When discussing the Gibson J-50, Bob Dylan is an unavoidable figure. The J-50 also appears on the cover of his debut album, "Bob Dylan." The recording sessions took place on November 20 and 22, 1961, with the album released on March 19, 1962.It's also said to have been used on his next album, "The Freewheelin' Bob Dylan," and its warm tone can still be heard on recordings today. The characteristics discernible from photographic evidence of that J-50 are as follows:
・Script Logo
・Post-war Kluson octagonal tuner, open-back specification (estimated)
・Rectangular Bridge
・Long Saddle
・3-ply body cell binding

The combination of the script logo and rectangular bridge narrows the production year down to 1946-1947. 1947 was a transitional period where script and modern logos coexisted, but whether due to Dylan's influence or the originally low production numbers, opportunities to see one are extremely rare. That said...

James Taylor is another singer-songwriter who almost invariably comes to mind as a devoted user of the J-50.He himself stated that he used the J-50 on his first three albums: "James Taylor" (1968), "Sweet Baby James" (1970), and "Mud Slide Slim and the Blue Horizon" (1971). Its well-balanced mid-to-low range and crisp high end, combined with a rich, warm tone, blend perfectly with his vocals.

What stands out is the removal of the pickguard, confirming this style was already in use by the late 1960s. Gibson guitars underwent frequent specification changes in the 1960s, making the exact year of manufacture a point of interest. Examining the photo reveals that the removed area is also painted, indicating this is an instrument from the period when pickguards were applied after the body was finished.Gibson transitioned from thin large pickguards to thick large pickguards in 1964, and from that point on, post-application became standard. The owner himself states he purchased the J-50 in 1964. Considering the specification changes, his J-50 is highly likely to be a 1964 model (regular neck, 17-degree headstock angle, thick pickguard).

You can see the J-50 in action on his YouTube channel, so be sure to check it out.
Release Date: January 22, 2021
Recording date: 2011

He is one of the leading guitarists representing the British folk revival of the 1960s. He greatly expanded the expressive range of the acoustic guitar by incorporating blues, jazz, and even Moroccan and Indian musical idioms into traditional British folk. His most symbolic contribution was popularizing DADGAD tuning, which established modal playing techniques based on open-string drones as standard practice.His signature song, "Anji (Angi)," became a standard for subsequent generations and was passed on to Bert Jansch and Paul Simon.His major works include "The Guitar Player" (1963), "Folk Roots, New Routes" (co-written with Shirley Collins, 1964), and "Folk, Blues & Beyond" (1965), all of which combine folk, blues, jazz, and non-Western sounds in a cross-genre manner.His influence spread to Bert Jansch, John Renbourn, Paul Simon, and Jimmy Page, playing a decisive role in laying the foundations for the British acoustic sound.

His J-50 can also be seen on the cover of his first album, "The Guitar Player." The small pickguard and upper belly bridge with a short saddle suggest it was manufactured around 1953 to 1954.

Like Davy Graham, he was one of the guitarists who expanded the British music scene from the 1960s onward. Also during this period, in 1966, he released the joint album "Bert and John" with Bert Jansch, and the following year, in 1967, he formed Pentangle with Jackie McShee, Danny Thompson, and Terry Cox.On the 1968 album "Sir John A Lot (Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte)"(Japanese title: The Knight in Armor) featured his acoustic guitar rendition of "The Earle of Salisbury" by Renaissance composer William Byrd. His next album, "The Lady and the Unicorn," incorporated ballads by Guillaume de Machaut, marking his foray into medieval music.

John Renbourn is holding a Gibson J-50 on the cover of his album Another Monday. What convinced him to buy the J-50 was the cover photo of Davey Graham's The Guitar Player, mentioned earlier.However, years later, when Ramborn met Graham himself, he learned that Graham had actually used a Martin guitar for the recording of that album. The reason was that Graham had mistakenly brought a different guitar case to the party the night before the album cover photo shoot, so he had no choice but to use the J-50 that was in the case for the shoot.This chance encounter motivated Renborn to purchase the guitar, which went on to shape his core sound on subsequent albums and tours. It's a truly fascinating episode in the history of fingerstyle guitar.

If asked, "Which representative singer-songwriter in Japan acquired a Gibson J-50?" I would cite Tadashi Kosaka as the figure closest to its origins.I'll omit the details of how he acquired the J-50 and his relationship with Haruomi Hosono here, focusing instead on the manufacturing year of the J-50 he used. The J-50 he reportedly acquired in the late 1960s featured a thick pickguard and an upper belly bridge with an adjustable saddle.
The timeframe for this specification becomes quite broad, but the key clues lie in the parts used. The introduction of thick pickguards occurred in 1964. Additionally, the tuners fitted are Kluson Deluxe tuners with a single line of engraving reading "KLUSON DELUXE".The engraving on these tuners changed in 1965 to the "KLUSON DELUXE" double-line design. Therefore, the alignment of the first year of the thick pickguard and the final year of the Kluson single-line tuners strongly suggests a 1964 build date.
In a conversation with Yuma Abe (never young beach) and Hama Okamoto (OKAMOTO'S), Haruomi Hosono remarked, "Tadashi might have bought a Gibson J-50 because of James Taylor's influence." What a strange coincidence—this discovery that they might have used the exact same model from the same year made me feel a sense of serendipity and excitement.

Around the time of his solo debut in 2010, I recall him using a Gibson small-body acoustic guitar. (Either an LG-1 or B-25 ※ The body binding looks like a single-ply, so maybe an LG-1??) Then, from around the mid-2010s, he started using a Gibson J-50.The configuration featuring a small pickguard and an upper belly bridge with a long saddle suggests it was manufactured during the overlapping period from around 1948 to 1954.
Just recently, it was also used during the 2024 NHK Red and White Song Contest broadcast on December 31st. While the simple, unadorned sound from the small-body era was lovely, the rich, full-bodied tone characteristic of the jumbo size also possesses a depth that is simply irresistible.

