Advance Guitars Presents
Gibson '60s Hummingbird Gallery
History and Specification Changes of the Hummingbird
~The History of the Hummingbird~
In 1960, Gibson added a square-shouldered model to its lineup, which had previously been dominated by round-shouldered models such as the J-45. The first model to debut was this Hummingbird.
While its shape resembles Martin’s Dreadnought models, it is characterized by a wider body—approximately 16 inches (compared to the Martin D-28’s 15 5/8 inches).It features a large pickguard carved with a hummingbird motif, which, combined with pearl inlays and gold hardware, creates a striking design.
It also incorporates key elements essential to Gibson, such as a mahogany body and an adjustable saddle. Against the backdrop of the recent surge in vintage guitar prices, vintage flat-top models from Gibson, Martin, and others have become virtually impossible to find. However, with the launch of Advance Guitars, a collection of vintage guitars has been brought together in one place. In this feature, we’ll take a closer look at 1960s models—including the Hummingbird’s first production year—that are unlikely to be gathered together again.
We used the measurements from this SJ-200 reference collection as a reference for this Hummingbird feature.
Gibson 1960 Hummingbird Honey Sunburst
Extremely Rare! A Hummingbird from the very first year of production
In 1960, this Hummingbird debuted as Gibson’s first model featuring the square-shoulder shape.
A mere 156 units were shipped in the first year.The following year, shipments increased to 595 units. Its striking appearance won over rock musicians and gained popularity, causing shipments to surge to 1,364 units three years later. This record alone demonstrates just how rare the first-year models are; now, more than 60 years later, they are legendary instruments that are virtually impossible to find. A defining feature of these first-year models is undoubtedly the shade of the Cherry Sunburst finish.
Just like the Les Paul Standards manufactured from 1958 to 1960—commonly known as “Bursts”—the sunburst finishes from that era fade in various ways over time. This is because a pigment-based yellow coat is applied first, followed by a dye-based coat to bring out the reddish hue along the rim; however, that red tends to fade easily, and due to various factors over the years, each guitar takes on a unique character.
In 1960, the red-based paint used for the “Burst” finish was changed, and many examples still retain a vivid red sunburst today. On this Hummingbird, however, the reddish hue on the rims has faded to a light brown, giving the guitar an overall appearance often referred to as a “Honey Burst.” While individual variations exist and it’s hard to generalize, achieving such a beautiful finish is nothing short of a miracle.
Gibson 1960 Hummingbird Tobacco Sunburst
A Rare Color from the First Year
This is also a 1960 model from the guitar’s first year of release.
Although the catalogs from that era only featured the Cherry Sunburst finish,
this particular guitar is an irregular specification with a Tobacco Sunburst finish.
It’s a rare color scheme that’s rarely seen, offering a distinct character compared to the Cherry Sunburst.
Gibson 1961 Hummingbird Cherry Sunburst
An early model that produces the ultimate rock sound
And here is the model shipped one year later. Compared to the first-year model, the reddish hue remains along the rim, creating a vivid cherry sunburst effect. The lacquer finish has thinned out and become more translucent, and you can see that it has blended seamlessly with the wood.
Another notable feature is its 25 1/2-inch long scale, identical to the Dove model released the following year.
The sound produced by this long scale is simply breathtaking. Just strumming the E on the 6th string might bring back memories of the rock scene from that era for some. The notes in the higher positions have a vivid, taut quality, allowing you to fully savor the rich tone unique to Brazilian rosewood. It is precisely because this guitar has been meticulously maintained and lovingly played over the years that it can still produce such a sound today.
Gibson 1962 Hummingbird Cherry Sunburst
A guitar brimming with rock spirit
Only 1,254 Hummingbirds were shipped by 1962—fewer than the number produced in the single year of 1963.
Early models are now extremely rare and hardly ever seen on the market. The bridge saddle features a special configuration: a straight bone saddle mounted on a rosewood base. One can imagine this was either a replacement part from that era or was swapped out for reasons of sound or practicality.
Gibson 1963 Hummingbird Maple Cherry Sunburst
The Legendary Maple Side and Back
Released in 1960, the Hummingbird captivated musicians of the time with its innovative look and dynamic sound, garnering overwhelming support.
