Part 1: Gibson J-45 History: Introduction to 1942–
Part 2: 1964–1969 Timeline (This Page)
The Workhorse's
~The History of the Gibson J-45~
The J-45, Passed Down Through Generations
Gibson 1965 J-45 Adj.
. The cherry color on the rim of the body top has faded, giving it an overall orange hue.
Further fading makes it look like a natural finish, making it nearly indistinguishable from a J-50.
Since there are no structural differences between the J-45 and J-50, you must identify them by the stamp inside the body. If the stamp is worn off, visual inspection is necessary.
After seeing many, you'll learn to tell the difference between faded cherry and the J-50's natural finish. This fading is seen on models from 1963 to 1966. The adjustable bridge features a wood saddle. The wood used is primarily rosewood and ebony.
Additionally, you'll notice a black paint application called the "stinger" at the neck-to-body joint.
This stinger was originally an ornamental feature applied to the back of the headstock on higher-end models like the J-200, Super 400, and L-5. However, it was occasionally applied in this manner to conceal machining marks or damage during production.
Nowadays, it's sometimes intentionally added as a custom feature, appealing to enthusiasts.
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Gibson 1965 J-45 Adj.
Serial number engraved on the headstock indicates this is a 1965 model.
This year saw a major specification change for vintage Gibsons. The neck, which had a nut width of around 42mm to 43mm, was reduced to approximately 40mm—the birth of the so-called "narrow neck." This was an innovative event, as the same specification change was implemented not only on acoustic guitars but also on electric guitars.
This change significantly impacted playability and sound.
Which is "better"—narrow neck or regular neck?
This question has likely been asked countless times before. By now, the view that "narrow necks are unpopular" may be in the minority.
Of course, in the vintage market, pre-1965 regular-neck models hold higher antique value and command higher prices.
However, the narrow neck has its own unique appeal. Take playability, for instance. For players who frequently use the "western grip"—where the thumb presses the root note—the narrow neck offers a more comfortable grip and greater freedom during performance.Singer-songwriter Motohiro Hata uses a 1966 J-45, and his playing style clearly reflects this narrow-neck aesthetic.
Furthermore, the narrow neck imparts a distinct sonic character. Its sharp, crisp, and clean tone is particularly appealing. A prime example is the 1967 J-45 used by Takuro Yoshida.On the track "Ringo" from the classic album Genki desu., Takuhiko Ishikawa plays on Yoshida's J-45, showcasing that very crisp sound. Percussive bass notes and a slightly compressed, tight tone.
This is precisely the charm only a late 1960s J-45 can deliver.
Gibson 1966 J-45 Adj.
Based on the serial number stamped on the back of the headstock, this is a 1966 model.
The cherry sunburst has faded beautifully, giving it that quintessential '66 look. Besides the narrow neck, the 14° headstock angle is also characteristic of this period.
This feature also began transitioning from 1965.
Another noteworthy point is the tuning machines used.
They were manufactured by Gotoh, a leading Japanese parts maker. While commonly seen on 1967 J-45s and small-body models, it's extremely rare to find them on 1966 instruments.
This particular guitar has been fitted with larger, thicker knobs from the same era, replacing the standard ones.
However, the original also featured Gotoh-made tuning machines.
Gibson 1966 J-45 Adj.
Cherry Red "BGN" Stamped
Based on the serial number stamped on the headstock, this is a 1966 model.
It features a cherry red color on the body top, not a sunburst. The first question that immediately comes to mind is why it has a 1966 serial date and a cherry color. Generally, acoustic custom colors (primarily cherry red and ebony black) correspond to serial dates from 1967 to 1969.The key to resolving this question is the "BGN" stamp found on the back of the headstock.
This stamp was not added later by an owner; it is believed to have been applied at the Gibson factory. "BGN" is one of the identification marks stamped on the back of the headstock at the Gibson factory, standing for "Bargain." This indicates a guitar sold to employees at a significantly discounted price, meaning it was not intended for the general market.Therefore, we believe this particular instrument had issues for general distribution and was sold to employees as a cherry red model.
Regarding Gibson Acoustic Custom Colors, we cannot confirm official records explaining why they were created or the circumstances surrounding their production.
Details remain unclear. For electric guitars, Custom Colors were adopted starting with the 1963 Firebird, featuring a color chart allowing users to select their finish.
The characteristics of acoustic custom colors are as follows:
- Commonly seen from 1967 to 1969
- Many have a second stamp
- Some have a 4-piece body top
- Also seen on small-body models like the B-25 and LG-1, and on models like the Epiphone FT
-Rare colors like brown also exist
Given this situation, the most plausible explanation currently is that guitars that couldn't be shipped as standard products under normal criteria were made saleable by altering their finish impression through custom coloring. In other words, it's thought that custom colors were utilized to reduce factory yield loss.
Gibson 1967 J-45 Adjustable-
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Based on the serial number stamped on the back of the headstock, this is a 1967 model.
