The Workhorse's xml-ph-0000@deepl.internal ~The History of the Gibson J-45~

"The Workhorse"s
〜The History of the Gibson J-45〜

The J-45, Passed Down Through the Generations

The Gibson J-45 has captivated singer-songwriters, guitarists, and countless listeners, establishing itself as the quintessential acoustic guitar.
Its nickname, "The Workhorse," is said to have been coined by Gibson.True to the original vision—"to create an excellent guitar that, while not flashy, is stylish and possesses a valuable tone for all acoustic guitar players"—the J-45 has consistently delivered stable performance as a flagship model, responding to its players.
One imagines this nickname embodies Gibson's wish for it to remain a dependable presence through the ages.

Part 1: Introduction to the Gibson J-45 History - 1942~ (This Page)

Part 2: 1964–1969 Timeline

Advanced Guitars Product Inventory

The J-45 was born in 1942 during World War II.
It debuted with a 16-inch jumbo size, rounded shoulders, and the trademark sunburst finish.
Early models featured a mahogany back and sides with a spruce top, characterized by simple, unadorned decoration and design reflecting its then-advertised price of "$45".
During the so-called "Banner Era" from 1942 to 1945, the headstock displayed the banner "ONLY A GIBSON IS GOOD ENOUGH," becoming a symbol of this period.
Flexibly adapting to wartime material shortages and constraints, some examples feature mahogany body tops, while others forego the adjustable truss rod invented by Gibson. The diversity of individual characteristics seen during this period is part of its charm.

Full-scale production of the J-45 resumed after the war ended in 1945.
Starting in 1948, shipping records were systematically organized and preserved, forming a crucial foundation for manufacturing data that continues to this day.

Throughout the 1950s, changes were made to the bracing structure and pickguard. In 1956, an adjustable bridge with a ceramic saddle (J-45 Adj.) was added as an option, marking an evolution in specifications.

Entering the 1960s, plastic bridges and cherry sunburst finishes were adopted.
Specification changes continued to respond to contemporary musical styles, including the transition to narrower necks and a 14-degree headstock angle.

Around 1969, the long-beloved round shoulder transitioned to a square shoulder,
and the scale length was extended from the traditional 24 3/4 inches to 25 1/2 inches.

Entering the 1970s, the J-45 underwent significant transformation under Gibson's new mass production system.
Featuring square shoulders, a 25 1/2-inch scale length, double X-bracing, and a down-belly bridge,
it acquired a distinct character in both appearance and tone compared to its predecessors.

Then, in the mid-1970s, Norlin became the parent company, initiating various transformations such as starting production at the Nashville factory and developing new models.

During the 1980s, when acoustic guitar popularity was declining,
information about the J-45 was extremely limited, and it is said production was temporarily halted in 1982.
However, acoustic guitar production at the Nashville factory did not completely cease; it continued in some areas.
Eventually, in the mid-1980s, Henry Jaschik acquired the Gibson brand with two partners.
To prioritize expanding production of the rapidly increasing demand for Les Paul guitars,
securing production space became urgent, leading to the gradual downsizing of the Nashville factory's acoustic division.
By the late 1980s, it was finally completely dismantled.
By this time, the rounded-shoulder J-45 had already made a comeback, notably in models commemorating Gibson's 90th anniversary.

In 1987, Gibson acquired Flat Iron Mandolin Company as an OEM partner.
Centered around Ren Ferguson (later Master Luthier), who was then a craftsman at Flat Iron Mandolin, efforts began to establish a new factory.

In 1989, the Montana factory began operations, reviving production lines emphasizing handcrafted processes.

Throughout the 1990s, Gibson began exploring a return to past models,
progressing toward models that would be reevaluated even by longtime fans.
In 1990, J-45s with sunburst and natural finishes, closer to the original design, were produced.
The following year, 1991, it appeared in the Japanese catalog under the name "J-45".
The current model name, "J-45 Standard", has been in use since 2009.

In December 2022, a major expansion of the Montana factory was completed.
The facility's footprint nearly doubled, continuing its evolution as the world's premier acoustic guitar factory.

