Advance Guitars Presents
Gibson '60s Hummingbird Gallery
History and Specification Changes of the Hummingbird
~The History of the Hummingbird~
It was in 1960 that square-shouldered models were added to Gibson’s lineup, which had previously been dominated by round-shouldered models such as the J-45.The first model to appear was this Hummingbird.
While its shape resembles Martin’s Dreadnought models, it is characterized by a wider body width of approximately 16 inches (compared to the Martin D-28’s 15 5/8 inches). It features a large pickguard engraved with a hummingbird, 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, these vintage guitars are now being brought together in one place. In this feature, we take a closer look at 1960s models, including the Hummingbird from its inaugural year—a collection that is unlikely to be assembled again.
We used the measurements from this SJ-200 reference guide as a reference for this Hummingbird feature.
Gibson 1960 Hummingbird Honey Sunburst
Extremely Rare! A Hummingbird from the 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, over 60 years later, they are legendary instruments that are virtually impossible to find.A defining feature of these first-year models is undoubtedly the hue of the Cherry Sunburst finish.
Just like the Les Paul Standards manufactured between 1958 and 1960—known as “Bursts”—the sunburst colors from that era fade in various ways over time.This isbecausea pigment-based yellow finish is applied first,followed by a dye-based coat to create the reddish hue along the rim. However, this red tends to fade easily, and due to various effects of aging, each guitar develops a unique character.
In 1960, the paint formula for the "Burst" finish was changed to a red-based paint, and many examples still retain a vivid red sunburst today.With this Hummingbird, however,the red tones on the rimshavefadedto a light brown, resulting in an overall appearance often described 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 first year of production.
Although the catalogs from that era only listed the Cherry Sunburst finish,
this particular instrument features an irregular Tobacco Sunburst finish.
It features a rare color scheme that is 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 a year later. Compared to the first year’s models, the reddish hue remains on the rim, creating a vivid cherry sunburst. The lacquer finish has thinned and faded, and you can see that it has blended well 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 string on the 6th fret might bring back memories of the rock scene from that era for some. The high-fret toneshave a vivid, taut quality, allowing you to fully appreciate the rich tone characteristic of Brazilian rosewood. It is likely 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 rarely seen on the market. The bridge features a special configuration where a straight bone saddle is mounted on a rosewood base. One can imagine this was either an original 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 looks and dynamic sound, garnering overwhelming support.
This explosive success led to the introduction of the Dove (1962), which also featured a square-shouldered design. 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 they could actually sell, added Dove bodies to the Hummingbird line when production couldn’t keep up, and in 1962 and 1963, they even produced long-scale Hummingbirds with maple bodies.
This guitar is precisely that Hummingbird with maple sides 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 is actually one of the rare examples from 1963 featuring a plastic top-and-bottom bridge. The saddles are adjustable ceramic. This combination produces a unique sound.
This particular guitar shows signs of having been fitted with a different bridge at one point, but it’s clear that the owner went to the trouble of switching it back to the plastic bridge. Since guitars with plastic bridges often have the bridge itself replaced, the chance to find one that’s been restored to its original state is incredibly rare.
The 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 is a 1964 model. The cherry-colored finish on the neck and sides 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 is also from the final year of the standard grip.
The white trim on the truss rod cover also became narrower starting around this time.
Gibson 1966 Hummingbird Natural
The standard 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 40.3 mm. It was made in 1966.
You can see that while the width has become narrower, the neck has actually become slightly thicker.
Gibson 1967 Hummingbird Natural
Starting around this period, 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 become more pronounced.The difference from the previous Natural model is that the pickguard pattern becomes a two-tone yellow and white design.
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 down-beveled bridge, like this one, began to appear.
This guitar can be seen as a prelude to the new era of the 1970s.
Gibson 1968 Hummingbird Cherry Sunburst
A Cherry Sunburst model with a Downberry bridge.
You can see 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 characteristic seen from this year onward.
Gibson Hummingbird Natural
Avery unique and stylishguitar.
Although the serial number range dates to 1968,it features specifications typical of the 1970s, such asa three-piece mahogany neck, Schaller tuners, a Downberry bridge,and the "Hummingbird" lettering on the truss rod cover.
It also has a nut width of approximately 43mm, making it a standard-width neck occasionally seen from this period.
The body back lacks a center crack stop,and the design is lovely,featuring a stylish backstrip on the body backand celluloid inlays at the endpin.
Major Specification Changes and Notable Events by Decade
*Please note that this information is provided for reference purposes only based on statistical data.If you have "seen" or "own" any irregular or special specifications, please send us the details at the email address below.
Email Address: aco@tcgakki.com
Attn: Inoue, Advance Guitars
1960
Released as Gibson’s first square-shoulder model.
