The history of the Gibson J-45
The trajectory of the legendary instrument known as "The Workhorse"

Topping our gallery is a 1942 J-45, the first year it was produced.

The year of manufacture can be identified by the factory order number (FON) printed on the neck block. It boasts a truly classic specification: a spruce top, mahogany sides and back, and a mahogany neck. Particularly iconic is the so-called "banner head" specification, where the script logo and the "ONLY A GIBSON IS GOOD ENOUGH" banner coexist on the headstock. The pickguard is a tortoiseshell teardrop shape (small size). Some examples with fire-stripe pickguards, also seen on J-35s of the time, have been found from the same period (1943-1944). While variations with mahogany tops, maple sides and backs, and maple necks exist, this original banner specification with a spruce top and mahogany sides, back, and neck is truly the origin and pinnacle of the J-45. It is no exaggeration to say that this is the "top" of all J-45s.

This particular unit has been identified as being manufactured in 1944 based on its factory order number (FON).
The most distinctive feature of this guitar is its "all-mahogany" construction, with the top, sides, and back all made of mahogany.
As World War II intensified, the historical context was extremely harsh, and the government imposed strict rationing restrictions on timber and metal that could be used for commercial purposes.
At Gibson, it is said that approximately 90% of all employees were mobilized for war-related production activities, and guitar production continued 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 as a material for musical instruments.
Under those circumstances, the body top is made of mahogany.RecruitIn some cases, a four-piece top structure was used to efficiently utilize the rare spruce wood.
It's clear that the historical context of the 1940s had a significant impact on guitar making itself.

This is another one from the banner era. The factory order number could not be confirmed,
Although the exact year could not be determined, a notable feature is the use of maple for the body sides and back.
We also have internal photos of the body, and looking at them from the back, you can see that there is a flame pattern on the side of the body.
The body back is made of maple on the outside and clearly mahogany on the inside. There were also some guitars with this kind of laminated construction back then. The neck is also made of 5 pieces of maple. This J-45 is full of the unique character of the wartime era.

The bannerhead design was discontinued after 1945, and from 1946 onwards, only the script logo was used. Although it's a different color, many people might think of the J-50 used by Bob Dylan.
After the war, mass production was established, and shipping records were organized and preserved starting in 1948. By this time, the script logo had already been changed to a more modern "modern type" logo. This particular unit has been identified as being manufactured in 1951 by its factory order number (FON). From 1952, the FON numbers began to have a "Z" at the beginning, and thereafter the letters were managed in descending order, with "Y" being used in 1953, and so on.
The main differences from the Banner era are the logo, the upper belly type bridge, the 43 mm nut width, and the 3-ply soundhole ring and body top celluloid.
The tuning pegs are Kluson-type with three in-line placement and no markings, and the gear cover lacks a hole for the tuning peg shaft inside. This is a characteristic seen around 1952-1953. Also, the headstock is a straight headstock rather than a tapered headstock, with little difference in thickness from the tip towards the 1st and 6th string posts. While tapered headstocks have been observed until 1953, straight headstocks like this one also exist, giving the impression that specifications were mixed in the early 1950s.

This particular instrument dates from 1953, according to its factory order number (FON). A notable feature is the short saddle on the bridge.
Similar to the head taper, specifications for this feature were also mixed during this period, and examples using long saddles have been found until 1954.

This particular car was manufactured in 1955, according to its factory order number (FON). Significant changes in appearance can be seen in this year's models.
InitiallyRecruitThe small, teardrop-shaped pickguard that had been used was changed to a larger size that covered the sides of the fretboard. Since the small size was also found in 1955, it can be said that this was a transitional year. This large-sized pickguard was used until 1964, when its thickness and material were changed.
The bracing pattern is the scalloped X-bracing characteristic of the early 1950s. From this year onward, the design switched to non-scalloped bracing, so this combination of scalloped X-bracing and a large pickguard can be considered a special specification unique to 1955.
It's easy to imagine that the transition from small to large sizes affected not only the appearance but also the sound.
Personally, I get the impression that it has a more rugged, powerful sound.

