The Gibson ES-175 is the quintessential semi-hollow body guitar.While a familiar model in jazz and blues, it continues to captivate many players as a versatile instrument capable of a wide range of sounds thanks to its depth and versatility. Born at a time when many full-acoustic guitars were transitioning to electric models, the ES-175 is a legendary, long-selling classic that remains in production to this day. Let’s explore the appeal of the “175”—a guitar known for its rich, lustrous tone that retains a dry quality!
The Appeal of the Gibson ES-175 | A Legendary Semi-Hollow-Body Guitar Beloved by Master Musicians
What Is the Gibson ES-175?
It debuted in 1949 as an affordable version of Gibson’s top-of-the-line L-5 model. Incidentally, the name derives from E = Electric, S = Spanish (referring to the Spanish-style playing position where the guitar is held horizontally), and 175 = the list price of $175. It is a super-long-selling model that has been in continuous production since its 1949 debut.
Initially, it was available only with a single P-90 pickup, but later models with dual pickups (ES-175D, ES-175DN) and humbucker-equipped versions were introduced. The body measures 16 inches, making it relatively easy to hold, and the neck features Gibson’s familiar 24 3/4-inch medium scale. The body depth is 3 3/8 inches, classified as a “full-depth” body.
Its most distinctive feature is the use of plywood (multi-layered) for the top, a design choice made to reduce costs compared to the top-of-the-line Gibson L-5. While the L-5 uses a solid top, the ES-175 employs a laminated top consisting of maple, poplar, and maple.
This specification limits the resonance of the top, which helps reduce howling and feedback. (By leveraging this characteristic, players who use the guitar with distortion have established a unique ES-175 sound that cannot be described simply as a budget version of the L-5.
While the sound through an amplifier is superb, the unamplified tone also fully embodies the charm of an acoustic guitar. As mentioned earlier, the unamplified volume is intentionally subdued, but the sound is light, transparent, and beautiful. In fact, there is a classic album that captures this wonderful unamplified sound.It’s “Virtuoso” by jazz guitarist Joe Pass, who is also known as a master of solo guitar. On this album, you can hear the sound alongside his magnificent playing.
This is a wonderful guitar that you can enjoy both amplified and unamplified! If you haven’t tried it yet, please be sure to pick one up and give it a try. You’ll surely be able to savor the wonderful world that has captivated so many masters!
Let’s compare it to the higher-end L-5 model!
“Let’s compare these two legendary instruments. By comparing them, you’ll better understand their individual characteristics! By the way, one of our regular customers lined them up to compare them—the results are amazing! (Some jazz musicians actually use both.)
L-5:
Wes Montgomery
Scotty Moore
Hank Garland
Eric Clapton
Melvin Sparks
Lee Ritenour
Tuck Andres
Howard Roberts,
John Mayer, etc.
ES-175:
Steve Howe
Pat Metheny
Wes Montgomery
Joe Pass
Jim Hall
Kenny Burrell
Herb Ellis,
Ronnie Jordan
Slash
etc.
The ES-175 features Gibson’s standard 24 3/4-inch scale length (medium scale). The L-5, on the other hand, features the 25 1/2-inch scale length (long scale) commonly found on Fender and other brands. The long scale offers a crisper tone, while the medium scale produces a slightly softer nuance.
The L-5 uses a solid spruce top, which is more typical of acoustic guitars. Conversely, the ES-175 uses a laminated maple top (maple/poplar/maple), which is more typical of electric guitars. This is done to reduce costs and also to help prevent feedback.
While the L-5 features a neck made primarily of maple, the ES-175 uses mahogany. Although maple was used at times during the 1970s, mahogany has generally been the standard. A key characteristic of mahogany is its soft sound, which significantly influences the ES-175’s tonal character.
Additionally, the L-5, as a high-end model, features the premium wood ebony, while the ES-175 uses rosewood. Ebony is a hard wood that adds attack to the sound. Rosewood, on the other hand, is softer and imparts a gentler nuance to the sound.