He stands out as a contemporary artist known for his vintage guitar-driven solo performances. While he also shines in band settings using electric guitars, his acoustic guitar playing is truly spectacular. For his solo sets, he primarily uses vintage Country Western and J-50 guitars.Her J-50 is a 1965 model with a regular neck and a 17-degree headstock angle. As evident in recordings, its rich, reassuring low end provides a solid foundation for her vocals. Beyond the sound, the wear marks around the soundhole and pickguard tell the story of her journey with the J-50. For Gibson enthusiasts who love acoustic-electric performances, this guitar embodies the very ideal of a well-loved instrument.

This is a 1947 J-50, made around the time mass production systems were beginning to take shape.It features the modern logo. It's believed the transition from script to modern logos occurred precisely this year. It sports a small pickguard and a rectangular bridge with a long saddle. The tapered headstock, where the thickness differs between the tip and base, is sure to appeal to enthusiasts. The spruce top boasts a golden luster, and the wood used is exceptionally beautiful, featuring dense, dense figure throughout.

The neck block bears what is considered an extremely early Factory Order Number (FON). The number "605," stamped in bold black, is the unique number assigned to the guitar's batch, while the number "30" to its right is believed to be the number assigned to the individual guitar.

Observing the interior of the body reveals that while Gibson typically uses maple or plywood for their bridge plates, this particular instrument clearly employs a spruce-like material. (Photo taken before repair)

Additionally, on the back of the body side, you can see that twelve spruce side ribbons (crack prevention) are attached.

The screws used for the truss rod cover and tuners are Phillips-head, and while flat-head screws were the mainstream at that time, several 1947-made instruments with Phillips-head screws have been confirmed.

The Banner Era (1942–1945) is often described as producing guitars with thick yet lightweight bodies. This particular instrument, at 1.80 kg, is certainly lightweight by Gibson Jumbo standards. Furthermore, its top plate is a thin 2.4 mm. Comparing photos with instruments from the 1960s clearly shows the difference in thickness.

This 1951 J-50 features a small pickguard and an upper-belly bridge with a long saddle.Compared to the aforementioned 1947 model, several changes are evident beyond the bridge shape. First, the pickguard has a deeper red hue, giving the overall impression a slightly brighter tone. The headstock taper has been eliminated, resulting in nearly uniform thickness. Internally, the bridge plate now uses solid maple, and the side ribbing has been reduced from 12 to 10 pieces (the lower four pieces from the body waist section have been reduced to three).
By examining these details, the distinct atmosphere each J-50 exudes becomes even more vividly apparent.

A 1954 model featuring an upper belly bridge with a small pickguard and short saddles. Other characteristics include the use of Kluson Deluxe tuners without the "KLUSON DELUXE" engraving (no-line) and 19 frets (the number increased to 20 starting in 1955), which are distinctive to this period.
The small pickguard, natural finish, and white body binding may contribute to the body shape appearing slightly more rounded.

This unit features a thin large pickguard and a plastic bridge. The basic structure isJ-45 Feature ArticleSince I've touched on this, I'll note what I've learned by comparing it to the 1951 model.

Compared to the 1951 model, a clear difference in scale was evident. From the nut to the saddle tip, the 1951 model is 7mm longer.

Upon detailed measurement, the following differences were found: Approximately 2mm from the nut to the 12th fret (the nut was made slightly longer at the center during construction) Approximately 1.5mm from the 12th fret to the joint (the 1963 model has the neck joined closer to the body) Approximately 2mm in body size (since the length from the bridge end to the body end was the same, this affects the scale length) Approximately 1.5mm from the top of the bridge to the saddle contact point.

The 1963 model already features a 20-fret specification. Logically, one might expect its scale length to be longer than the 1951 model, yet actual measurements show it is actually shorter. This point is particularly intriguing. Given the handmade nature of these instruments, the accumulation of minute manufacturing tolerances likely manifests in the final dimensions.

Upon reviewing the comparison photos, it appears there are still several differences, such as the color of the fingerboard and the thickness near the neck joint.

This unit features a thin large pickguard and a plastic bridge. The basic structure isJ-45 Feature ArticleSince I've touched on this, I'll note what I've learned by comparing it to the 1951 model.

Compared to the 1951 model, a clear difference in scale was evident. From the nut to the saddle tip, the 1951 model is 7mm longer.

Upon detailed measurement, the following differences were found: Approximately 2mm from the nut to the 12th fret (the center was made longer during construction) Approximately 1.5mm from the 12th fret to the joint (the 1963 model has the neck joined closer to the body) 2mm due to body size (the length from the bridge end to the body end was the same, thus affecting the scale) Approximately 1.5mm from the top of the bridge to the saddle contact point.

The 1963 model already features a 20-fret specification. One might simply assume that its scale length would be longer than the 1951 model, yet actual measurements show it is actually shorter. This point is extremely intriguing. Given that these are handmade instruments, it is reasonable to assume that the accumulation of minute manufacturing tolerances manifests in the final measurements.

Upon reviewing the comparison photos, it appears there are still several differences, such as the color of the fingerboard and the thickness near the neck joint.

1965 J-50 with a regular neck specification.GIBSON KING OF THE FLAT-TOPS: The World's First Comprehensive SJ Collection Unraveling the Legendary GuitarHowever, images captured using the Transparent Image System we adopted allow us to confirm the positions of bracing and crack stops at the center.