This explosive success led to the introduction of the Dove (1962), which also featured square shoulders. However, since the Dove was 35% more expensive than the Hummingbird, the Hummingbird remained the focus of popularity even after 1962.There is an anecdote that Gibson, which had been producing more Dove models than it could actually sell, added Dove bodies to the Hummingbird line when production could no longer keep up, and in ’62 and ’63, ended up building long-scale Hummingbirds with maple bodies.
This guitar is precisely that Hummingbird with a maple side and back. It is in excellent condition and is a premium instrument.
1963 Gibson Hummingbird Cherry Sunburst
A rare early-production model featuring the original plastic bridge
While Gibson’s plastic bridges were commonly used on small-sized models like the LG-1 and B-25 in the 1960s, this Hummingbird—specifically from 1963—also features a plastic top-and-bottom bridge. The saddles are adjustable ceramic. This combination produces a unique sound.
This particular guitar shows signs that the bridge was once replaced with a different one, but it’s clear that the owner went to the trouble of reinstalling the plastic bridge. Since guitars with plastic bridges often have the bridge itself replaced, the chance to come across one that’s been restored to its original state is truly rare—so rare that it makes you want to restore it yourself.
Its distinctive bright and open tone is simply irresistible.
Gibson 1963 Hummingbird Maple Cherry Sunburst
This one also features a maple back and sides.
Gibson 1964 Hummingbird Natural
In 1963, a natural finish was added to the Hummingbird lineup.
This one was made in 1964. The cherry-colored finish on the neck and sides and back is absolutely beautiful.
Gibson 1965 Hummingbird Natural
1965 was the year the headstock angle changed from 17 degrees to 14 degrees.
This is a model with a 14-degree headstock angle. It’s also from the final year of the regular grip.
The white trim on the truss rod cover also became narrower starting around this time.
Gibson 1966 Hummingbird Natural
The regular-grip neck, which had a nut width of approximately 42mm to 43mm, became slimmer starting in 1965.
This is a narrow-neck model with a nut width of 40.3mm. It was made in 1966.
You can see that while the width has narrowed, the neck has become slightly thicker.
Gibson 1967 Hummingbird Natural
Starting around this time, the position of the crown inlay on the headstock is lowered slightly.
Gibson 1967 Hummingbird Cherry Sunburst
This is also a 1967 model. Starting this year, the red tones in the Cherry Sunburst finish became more pronounced. One difference from the previous Natural model is that the pickguard pattern is now two-tone, yellow and white.
Gibson 1968 Hummingbird Natural
The pickguard features a two-tone yellow and white pattern. A distinctive feature is the five screw holes along the edge of the pickguard.
Gibson 1968 Hummingbird Natural
Starting around 1968, models with a Downberry bridge, like this one, began to appear.
This guitar can be seen as the prelude to the new era of the 1970s.
Gibson 1968 Hummingbird Cherry Sunburst
A Cherry Sunburst model with a Downberry bridge.
You can view the bracing pattern using the Transparent Image System, which was also used in the SJ-200 reference collection.
Gibson 1969 Hummingbird Cherry Sunburst
It features the Gibson logo without the “i” dot, a design seen starting this year.
Gibson Hummingbird Natural
A very unique and stylish instrument.
Although the serial number range dates to 1968, it features specifications characteristic of the 1970s, such as a three-piece mahogany neck, Schaller tuners, a Downberry bridge, and the “Hummingbird” lettering on the truss rod cover.
Additionally, with a nut width of approximately 43 mm, it has a regular neck—a feature occasionally seen during this period.
It features a lovely design, with no center crack stop inside the body back, a stylish backstrip on the body back, and celluloid embedded in the endpin area.
Major Specification Changes and Anecdotes by Era
*Please note that this information is provided strictly as statistical data for reference purposes. If you have “seen” or “own” any irregular or special models, please send the details to the email address below.
Email: aco@tcgakki.com
Attn: Inoue, Advance Guitars
1960
Released as Gibson’s first square-shoulder model.
First-year production totaled 156 units.
