and early 2000s) were small run custom shop affairs, then when they included a 345 in the Memphis love up it's usually been placed in the standard series so following similar spec to the 335 Dot, the ones I've played having fairly medium C profile necks. 345s and 355s were officially dropped from the line up in 1981 and didn't come back in any real numbers until the Memphis operation was up and running, so they're a bit less ubiquitous than the Dot RI.
More recently there have been year specific 345 reissues, which follow the 335 reissues in terms of neck profile and horn shape. I haven't had much experience of them, I think I've only played one which was a '63 or '64 reissue, I can't remember which. I have a couple of original mid 60s 3*5s and that reissue was very similar in terms of neck profile and body shape, although I didn't think it sounded much like the originals. Still a very nice guitar though.
There was a non varitone version doing the rounds as well just before the ownership change, although I've never seen one in the flesh, and a spectacularly cool signature model for a Japanese guy whose name escapes me.
*It's just an lazy way to avoid typing out all three models whenever you want to say 335s. 345s and 355s!Thanks ! Not sure what the asterisk means( original mid 60's 3*5s) but I do know that in terms of how they originally sounded the varitone apparently tends/tended to drift over time plus Gibson tried a few things to eliminate some of the weight. It's interesting that a number of 345's made it to the U.K as used by everyone from George Harrison to Tony Hicks(Hollies ) and many other British Invasion players - far more than was seen here in the U.S.
Lot of 335 love but I have to be in the try one first category. I gigged my 335 last week and while I am tall, I still find it to be an awkward large platform. I play standing and between the strap button on the heel and the size of the guitar, the neck and knobs felt out of reach. I realize there is an element of familiarity with other guitars I use and I would get used to playing the 335 if I invested the time. But I am just having a much more comfortable ride on other guitars. Sonically it is just fine and covers the music I am playing no problem. Maybe if I played sitting I would like it better. I have had one for years and it has never stayed my gigging guitar for long. Like more than a couple of shows. I have also considered having the strap button moved to the "ear" but that is kind of an involved no going back process.I've owned 2 335's. Once was a 335-TD in the walnut color and the other was a sunburst dot-neck reissue. Both were nice guitars but I'm not a tall person so they felt very big because they are big guitars. The TD was in need of a fret job and other minor adjustments but I did not have a lot of money at that time and played it as it was. It had a really nice tone and was easy to play. The sunburst was a better guitar and it was the better sounding of the two. But, I just could not bond with those guitars. I eventually sold them and bought something else.
If you've got the itch and the cash, then buy one. I don't subscribe to the "its like a 335 but cheaper" crowd because there is nothing like the real thing. But, and I stress this, you need to see it, smell it, hear it, and play it before you buy it. My experiences with Gibson is there is a lot of variance in the guitar sound and feel. Playing the one you are buying will help you decide.