156 units were shipped in the first year.
Initially, only the Cherry-red finish (Cherry Sunburst) was listed in the catalog,
examples with Honey Sunburst and Tobacco Sunburst finishes, such as the ones featured here, have also been confirmed.
~Main Specifications~
[Top]: Spruce
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Hacanda)
[Bridge]: Brazilian Rosewood (Hacanda)
【Bridge Plate】：Maple (Small Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable Ceramic Saddle (Glossy)
【Tuners】：Kluson Deluxe Gold
【Pickguard】：Resin / Clear / Solid Yellow
【Scale Length】： Approx. 645mm (Long Scale)
【Nut Width】：Approx. 43mm (Regular Neck)
【Headstock Angle】：17 degrees
What’s worth noting here is that the long scale is Recruit.
Regarding this, I have seen explanations stating that the earlier models featured a medium scale,
all 1960s Hummingbird models that have been recorded in our store’s inventory are long-scale, and we have not confirmed any medium-scale models.
It is likely that the long scale was the standard specification at the time, and the term “medium scale” came into use
because Gibson’s 1962 catalog introduced it as a 24 3/4-inch scale, and I believe that some of this primary information became the prevailing view.
In 1963,
The Natural color was released.
The Dove, a similar square-shoulder model, had appeared the previous year,
and the natural-colored Dove was also released starting in 1963.
Although the number of Hummingbird guitars shipped that year was 1,364, marking a dramatic leap forward for the model,
the Natural Color version was produced in only 97 units, making it 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
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Hacanda)
[Bridge]: Brazilian Rosewood (Hacanda)
【Bridge Plate】： Maple (Medium Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable Ceramic Saddle (Gloss Finish)
【Tuners】：Kluson Deluxe Gold
【Pickguard】：Resin / Clear / Solid Yellow
【Scale Length】：Approx. 645mm (Long Scale)
【Nut Width】：Approx. 43mm (Regular Neck)
【Headstock Angle】：17 degrees
One finding from this investigation is that the size of the bridge plate increased slightly between 1962 and 1963. A similar trend can be observed in Martin guitars in 1969.
Although the change in this model year was minor, it is likely that the goal was to enhance the reinforcement of the bridge and top wood.
1962 Hummingbird
1963 Hummingbird
Additionally, as seen with the examples introduced here, some models have been confirmed to feature maple sides and back, or plastic bridges.
1965
~Main Specifications~
[Top]: Spruce
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Brazilian Rosewood (Jacaranda)
[Bridge]: Brazilian Rosewood (Hacanda)
【Bridge Plate】：Maple (Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】： Adjustable Ceramic Saddle (Matte Finish)
【Tuners】： Kluson Deluxe Double Line Gold
【Pickguard】：Resin / Clear / Solid Yellow
【Scale Length】：Approx. 645mm (Long Scale)
【Nut Width】： Approx. 43mm (Regular Neck) and Approx. 40mm (Narrow Neck) mixed
【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, as well as matte ceramic and wood saddles, have been confirmed, which is another specification change from the mid-1960s.
The tuners were also changed to double-line models
In addition,we’ve noticed thatthe white trim on the truss rod cover has become thinner,and the bridge plate has grown even larger.
1964 Hummingbird
1965 Hummingbird
1965 Hummingbird
1966
~Main Specifications~
[Top]: Spruce
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Brazilian rosewood
[Bridge]: Rosewood *with some Brazilian rosewood
【Bridge Plate】：Maple (Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Adjustable Ceramic Saddle (Matte) / Wood Saddle
【Tuners】：Kluson Deluxe Double Line Gold
【Pickguard】：Resin / Clear / Solid Yellow
【Scale Length】：Approx. 645mm (Long Scale)
【Nut Width】： Approx. 40mm (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 are thinner compared to those from 1966.
I haven’t collected extensive data on this, 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 wonder at first glance, “Is that a natural finish?” In Japan, many people probably think of the J-45 used by Motohiro Hata, but this finish is also seen on Hummingbirds. This is commonly found on models from 1963 to 1966.
*Photo shows a 1966 J-45
1967
~Main Specifications~
[Top]: Spruce
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Brazilian rosewood
[Bridge]: Rosewood *with some Brazilian rosewood
【Bridge Plate】：Maple (Large Size)
【Bracing】：Non-scalloped X-bracing
【Saddle】：Wood saddle
【Tuners】：Kluson Deluxe Double Line Gold
【Pickguard】： Resin/Transparent/Solid yellow, Resin/Transparent/Two-tone yellow and white, Mixed with and without screws
【Scale Length】：Approx. 645mm (Long Scale)
【Nut Width】：Approx. 40mm (Narrow Neck)
【Headstock Angle】：14 degrees
Changes can be seen in the appearance, such as the pickguard and finish.