Initially, only the Cherry-red finish (Cherry Sunburst) was listed in the catalog, but
examples featuring Honey Sunburst and Tobacco Sunburst finishes, such as the ones featured here, have also been confirmed.
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Jacaranda)
[Bridge]: Brazilian Rosewood (Jacaranda)
[Bridge Plate]: Maple(Small Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable ceramic saddle (gloss finish)
【Tuners】：Kluson Deluxe Gold
【Pickguard】：Resin/Transparent/Solid yellow pattern
【Scale Length】：Approx. 645 mm(Long Scale)
[Nut Width]: Approx. 43 mm (Regular Neck)
[Headstock Angle]: 17 degrees
What’s worth noting here is that this model features a long scale.
While some sources claim that earlier models used a medium scale,
all 1960s Hummingbird guitars that have been recorded in our store’s inventory are long scale; we have not confirmed any medium scale models.
It’s likely that long scale was the standard specification at the time, and the term “medium scale” came to be used because
it was introduced as a 24 3/4-inch scale in Gibson’s 1962 catalog; I believe some of this primary information may have become the prevailing view.
1963
The natural finish was released.
The Dove, a similar square-shoulder model, had been introduced the previous year,
and the natural finish version of the Dove was also released starting in 1963.
While the Hummingbird saw a dramatic increase in production that year, with 1,364 units shipped,
only 97 units were produced in the natural finish, making them extremely rare.
One can imagine that Gibson staked its reputation on the success of these two square-shoulder models.
Changes can also be seen in the specifications.
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Jacaranda)
[Bridge]: Brazilian Rosewood (Jacaranda)
[Bridge Plate]: Maple(Medium Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable ceramic saddle (gloss finish)
【Tuners】：Kluson Deluxe Gold
【Pickguard】：Resin/Transparent/Solid yellow pattern
【Scale Length】：Approx. 645mm(Long Scale)
[Nut Width]: Approx. 43 mm (Regular Neck)
[Headstock Angle]: 17 degrees
One finding from this research is that the size of the bridge plate increased slightly between 1962 and 1963. A similar trend can be seen at Martin in 1969.
Although the change in this year was minor, it is thought that the goal was to enhance the reinforcement of the bridge and the top wood.
1962 Hummingbird
1963 Hummingbird
In addition, as seen with the examples featured here, some models have been confirmed to have maple sides and backs, while others feature plastic bridges.
1965
~Main Specifications~
[Body Top]: Spruce
[Body Sides and Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Jacaranda)
[Bridge]: Brazilian Rosewood (Jacaranda)
[Bridge Plate]: Maple(Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable ceramic saddle (matte finish)
【Tuners】：Kluson Deluxe Double Line Gold
【Pickguard】：Resin/Transparent/Solid yellow pattern
【Scale Length】：Approx. 645 mm(Long Scale)
[Nut Width]: A mix of approx. 43 mm (Regular Neck) and approx. 40 mm (Narrow Neck)
[Headstock Angle]: 14 degrees
The most notable specification changes for Gibson that year were the 14-degree headstock angle and the narrow neck.
The Hummingbird was no exception to these changes.
Additionally, adjustable saddles—including matte ceramic and wood saddles—have been confirmed, which is another specification change from the mid-1960s.
The tuning pegs have also been changed to double-line pegs
In addition, we’ve noticed that the white trim on the truss rod cover has become narrower, and the bridge plate has become even larger.
1964 Hummingbird
1965 Hummingbird
1965 Hummingbird
1966
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Jacaranda
[Bridge]: Rosewood *with some Jacaranda
[Bridge Plate]: Maple(Large Size)
[Bracing]: Non-scalloped X-bracing
[Saddle]: Adjustable ceramic saddle (matte finish)/wood saddle
[Tuners]: Kluson Deluxe Double Line Gold
[Pickguard]: Resin/transparent/solid yellow pattern
[Scale Length]: Approx. 645 mm(Long Scale)
[Nut Width]: Approx. 40 mm (Narrow Neck)
[Headstock Angle]: 14 degrees
While the nut width is narrower, the neck tends to be thicker.
In my experience, this applies not only to the Hummingbird but to Gibson flat-top guitars in general.