As shown in the photo, the cutaway on the L-5 features a “gentle curve,” whereas the one on the ES-175 is sharply pointed. Since the L-5 is a high-end model, it uses a single, unjoined piece of binding. The ES-175, on the other hand, employs a sharply pointed design that allows for joined binding sections, thereby reducing costs.
Additionally, the L-5 features gold hardware, giving it a luxurious appearance befitting a high-end model.
The ES-175, on the other hand, features nickel and chrome hardware, giving it a more approachable (down-to-earth) look compared to the L-5. Isn’t its ability to develop a more refined, mature character as it ages part of its charm?
Even on the tailpiece, the L-5 features a luxurious gold plate, while the ES-175 incorporates a uniquely designed yet minimalist tailpiece.
True to its status as a high-end model, the L-5 features 7-layer cell binding, while the ES-175 features a simple 3-layer cell binding.
Just having more layers of binding makes a big difference in the overall impression. Seven-layer celluloid binding can also be found on the Les Paul Custom, another high-end model.
The ES-175 is a long-running bestseller that has been in continuous production since its introduction in 1949. Among them are “rare” models produced in limited quantities.
For example, the natural-finish ES-175N (ES-175DN)—commonly known as the “Blonde.”Taking 1950 as an example, while 503 Sunburst models were produced, only 30 Natural models were made—though the ratio varies by year—it’s known for having a production run far smaller than that of the Sunburst. Particularly in the vintage market, it’s considered a rare find, and thanks to its association with Pat Metheny—who was known to use one—it’s treated as a highly sought-after masterpiece.
ES-175CC
Among the ES-175 models, the ES-175CC is considered exceptionally rare. The ES-175CC was produced for only a very brief period from 1978 to 1979. Today, it is a highly sought-after gem that is extremely difficult to obtain, attracting attention from collectors and others alike.
Incidentally, “CC” stands for “Charlie Christian Pickup.” As many of you may know, Charlie Christian was a jazz guitarist who, despite his extremely brief career spanning the late 1930s to the early 1940s, left a tremendous impact. In 1990, his induction into the Rock and Roll Hall of Fame in recognition of his achievements made headlines.At that time, the guitar was still considered a supporting instrument. Charlie Christian was a musician who elevated the guitar—which had been regarded as a quiet accompaniment instrument—to a dazzling solo instrument. Along with his contemporary Django Reinhardt, he had a profound influence on future guitar styles. His genius for single-note phrasing is respected by many guitarists today.
Returning to the ES-175CC, the Charlie Christian Pickup it features is the same pickup that was installed on the Gibson ES-150, which Charlie used to play.(Incidentally, the ES-150—said to be Gibson’s first electric guitar—is an archtop, full-acoustic guitar introduced in 1936.) With its bar-type pole pieces, this pickup is visually distinctive and produces a clear sound with excellent projection. Its responsive playability and lively tone are also particularly impressive.
In addition to the pickup, another defining feature of the ES-175CC is the three-piece maple neck that Gibson was using during this period. It’s characterized by a robust, full-bodied sound that differs from the so-called mahogany-neck ES-175, and together with the Charlie Christian pickup, it gives this model a truly one-of-a-kind character. Since fewer than 500 units were produced, it has become an extremely rare model today.
If you take a close look at the back of the headstock, you can see that the neck is a three-piece design. Incidentally, the tuners are also a shape you don’t see very often; these are Grover Imperial Tuners. They’re quite stylish!
Other rare models include the ES-175T and ES-175TN, which are thin-body versions of the ES-175. While reigning as a long-selling model, Gibson has also produced rare variations throughout the years.
History of the ES-175
・1949: The ES-175 is introduced.