In 2023, capitalizing on the growing popularity of vintage guitars and relic/aging finishes, the long-awaited acoustic model "1942 Banner J-45 Vintage Sunburst Light Aged" debuted from the Gibson Custom Shop's "Murphy Lab Collection" series, first announced in 2021. It garnered significant attention.

In 2024, a scene appeared in the film "A Complete Unknown" featuring Timothée Chalamet, who played Bob Dylan, using Dylan's beloved J-50 guitar.
This guitar was specially crafted by the Gibson Custom Shop, achieving an unprecedented level of authenticity in reproducing the look and sound of a 1940s model.

Up to this point, we've covered the history of Gibson and the J-45, a story often told.
This time, we've created a gallery visually and systematically compiling information about the Gibson J-45, based on actual instrument data we've handled over the years.
It's also a journey to rediscover the J-45 guitar itself, free from the flood of information out there, and seek out new charms.

We plan to continue updating this information whenever new J-45s arrive.
And when 2042 arrives, the year the J-45 celebrates its 100th anniversary, we hope to be delving even deeper into the charm of this guitar.

Gibson J-45 Inventory List

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Vintage Gibson J-45 Gallery

Introducing vintage J-45s we've handled at our store.
Please note that some images are older.

Gibson 1942 J-45 Banner

Topping our gallery is a 1942 model, the very first year the J-45 was born.

The Factory Order Number (FON) printed on the neck block identifies its production year. Its spruce top, mahogany sides and back, and mahogany neck represent the quintessential "classic" specification. Particularly iconic is the "Banner Head" design, featuring the script logo alongside the "ONLY A GIBSON IS GOOD ENOUGH" banner on the headstock.The pickguard is a small-sized tortoiseshell-patterned teardrop shape. Specimens equipped with the fire-stripe pattern pickguard seen on J-35s of the era have also been confirmed from the same period (1943-1944).While variations exist, such as mahogany top with maple sides and back, or maple neck, this original banner specification—spruce top with mahogany sides, back, and neck—represents the very origin and pinnacle of the J-45. It is no exaggeration to say this is the one that reigns supreme among all J-45s.

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Gibson 1944 J-45 Banner

This instrument has been identified as a 1944 model based on its Factory Order Number (FON).
Its most distinctive feature is the so-called "all-mahogany" construction, utilizing mahogany for the top, sides, and back.
As World War II intensified, the era was exceptionally harsh, with strict government rationing imposed on wood and metal available for commercial use.
Gibson itself reportedly had about 90% of its workforce mobilized for war-related production, continuing guitar manufacturing with limited personnel and resources.
At the time, spruce was also used in the manufacture of U.S. military aircraft, making it extremely difficult to obtain for musical instruments.
Under these circumstances, mahogany was sometimes used for the body top, or a four-piece top construction was employed to use scarce spruce wood efficiently.
It is clear that the context of the 1940s had a significant impact on guitar making itself.

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Gibson 1940s J-45 Banner

This is another banner-period model. While the factory order number couldn't be confirmed,
making it impossible to pinpoint the exact year, it features maple used for the body side back.
Internal body photos also remain, revealing flame grain on the body sides when viewed from the back.
The body back features maple on the outer layer, with the inner wood clearly mahogany. Such laminated construction was sometimes used at the time. The neck is also a 5-piece construction utilizing maple. This J-45 is brimming with the unique character typical of wartime models.

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Gibson J-45 Inventory List

Gibson 1951 J-45

The banner head specification was discontinued after 1945, and from 1946 onward, only the script logo was used. While the color is different, many may recall the J-50 used by Bob Dylan.
Post-war mass production systems were established, and shipping records began to be organized and preserved in 1948. By this time, the logo had already changed from the script logo to the modern "Modern Type" logo.This particular instrument is identified as a 1951 model via its Factory Order Number (FON). Starting in 1952, FONs began with the letter "Z," and subsequent letters were managed in descending alphabetical order, with "Y" used in 1953, for example.
Key differences from the Banner period include the logo mark, an upper belly-type bridge, a nut width of 43 mm, and a three-ply soundhole ring and body top cell.
The pegs are a three-in-line Kluson type without engraving, featuring a structure where the peg knob shaft hole is absent inside the gear cover. This is a characteristic seen around 1952-1953.Furthermore, the headstock is a straight-head design rather than a tapered headstock, with minimal thickness variation from the tip toward the 1st and 6th string posts. While tapered headstocks are confirmed until 1953, straight-headstock models like this one also exist, suggesting mixed specifications during the early 1950s.