I think you’ll find that “even though the width is narrower, the neck is surprisingly thick and easy to grip,” so you can choose based on your personal preference. I get the impression that the necks from 1967–1968 were thinner compared to those from 1966.
I haven’t collected a vast amount of data, but I hope this serves as a helpful reference when selecting a 1960s Gibson.
Also, regarding the finish, you’ll find some faded cherry sunburst models that might make you think, “Is that a natural finish?” at first glance. In Japan, many people probably associate this with the J-45 used by Motohiro Hata, but it’s also seen on the Hummingbird. This finish is commonly found on models from 1963 to 1966.
*Photo shows a 1966 J-45
1967
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Jacaranda
[Bridge]: Rosewood *with some Jacaranda
[Bridge Plate]: Maple(Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Wood saddle
【Tuners】：Kluson Deluxe Double Line Gold
【Pickguard】：Resin/Transparent/Solid yellow pattern, Resin/Transparent/Two-tone yellow and white pattern; mixed with and without screws
【Scale Length】：Approx. 645mm(Long Scale)
[Nut Width]: Approx. 40 mm (Narrow Neck)
[Headstock Angle]: 14 degrees
Changes can be seen in the exterior design, such as the pickguard and finish.
Pickguards, which had previously been solid yellow, began to feature two-tone yellow and white designs,
and screw-mounted pickguards also appeared around this time. Screw-mounted pickguards were also used on the J-45 in custom colors,
and as I recall, custom colors debuted in 1967, and screw-mounted pickguards began to be adopted on the Hummingbird that same year.
1967 Hummingbird
1968 Hummingbird
1967 Hummingbird
1968 J-45 Ebony Black
The finish is a Cherry Sunburst with a very strong reddish hue on the rim.
If you look closely, you can see that the color extends to both sides of the fingerboard end, and this detail really gives me a sense of the era.
1967 Hummingbird
*Photo shows a 1967 J-45
Another characteristic is that the crown inlay on the headstock is positioned slightly lower.
1966 Hummingbird
1967 Hummingbird
1968
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Jacaranda
[Bridge]: Rosewood, Upper Berry or Down Berry *with some Jacaranda
[Bridge Plate]: Maple(Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Wood saddle
【Tuners】：Kluson Deluxe Double Line Gold
【Pickguard】：Resin/Transparent/Patterns include yellow and white; mixed with and without screws
【Scale Length】：Approx. 645mm(Long Scale)
[Nut Width]: Approx. 40 mm (Narrow Neck)
[Headstock Angle]: 14 degrees
By 1968, the atmosphere of the 1970s was finally beginning to take shape.
The “down-belly” bridge shape, where the curve slopes downward, also began to appear around this time.
While there’s a common perception that “down-belly” is synonymous with 1969,
when cross-referencing the serial numbers of numerous individual instruments, there are surprisingly many from 1968 as well.
Could we say that, as a Hummingbird, it had moved a bit closer to the Martin style...?
1969
~Main Specifications~
[Top]: Spruce
[Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany *Mix of 1-piece and 3-piece
[Fingerboard]: Rosewood *Mix of Jacaranda
[Bridge]: Rosewood, Downberry *Mix of Jacaranda
[Bridge Plate]: Maple(Large Size)
【Bracing】：Non-scalloped X-bracing *Includes some double X-bracing
【Saddle】：Wood saddle
【Tuners】：Kluson Deluxe Double Line Gold or Schaller (with Gibson logo)
[Pickguard]: Resin / Transparent / Patterns include two-tone (yellow and white); mixed versions with and without screws
[Scale Length]: Approx. 645 mm (long scale)
[Nut Width]: Approx. 40 mm (narrow neck) or approx. 43 mm (regular neck)
[Headstock Angle]: 14 degrees
By 1969, the style became even more distinctly 1970s-inspired.
In the 1970s, Gibson’s parent company changed, and changes were seen in guitar construction and the models released, such as the adoption of double-X bracing.
While this era is generally considered “unpopular,” when looking at Gibson’s history as a whole, some people might find it has a certain charm and feel a sense of attachment to it.
As for the main specifications in 1969, the Downberry bridge finally became the mainstream choice.