The top was made of plywood specifically designed for electric guitars (Maple/Poplar/Maple) to suppress acoustic resonance, reduce feedback, and lower costs. The neck measured 24 3/4 inches, and the body was 16 1/4 inches wide. The body depth was 3 3/8 inches, known as “full depth.” At the time, it featured a single P-90 pickup.Colors included Sunburst (ES-175) and Natural (ES-175N).
*N stands for Natural.
・In 1953, the two-pickup models ES-175D and ES-175DN were added to the lineup.
* “D” stands for “double” (today, since two pickups are the standard configuration, the “D” is omitted).
・1957: With the introduction of Gibson’s humbucking pickups (PAF), the lineup was divided into two types: “humbucker” and “P-90.”
The tailpiece was changed from a “Bail Tailpiece” to a “Zigzag Tailpiece” (though some instruments retained the older style).
・The PAF pickups used from 1957 through approximately 1962 featured a “Patent Applied For” decal (Original PAF/PU-490).
*No decals were used from 1956 to 1957.
・In 1959, the ES-175N (single-pickup model) was not produced; only five units were made the following year, in 1960, after which production ceased.
*Production of the natural finish model was extremely limited, making it a highly rare model today.
・In the 1960s, the neck shape was changed to a thinner, narrower type that prioritized playability.
Additionally, the two-pickup models became more prevalent than the single-pickup versions.
・From 1962 (until around 1965), the PAF pickups used began to feature the patent number on their decal stickers (Sticker-Numbered PAF / PU-490).
・From around 1965 onward, the headstock angle was gradually changed from 17 degrees to 14 degrees.
・From 1965 (until around 1975), the PAF pickups used featured a “T” embossed on the top of the bobbin in addition to the patent number (Sticker-Numbered PAF “T-Bucker” / PU-490).
・Around 1966– The fingerboard material changed from the conventional Brazilian rosewood (Hacalanda) to Indian rosewood.
・From early 1969 (until around 1975), the neck material changed from the traditional one-piece mahogany to a three-piece neck with a volute (reinforcement).
・In the 1970s, production gradually shifted from the Kalamazoo Factory to the Nashville Factory.
* The Kalamazoo Factory, which had been producing archtop guitars, was gradually phased out and closed in 1984.
・In the 1970s, the headstock design became larger.
Additionally, the headstock faceplate was changed from the traditional wood (holly) to plastic (phenolic resin/Bakelite). “MADE IN USA” was stamped on the back of the headstock.
・From 1970 (until around 1983): The headstock logo—which previously had gaps between the “b” and “o” in “Gibson” (meaning the letters were not perfectly round)—was updated to a logo without gaps. The lettering also took on a slightly more angular design.
・1975– (until around 1981): The PAF pickups used were changed from the traditional “stacked numbered” type to ones with the patent number directly engraved (engraved-numbered PAF / PU-490).
・1976: A new, thinner body type was introduced (ES-175T, ES-175TN).
*“T” stands for “thin body.”
・From 1976 (until around 1982), the neck material changed from 3-piece mahogany to 3-piece maple.
・1979: The ES-175CC model, equipped with a Charlie Christian pickup, was introduced.
・From 1981 (until around 1984), the PAF pickups used changed from the conventional stamped-numbered models to the NEW PAF, a reissue of the original PAF (commonly known as the Tim Shaw PAF / PU-490).
・Around 1982–: The neck material reverted to 3-piece or 1-piece mahogany.
・From 1983 (until around 1990), mahogany was used for the back and sides.
・In 1999, following a change in parent company, the Memphis Custom Shop—specializing in electric archtop guitars—was established.
Artists who love the ES-175
Steve Howe (formerly of Yes, Asia, and others)
A rock legend who made his mark in iconic progressive rock bands such as “Yes” and “Asia.” He established a unique sound by incorporating playing techniques from a wide range of genres, not just rock. He is also known as a devoted user of the Gibson ES-175D.He says that in his youth, he pored over catalogs time and again, admiring the guitar’s cool design and yearning for the sounds achieved by Wes Montgomery and Joe Pass.He says the appeal of the ES-175D lies in its versatility—he particularly loves how the front pickup produces a tone that can’t be achieved on any other guitar. *By the way, he uses round-wound strings. He is arguably one of the musicians who has expanded the possibilities of the ES-175 while making the most of its unique characteristics.