Gibson 1953 J-45

A 1953 model identified by its Factory Order Number (FON). A major distinguishing feature is the short saddle on the bridge.
Similar to the headstock taper, specifications varied during this period, with models using long saddles confirmed up until 1954.

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Gibson 1955 J-45

Factory Order Number (FON) indicates a 1955 model. This year saw significant cosmetic changes.
The initially used "teardrop" small-size pickguard was replaced with a larger size extending to the fingerboard sides. Since small-size pickguards were also confirmed in 1955, this year truly marks the transition period.This large pickguard remained in use until 1964, when its thickness and material were changed.
The bracing pattern is the scalloped X bracing characteristic of the early 1950s. Since the non-scalloped specification began replacing it this year, the combination of scalloped X bracing and the large pickguard can be considered a special specification unique to 1955.
The transition from small to large size likely affected not only the appearance but also the sound.
Personally, I get the impression it produced a more rugged, powerful resonance.

Gibson 1956 J-45

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Factory Order Number (FON) indicates a 1956 model. This year saw significant changes in internal construction. The bracing pattern switched to non-scalloped X-bracing. Detailed measurements reveal the X-intersection point shifted approximately 3mm toward the soundhole, and the bracing height was lowered.Instead of applying scalloping, it seems they reduced the shape size and positioned the intersection point further forward to build tone balance and strength. When actually compared by playing a 1955 model, the difference is noticeable. The 1956 model feels like its tonal components are more concentrated in the midrange, resulting in a tighter resonance, likely due to the non-scalloped bracing.The sound itself is rich and substantial, with harmonics that feel cohesive and well-integrated. Conversely, the 1955 model offers a wider tonal range, with bass components feeling more solid. Possibly due to the non-scalloped bracing, it produces a spacious sound with abundant overtones.
It produced a rich, full-bodied sound even with a light touch.

Gibson 1957 J-45

Factory Order Number (FON) indicates a 1957 model. The catalog for this year specifies the use of Honduran mahogany for the J-45.
While it was likely already in use, we believe it was added to further emphasize the appeal of their own model.
It features unmarked Kluson Deluxe tuners. While these were primarily used until around 1956, their presence on this 1957 model is considered an irregular occurrence. The structure with a peg shaft hole inside the gear cover is characteristic of this period.
It's also interesting to note the discoloration and slight shrinkage visible on the peg knobs. This is likely due to the use of celluloid, often called the oldest plastic.
Celluloid is thermoplastic and prone to heat-induced shrinkage, making it susceptible to deterioration like cracking and warping. Pickguards from this period also used celluloid.

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Gibson 1958 J-45

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A 1958 model identified by its Factory Order Number (FON).
Compared to previous J-45s, you can see the black color at the edge of the sunburst finish has faded to a brown hue.
From this period onward, sunburst finishes seem to show more variation in aging and color tones.

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Gibson 1958 J-45 Adj.

A 1958 model identified by its Factory Order Number (FON). Inside the body, on the back side, the crack reinforcement is labeled "J-45 ADJ BRIDGE".
The adjustable bridge specification became an optional feature starting in 1956. In its early form, it featured a distinctive style with large string height adjustment dial knobs on both sides of the bridge (adopted on the J160E).However, it soon transitioned to an aluminum Bass adjustable bridge. Furthermore, by the late 1950s, the image changed dramatically, shifting to a combination of pure white ceramic saddles and large screws.