The appearance of the Cherry Sunburst color changed starting this year.The red on the rim is a brighter crushed color, showing less fading over time compared to instruments made up to 1966.
One can imagine that by this time, fading of the Cherry Sunburst finish was already a concern, leading to a change in the paint to prevent color loss.
The pegs are Gotoh. The bushings are chrome (only the 4th string has been replaced with nickel).
Gibson 1967 J-45 Adj.
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Based on the serial number engraved on the back of the headstock, this is a 1967 model.
The sunburst coloring is very striking. Brown-based sunburst colors made a comeback starting this year.
Compared to early 1960s models, it differs in that the rim shows a reddish hue when faded.
It closely resembles the J-45 used by Takuro Yoshida.
He himself appears to have used it with various saddles, including ceramic, fixed, and wood saddles.
Gibson 1968 J-45 Adj.
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Although the serial date is 1970, this particular instrument was determined to be a 1968 model based on specifications such as the Gibson logo design on the pickguard and the coloring. It offers a completely different impression from the tobacco sunburst mentioned earlier, with the black color on the rim side remaining distinctly intact.Looking at the back of the headstock, a second stamp was present, leading me to believe the finish was reworked at the factory. The paint texture is slightly thicker, and there are visible signs suggesting the neck was also refinished.
That said, its condition is undeniably excellent. It's a textbook vintage example, allowing one to imagine what a tobacco sunburst J-45 from that era would have looked like.
Regarding the Gibson logo on the pickguard, like the custom colors, the background details remain unknown.
This design appears on the back cover of the 1966 catalog. Some suggest it represents fingers pressing strings on the fretboard, but personally, I find the interpretation of it symbolizing the Sound Barrier very plausible.
When this graphic is featured in official Gibson merchandise, it's also referred to as "Soundwave."
Gibson 1968 J-45 Adj.
Ebony Black
Based on the Gibson logo design on the pickguard, the coloring, and the bridge specifications, this individual was determined to be a 1968 model.
It's an "Ebony Black" model, notable for its jet-black coloring and yellowish plastic accents.
Upon closer inspection, you can see this particular body is a 4-piece construction.
While this would be noticeable on a sunburst or natural finish, it certainly isn't noticeable on a jet-black finish.
Gibson 1968 J-45 Adjustable
Cherry Red
Based on specifications like the serial number and bridge, this is determined to be a 1968 model.
This model also has a 4-piece body top. The Cherry Red has faded over time, resulting in a lighter, "cherry blossom"-like color.
Instruments with this type of fading are not uncommon. It's a vintage-specific finish.
The pickguard is a screw-on white type without the Gibson logo. Originally, the screws were also painted white, but here the paint has peeled off, exposing the metal.
Gibson 1968 J-45 Adj.
Ebony Black
Serial number engraved on the headstock indicates a 1968 model.
It boasts a majestic ebony color. The pickguard is a screw-on white model without the Gibson logo. The texture, yellowed with age, is simply irresistible.
The binding shows similar aging, making this yellow and black combination truly magnificent.
This is the quintessential vintage ebony black appearance.
The bridge is down-bowed. This specification began appearing from the 1968 serial date.
And this 1968 J-45 Ebony Black with the down-bowed bridge shares the same specifications as the "No. 1" model Kazuyoshi Saito uses as his main guitar. He personally removes the saddle screws and uses it with the saddle flush against the body.
Gibson 1969 J-45 Adjustable-
Based on the serial number engraved on the headstock, this is a 1969 model.
Structural features include the down-bowed bridge introduced in 1968, a 43mm nut width, an enlarged bridge plate, and an L-shaped neck block—specifications characteristic of the transitional period leading into the 1970s.
The bridge plate uses rosewood. Maple is sometimes used even for this size, so the wood used may vary by individual instrument.
It's quite large, though. Such structural changes are also seen in Martin guitars from the same period.
Martin changed the bridge plate material from maple to rosewood in 1968, and increased its size in 1969.
These trends suggest a manufacturer-independent push for structurally reinforced designs across acoustic guitars, a trend strongly reflected in the J-45's design.
Gibson J-45 Inventory List
Timeline
(1942–1969)
※This is statistical data and is provided for reference purposes only.
If you have seen or own any irregular or special specifications, please provide information to the email address below.
Email Address: aco@tcgakki.com
Advance Guitars Attn: Inoue
from the 1940s
1950s
1960s
The J-45, a legendary instrument cherished for years as "The Workhorse."
Given its profound history, the wealth of documentation left behind, and the extensive discussions surrounding it, the affection people involved with acoustic guitars hold for the J-45 is immeasurable.
Systematically compiling this information anew was no simple task, but through this writing, I was able to reaffirm the J-45's appeal.
As mentioned at the outset, our exploration of the J-45 does not end here.
We aim for further development alongside Advance Guitars' future journey.
Advance Guitars Manager Inoue
Part 1: Gibson J-45 History: Introduction to 1942–
Part 2: 1964–1969 Timeline (This Page)