Pickguards began to appear in two-tone yellow and white patterns, in addition to the single-tone yellow ones,
and screw-mounted pickguards also began appearing around this time. Screw-mounted pickguards were also used on the J-45 in custom colors,
I recall that custom colors debuted in 1967, and around the same time, screw-mounted pickguards began to be used on the Hummingbird as well.
1967 Hummingbird
1968 Hummingbird
1967 Hummingbird
1968 J-45 Ebony Black
The finish is a cherry sunburst with a very strong reddish hue around the rim.
If you look closely, you can see that the color extends to both sides of the fingerboard end, and seeing this 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
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Jacaranda
【Bridge】： Rosewood, Upper Berry or Down Berry *Contains 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. 40mm (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 is a common perception that "down-belly" is synonymous with 1969,
but when you cross-reference numerous individual instruments by serial number, you’ll find a surprisingly large number of them from 1968 as well.
You could say that, as a Hummingbird, it moved a bit closer to the Martin style...
1969
~Main Specifications~
[Top]: Spruce
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany *Mixed 1-piece and 3-piece construction
[Fingerboard]: Rosewood *Includes some Brazilian rosewood
【Bridge】：Rosewood, Downberry *Includes some Brazilian rosewood
【Bridge Plate】：Maple (Large Size)
【Bracing】： Non-scalloped X-bracing *Includes double X-bracing
【Saddle】：Wood saddle
【Tuners】： Kluson Deluxe Double Line Gold or Schaller (with Gibson logo)
【Pickguard】：Resin / Transparent / Patterns include yellow and white; mixed with and without screws
【Scale Length】：Approx. 645 mm (Long Scale)
【Nut Width】： Approx. 40mm (Narrow Neck) or Approx. 43mm (Regular Neck)
【Headstock Angle】：14 degrees
By 1969, the style became even more distinctly 1970s.
In the 1970s, Gibson’s parent company changed, and changes could be seen in guitar construction and the models released, such as the Recruit with double-X bracing.
While this era is generally considered "unpopular," looking back at Gibson's history as a whole, some people might find it has a certain charm and feel a sense of affection for it.
As for the main specifications of 1969, the down-bevel bridge finally became the mainstream.
Additionally, as an irregular specification, some models 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 the body back features a stylish backstrip or has celluloid embedded in the endpin.
It was also around this time that the truss rod cover began to feature 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 on the "i" and those with a smooth mahogany neck began to appear.
Furthermore,individual instruments featuring 1970s specifications—such as double-X bracing, block position marks, and Schaller tuners bearing the Gibson logo—have also been confirmed.
Regarding Neck Wood
I looked into several primary sources to determine how long Honduran mahogany would remain in use.
First, regarding electric guitars, the Les Paul Custom was re-released in 1968, but
and if we refer to the catalogs from that time, we can see that while the Les Paul Standard (the reissued 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 in their use.
As for flat-top guitars, the 1970 catalog describes the Hummingbird as made of Honduran mahogany,
while the B-25 was described as mahogany, suggesting that 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
Until 1969, non-scalloped X-bracing was consistently used.
In 1969, some models began to feature double-X bracing as part of the 1970s specifications.
As shown in the image, when placed side by side, you can see that the thickness increases over time.
The bracing from 1960 has a more angular shape, but from 1963 onward, it begins to take on a slightly rounder form.
By 1965, the bracing had become even thicker.
Regarding the Bridge Plate
As mentioned earlier, the bridge plate grew larger over the years, but
but upon closer inspection, we can see that the number of plates increased from one piece to two pieces to three pieces.
With 1963 serving as a transitional period, it is believed that three-piece designs were adopted thereafter.
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 tracks again and realized once more just how cool the Hummingbird’s rock-infused sound really is.The Rolling Stones’ tracks, in particular, let you fully appreciate this honey-toned sound.“Exile On Main Street / The Rolling Stones”
Store Manager Inoue on the True Value of Hummingbird
It’s just so cool, both in looks and sound.
I think Gibson has a 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 used by Kiyoshiro Imawano. When you think about it that way, I realize the Hummingbird is truly a rock acoustic guitar.
Showcasing the Ultimate Honey Tone
Among the guitars introduced here, the one that really stood out to me was a 1961 model. Once you hear those low notes, you’ll be hooked on the Hummingbird.
Who is the Hummingbird recommended for?
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 vinyl 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 ‘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, Manager of Advance Guitars – Vintage Guitar Expert
An expert who has been involved with musical instruments since childhood and has appraised and sold 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 Experience: 8 years as a musical instrument appraiser; contributor and supervisor for publications such as Guitar Magazine
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