Additionally, as an irregular specification, some instruments feature a nut width of approximately 42mm to 43mm.
In some cases, there are instruments without the center crack stop on the inside of the body back,
while others feature a stylish backstrip on the body back or celluloid embedded in the endpin.
It was also around this time that the truss rod cover began featuring the word “Hummingbird,” though it appears to have coexisted with covers that had no model name.
It was also around this time that models with a headstock logo lacking the dot above the “i” and smooth mahogany necks began to appear.
Furthermore, individual instruments incorporating 1970s specifications—such as double-X bracing, block position marks, and Shalla-made tuners bearing the Gibson logo—have also been confirmed.
Regarding Neck Wood
I looked into several primary sources to determine how long Honduran mahogany was used.
First, regarding electric guitars, the Les Paul Custom was re-released in 1968.
Referring to the catalog from that time, we can confirm that while the Les Paul Standard (the re-released Gold Top P-90 Type) was described as having a “maple top with mahogany body,” the Les Paul Custom was described as having a “Solid Honduran mahogany body.”
It’s very interesting to see such a clear distinction being made.
Regarding flat-top models, the 1970 catalog describes the Hummingbird as made of Honduran mahogany,
while the B-25 is described as mahogany, suggesting a distinction was made here as well.
Based on this information, in this article, we have stated that all 1960s Hummingbirds were made of Honduran mahogany.
Regarding Bracing
Non-scalloped X-bracing was consistently used until 1969.
In 1969, some models featuring double X-bracing—a specification typical of the 1970s—began to appear.
When placed side by side as shown in the image, it is clear that the bracing became thicker as the years progressed.
The bracing from 1960 has a more angular shape, but starting in 1963, it becomes slightly more rounded.
By 1965, it had become even thicker.
About the Bridge Plate
As mentioned earlier, the bridge plate grew larger over the years,
but upon closer inspection, we can see that the number of plate pieces increased from one to two to three.
It appears that 1963 served as a transitional year, after which the three-piece design was adopted.
Artists Who Love the Hummingbird and Their Classic Albums
Keith Richards (The Rolling Stones)
“Angie”
Jimmy Page (Led Zeppelin)
“Babe I’m Gonna Leave You”
Recommended Tracks
While putting this article together, I listened to the Hummingbird again and realized once more just how cool its rock-infused sound really is. I think you can really appreciate this honey-toned sound on The Rolling Stones’ “Exile on Main Street.”
Store Manager Inoue on the True Value of the Hummingbird
It’s just so cool—both in looks and sound.
I think Gibson has a real knack for making these acoustic guitars look cool, starting with the 1937 SJ-200. The Hummingbird, with its flashy pickguard, gained immense popularity and became a favorite among band frontmen and rock guitarists.
In Japan, it’s famous for being played by Kiyoshiro Imawano. When you think about it this way, I realize the Hummingbird is truly a rock-style acoustic guitar.
Showcasing a Supreme Honey Tone
Among the guitars featured here, the one that really stood out to me was a 1961 model. The moment you hear those low notes, you’ll be completely captivated by the Hummingbird.
Who Should Consider a Hummingbird?
Since this is a model that’s quite hard to come by, I highly recommend it to anyone who’s always longed for that classic rock sound. Don’t you think it’s amazing to experience the very same tone you heard on records right up close?
A Few Words: “When you think of the Hummingbird, it’s a model beloved by top musicians for its iconic looks and tone—often described as the ‘honey tone.’ It’s truly moving to see that the concept behind this instrument—born in 1960 as a ‘guitar for singing’—remains alive and well today. While there are clear differences in specifications, such as scale length, between vintage and current models, there’s no doubt it will continue to make history in the music scene.”
Author: Inoue, Store Manager at Advance Guitars – Vintage Guitar Expert
An expert who has been playing instruments since childhood and has been involved in the appraisal and sale of over several thousand vintage guitars. He maintains strong connections with collectors and dealers overseas. Guided by the belief that “the history of a guitar can change with a single color or stamp,” he strives to provide detailed and passionate commentary.
Qualifications and Achievements: 8 years as a musical instrument appraiser; contributor and supervising editor for Guitar Magazine and other publications
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