1958 marks the year adjustable bridge models shipped in greater numbers than straight saddle models for the first time, signifying a period when the J-45's standard was changing.The mechanism allowing easy string height adjustment without shaving the saddles was likely revolutionary even then. Alongside the invention of the adjustable truss rod, Gibson occasionally creates such historical treasures. It's deeply moving to consider that this innovation not only offered adjustability but also significantly impacted the sound, contributing to the sonic character of songs by artists like Donovan and Takuro Yoshida.
This particular instrument uses replacement parts, so it reflects 1960s specifications.

Another distinctive feature is its finish. The sunburst on the body top has faded and aged, resulting in a finish closer to honey sunburst.
This is a characteristic finish seen around 1960.This doesn't match the FON designation, but the key here is the stamped "2" on the back of the headstock. This indicates it's a second-grade item, stamped when there are cosmetic defects or similar issues. Another point to note is the neck profile. For around 1958, the shape would typically be thicker, but this particular instrument has a relatively thin neck profile.Based on these points, it's likely that this guitar was initially manufactured in 1958 but experienced some issue, leading to both the neck and finish being reset around 1960. However, the body back still retains a reddish hue, which is characteristic of the Cherry Sunburst finish introduced in 1961, making this quite puzzling. There are no issues with using it as a vintage guitar. In fact, enjoying it with this story attached is probably an advantage.

You can see that the X-bracing is spaced apart again.

Gibson 1959 J-45

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This is a 1959 model based on the Factory Order Number (FON). It features the original straight saddle specification. A key characteristic is the neck's moderately thick shape.
Starting around 1960, the neck shape became thinner, altering both playability and sound.
When searching for your ideal vintage J-45, these subtle neck differences are also points to consider.

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Gibson J-45 Inventory List

Gibson 1960 J-45 Adj.

Factory Order Number (FON) indicates a 1960 model. Features include an adjustable bridge, unique coloring, and a distinctive neck shape. The saddles used are ceramic with a film coating on the surface, giving them a glossy finish.
In the 1960s, besides this specification, non-glossy ceramic types and materials like rosewood or ebony were also used. The glossy finish was used in the early 1960s.

The top's coloring shows the black around the rim has a slight brownish tint, while the center has a stronger yellow tone.
Around 1960, you often see instruments with this kind of appearance. It's very beautiful.

The neck shape becomes thinner starting this year. Actual measurements show the neck thickness between the 1st and 2nd frets is 3.2mm thinner, and between the 4th and 5th frets it's 3.6mm thinner compared to a 1959 model.Numbers alone might be hard to visualize, but holding it reveals a clear difference. Sound-wise, combined with the adjustable bridge, it feels sharper and crisper. Yet, the tone doesn't feel thin; playing the E string produces a solid, deep "Goon" bass note. The resonance of the plain 1st and 2nd strings is also distinctive, with a "clack-clack" quality that really brings out the attack and nuance.A key point is that the neck thickness doesn't change significantly as you move up the fretboard. This allows for a consistent feel when fretting notes from the lower frets up to around the 9th fret. I imagine this was an improvement by Gibson tailored to the needs of the time.

Gibson 1962 J-45 Adj.

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Based on the serial number stamped on the back of the headstock, this is a 1962 model. The FON stamp on the neck block was discontinued starting this year, making the headstock stamp the key for dating. The body coloring also drastically changes the vibe. The finish on the rim, previously black, was changed to a reddish cherry sunburst starting in 1961.The 1961 catalog also introduces it as the "Cherry sunburst version," suggesting the J-45's standard finish had changed. Notice the reddish hue persists not just on the top, but also on the sides and back.
While a model labeled "1962 J-45" appeared in the 1990s, its appearance differs significantly from this one.

Gibson 1963 J-45 Adjustable-

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Based on the serial number stamped on the headstock, this is a 1963 model. The Cherry Sunburst finish is the same as the previous year's, but it notably features a plastic bridge. This specification was only seen on the J-45 from late 1962 through 1964.Beyond the J-45, this bridge was also used on models like the Hummingbird, B-25, LG-1, and LG-0. On small-body models, examples using this bridge can be found up until around 1967.