Pat Metheny (formerly of the Pat Metheny Group, among others)
One of the modern masters who continues to create music creatively, transcending the boundaries of the “jazz guitarist” label. He is also known for having been a longtime devotee of the ES-175DN since his youth.His beloved ES-175DN was originally a standard model, but at some point, he removed the rear pickup and its associated assembly (many of you probably remember the ES-175 with the rear pickup hole covered in black tape). While he currently favors his Ibanez signature model, the exceptionally sweet and beautiful tone from his ES-175DN era remains memorable.Unbound by old conventions and eager to experiment with new gear, he expressed incredibly creative sounds with his ES-175DN. He is surely one of the musicians who expanded the possibilities of the ES-175.
Wes Montgomery
Jazz giant “Wes Montgomery.” With his overwhelming virtuosity, he established a distinct style of jazz guitar playing. His bold fingerstyle technique, which produced a big, powerful sound, influenced countless players. While Wes is best known for his love of the Gibson L-5, the ES-175 (the model equipped with P-90 pickups) was also among his favorite guitars.It is said that he used it on albums such as *Incredible Jazz Guitar*, which features a striking album cover of him holding an ES-175. He was undoubtedly one of the musicians who brought out the ES-175’s magnificent sound.
Joe Pass
Joe Pass, one of the “Jazz Giants,” is renowned as a master of solo guitar. While he has, of course, delivered countless magnificent performances in ensemble settings, his exceptional voicings are truly best appreciated in his solo guitar work. As mentioned earlier, on his classic solo guitar album *Virtuoso*, he used the ES-175 as an acoustic guitar (by miking the instrument).You can hear the beautiful sound of the acoustic guitar, distinct from its amplified sound. Of course, his playing is in a league of its own. He is undoubtedly one of the great players who brought out the wonderful sound of the ES-175.
In addition to jazz guitar masters such as Jim Hall, Kenny Burrell, and Herb Ellis, modern jazz guitarists (Ronnie Jordan, etc.) also love this model. Even rock guitarists like Slash have used it in recordings—truly, a vast number of guitarists have been drawn to the charm of the ES-175 and continue to play it.
Afterword
What did you think? In this post, we introduced Brazilian rosewood—the progenitor of the highest-grade rosewoods—as well as Indian rosewood, which has been the most widely used variety since the 1960s and 1970s (following the Brazilian rosewood restrictions) right up to the present day, all in the context of Martin guitars!
With regulations under the Washington Convention leading to discussions about bans and the need for permits, all eyes are on the future of rosewood. The musical instrument industry may be approaching a major turning point.
Next time, I’d like to introduce other rare rosewoods that have been selected to fill the void left by the loss of Brazilian rosewood! Be sure to check it out!
Author: Matsui (Store Manager, TCGAKKI)
Joined TCGAKKI after serving as store manager at Kyoritsu Gakki’s Shinjuku branch. As store manager, he has overseen a wide range of genres, including the vintage guitar floor, electric basses, amplifiers, and parts. He is one of the industry’s leading experts in electric guitar sales, deeply trusted by renowned musicians. His favorite band is B’z. His hobbies include horse racing and golf.
Qualifications and Achievements: 20 years as a musical instrument appraiser; has contributed as a writer and supervisor to publications such as Guitar Magazine
▶︎Read his articles here:
Real Closet Classic ~ Unused 1961 Strat
1951 Fender Nocaster “PROTO”
A Journey Through the History of Tuners with Famous Brands
Column on the History of Pickups and the Trajectories of Great Figures
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