Advance Guitars Presents
Gibson '60s Hummingbird Gallery
History and Evolution 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 adorned with a hummingbird carving, 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 seen 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, production increased to 595 units. Its striking appearance won over rock musicians and gained popularity, causing production to surge to 1,364 units just three years later.These figures alone demonstrate just how rare the first-year models are; today, 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 coat is applied first,followed by a dye-based coat to bring out the reddish hue on the rim. However, this red hue has a tendency to fade easily, and due to various effects of aging, each guitar takes on a unique appearance.
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.As for this Hummingbird, the reddish hue on the rimhasfadedto a light brown, resulting in an overall appearance often referred to as a "Honey Burst."While individual variations exist and generalizations are difficult, 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
Here is the model shipped one year later. Compared to the first year’s model, the reddish hue remains on the rim, showcasing a vivid cherry sunburst. The lacquer finish has thinned and faded, clearly blending 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 on the 6th string might bring back memories of the rock scene from that era for some. The notes in the higher registershave a crisp, vibrant tone, allowing you to fully appreciate the rich sound 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 tone 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 saddle features a special design where a straight bone saddle is mounted on a rosewood base. It’s likely that 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 looks 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 they could actually sell, added Dove bodies to the Hummingbird line when production couldn’t keep up, and in 1962 and 1963, they ended up building Hummingbirds with long-scale necks and maple bodies.
This guitar is precisely that Hummingbird with a maple back and sides. 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
Gibson’s plastic bridges were often used on small-sized models like the LG-1 and B-25 in the 1960s, but in fact, this Hummingbird—limited to the 1963 model year—features a plastic top-and-bottom bridge. The saddles are adjustable ceramic. This combination produces a unique sound.
This particular guitar shows signs of having had a different bridge installed 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 truly rare.
Its characteristic 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 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 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
From this period onward, the position of the crown inlay on the headstock is slightly lower.
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 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 neck occasionally seen from this period.
The body back lacks a center crack stop, but features a stylish backstrip on the body backand celluloid inlays at the endpin—a truly lovely design.
Major Specification Changes and Notable Events by Era
*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 (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 / Clear / Solid Yellow
【Scale Length】： Approx. 645 mm (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 Hummingbirds 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 some of this primary information became the prevailing view.
In 1963,
The Natural color was released.
The Dove, a similar square-shoulder model, had been introduced 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 (Jacaranda)
【Bridge】： Brazilian Rosewood (Jacaranda)
【Bridge Plate】： Maple (Medium 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
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~
[Body Top]: Spruce
[Body Sides & 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 / Clear / Solid Yellow
【Scale Length】：Approx. 645 mm (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—including 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
Other changesincludea thinner white border on the truss rod cover anda bridge plate that has become 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 Jacaranda
【Bridge】：Rosewood *with some Jacaranda
【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. 645 mm (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. The necks from 1967–1968 tend to be thinner compared to those from 1966.
I haven’t collected extensive 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 wonder, “Is that a natural finish?” at first glance. In Japan, many people might 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
[Body 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, 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 feature not only solid yellow patterns but also two-tone yellow and white patterns,
and screw-mounted pickguards also began appearing around this time. Screw-mounted pickguards were also used on the J-45 Custom Color models,
I recall that custom colors debuted in 1967, and around the same time, screw-mounted pickguards began to appear 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 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
[Body Sides & Back]: Honduran Mahogany
[Neck]: Honduran Mahogany
[Fingerboard]: Rosewood *with some Jacaranda
【Bridge】： Rosewood, Upper Berry or Down Berry *Includes 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 two-tone yellow and white; mixed with and without screws
【Scale Length】：Approx. 645 mm (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,
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 Jacaranda
【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 / Two-tone yellow and white pattern; 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, some people might find it has a certain charm and feel a sense of attachment to it.
As for the main specifications of 1969, the down-belly bridge finally became the mainstream design.
Additionally, as an irregular specification, some instruments feature a nut width of approximately 42mm to 43mm.
In some cases, there are instruments lacking the center crack stop on the inside of the body back,
while the body back may feature a stylish backstrip or have celluloid inlaid into 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 solid mahogany necks began to appear.
Furthermore,instruments featuring 1970s specifications—such as double-X bracing, block position marks, and Schaller tuners bearing the Gibson logo—have also been identified.
Regarding Neck Wood
I looked into several primary sources to determine how long Honduran mahogany would continue to be used.
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 having a Honduran mahogany body,
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 featuring 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 grows larger over time, but
but upon closer inspection, it becomes clear that the number of plates increased from one piece to two, and then to three.
With 1963 serving as a transitional period, it is believed that the three-piece design was 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 honeyed tone.“Exile On Main Street / The Rolling Stones”
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 knack for making these acoustic guitars look cool, starting with the 1937 SJ-200. The Hummingbird, with its flashy pickguard, gained immense popularity and support from 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 completely captivated by 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 tones you used to hear on records right up close?
Written by: Inoue (Store Manager, Advance Guitars)
He was in charge of electric and acoustic guitars at TCGAKKI. He then joined the launch of Advance Guitars, a specialty acoustic guitar shop, in 2023. As store manager, he has experience dealing with collectors and musicians both domestically and internationally. He contributed to the publication of the world’s first SJ reference book, “GIBSON KING OF THE FLAT-TOPS.” He also writes numerous columns.
A Few Words: “ When it comes to the Hummingbird, it’s a model beloved by top-tier musicians for its iconic looks and tone, often described as ‘honey tone.’ It’s deeply moving to see that the concept of 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, I have no doubt that it will continue to make history in the music scene.”
Qualifications & Experience: 8 years as a musical instrument appraiser; contributor and consultant for publications such as Acoustic Guitar Magazine
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