Structurally, the bridge is secured to the body top via the bridge plate using four bolts. The design relies on the bridge plate to bear the load from the tensioned strings, which seems somewhat impractical.Indeed, it's common to see plastic bridges cracked, warped, or lifting off the body top.
From a repair perspective, this is troublesome because unlike wood, it cannot be machined or restored to its original state. While the bridge remains functional for playing due to its bolted attachment, it's often replaced with a wooden bridge to address cosmetic concerns and prevent further damage to the body top or bridge plate.

One wonders if any measures were taken to compensate for this structural weakness. What's interesting here is the specification change to the bridge plate in 1963. Upon closer inspection, the plate, which had been a single piece until the previous year, now features a three-layer construction and is slightly larger in size. I've also confirmed that some 1963 Hummingbirds had a two-layer specification. While the correlation with the adoption of plastic bridges isn't clear, this change likely aimed to enhance the guitar's structural strength.

Considering structural aspects, it's understandable to wonder if one should avoid choosing guitars with plastic bridges...
.
While this isn't limited solely to plastic bridges,
if you dislike the appearance or feel the playability is unsatisfactory, I can't forcefully recommend them.
However, among guitars equipped with plastic bridges, there are some that produce surprisingly excellent tones.
Plastic bridges are hollow inside, so they tend to produce an open, airy, and clean sound.
They also seem well-suited for singer-songwriter styles.
Since existing examples are relatively rare, they offer the appeal of creating a unique sound that stands apart.
This particular example is also in excellent condition and is one of the J-45s that produces a truly wonderful tone.

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Gibson 1963 J-45

Visible from the serial number stamped on the back of the headstock, this is a 1963 model.
As an exterior design change, the soundhole ring has been updated from a single ring to a double ring.
This specification was originally seen on higher-end models like the Hummingbird and Southern Jumbo, and can be confirmed on the J-45 starting from 1962. Changes are also seen in the ceramic saddle, which now features a matte (non-glossy) finish.

Gibson 1964 J-45 Adjustable-

Serial number engraved on the headstock indicates this is a 1964 model.
Features a plastic bridge.

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Gibson 1964 J-45 Adj.

Based on the serial number engraved on the headstock, this is a 1964 model.
Changes are also visible on the ceramic saddles, which feature a matte (non-glossy) finish.
This is a part that can be confirmed from around 1963.
The presence of screws on the bridge plate indicates it was originally a plastic bridge.

Vintage J-45: All Solid Wood or Laminated?

There's another interesting point about this particular instrument.
It concerns whether vintage J-45s are solid or laminated. The body top is confirmed to be solid. Determining the sides and back is not straightforward. Some rely on the presence of crack reinforcement on the body sides, but even Gibson sometimes included reinforcement on vintage models, so that alone doesn't conclusively prove "This is solid wood!!".Since current Gibsons sometimes feature solid wood without reinforcement, vintage models are difficult to identify.
One reference point I use is an enlarged endpin hole.
While the endpin is typically screwed in, some instruments have an enlarged hole in the endpin area due to pickup installation. This one also shows such modification history. Looking closely at this hole reveals two pieces of mahogany laminated together.Each piece is about 1.5mm thick, totaling approximately 3mm. This J-45's body sides are almost certainly laminated.
I've also confirmed that a 1951 LG-1 (solid wood), a 1966 J-200 (solid wood), and a 1966 J-45 (laminated) existed in the past.While it's said vintage J-45s switched to laminated sides in 1955, I remain skeptical until I see it with my own eyes. I didn't really want to share this verification method online, but I thought it would be good to gather more records, so I'm introducing it. How about the J-45s you own?
※ It's said that when the body sides are laminated, the vibration of the sides is suppressed, enabling the so-called "pump function," which also changes how the resonance travels toward the soundhole.
Among recent high-end guitars, some models intentionally incorporate such acoustic designs. Therefore, it's true that laminated wood possesses unique character and appeal that can't be dismissed by the simple equation of "laminated = inferior." I hope you won't dismiss laminated wood outright, but instead enjoy these individual qualities.