This particular guitar, based on its factory order number (FON), is from 1956. Significant changes in the internal structure are evident this year. The bracing pattern has switched to non-scalloped X-bracing, and upon closer measurement, the X-intersection has shifted approximately 3mm towards the soundhole, and the bracing height has also been reduced. It's possible that instead of scalloping, the shape was reduced and the intersection point moved further forward to improve tonal balance and strength. Comparing it to a 1955 model reveals a noticeable difference; the 1956 model seems to have a more concentrated midrange, and the non-scalloped bracing gives it a tighter sound. The tone itself is thick and weighty, with a cohesive and well-defined harmony. The 1955 model, on the other hand, has a wider tonal range and a more solid bass response. The non-scalloped bracing contributes to a more expansive sound with rich overtones.
Even with a light touch, it produced a rich and beautiful sound.

This particular instrument was manufactured in 1957, according to its factory order number (FON). The catalog from that year also mentions the use of Honduran mahogany in the J-45 model.
I believe this was already being used, but it was added to further highlight the appeal of their own model.
The guitar is fitted with unmarked Kluson Deluxe tuners. While these tuners were typically used until around 1956, their presence on this 1957 model is considered an unusual occurrence. The structure with a hole for the tuner knob shaft inside the gear cover is characteristic of this period.
Also interesting is the discoloration and slight shrinkage of the tuning peg knobs. This is likely because it uses celluloid, which is considered the oldest type of plastic.
Celluloid is a thermoplastic material that easily shrinks with heat, making it prone to deterioration such as cracking and deformation. Pickguards from this period were made of celluloid.

This particular unit was manufactured in 1958, according to its factory order number (FON).
Compared to previous J-45 models, you can see that the black color on the edges of the sunburst finish has faded to a brown color.
Around this time, it seems that the aging process and color variations of the sunburst color become more pronounced.

This particular instrument was manufactured in 1958, as indicated by its factory order number (FON). The crack reinforcement on the back of the body is marked "J-45 ADJ BRIDGE."
The adjustable bridge specification was added as an option from 1956. In its early days, it had a distinctive style with large dial knobs for adjusting the string height on both sides of the bridge (as seen on the J160E).Recruit). However, soon after, aluminumBassThey then transitioned to an adjustable bridge. Furthermore, in the late 1950s, the image changed dramatically, with a combination of pure white ceramic saddles and large screws.

1958 was the year that the number of J-45 guitars shipped with adjustable trusses first surpassed those with straight saddles, indicating a shift in the J-45's standard. The mechanism that allowed for easy string height adjustment without filing down the saddle must have been revolutionary even at the time. Along with the invention of the adjustable truss rod, Gibson occasionally creates such historical assets. It's deeply moving to consider that this not only offered adjustability but also had a significant impact on the sound, influencing the sound of songs by Donovan and Takuro Yoshida.
This particular unit uses replacement parts, resulting in a 1960s specification.

Another distinctive feature is its finish. The sunburst on the body top has faded and aged over time, resulting in a finish that closely resembles a honey sunburst.
This finish is characteristic of guitars from around 1960. However, this doesn't match the "FON" designation, and the key here is the "2" stamped on the back of the headstock. This indicates that it's a second-hand item, stamped when there are cosmetic defects. Another point worth noting is the neck shape. While guitars from around 1958 typically have a thicker neck, this particular guitar has a relatively thin neck. From these observations, it's likely that it was manufactured once in 1958, but due to some trouble, the neck and finish were reset around 1960. However, there is still a reddish tint on the back of the body, which is characteristic of the cherry sunburst finish from 1961 onwards, making it quite puzzling. There are no problems using it as a vintage guitar. In fact, I think the fact that you can enjoy it along with this story is an advantage.

We can see that the intersection points of X are separated again.

This particular unit was manufactured in 1959, according to its factory order number (FON).
This guitar features an original straight saddle design. A distinctive feature is its moderately thick neck shape.
Around 1960, the neck shape became thinner, which changed both playability and sound.
When searching for a vintage J-45 that suits your preferences, these subtle differences in the neck should also be considered.

This particular guitar, with its factory order number (FON), is from 1960. It features an adjustable bridge, distinctive coloring, and neck shape. The saddles used are made of ceramic and have a glossy finish.
In the 1960s, in addition to this specification, matte ceramic, rosewood, and ebony were also used. The glossy finish was used in the early 1960s.

The top's coloring features a slightly brownish black on the rim, with a stronger yellow in the center.
You often see specimens with this kind of expression around 1960. They are very beautiful.

The neck shape is thinner than in this year's model. When I actually measured it, I found that the neck thickness between the 1st and 2nd frets was 3.2mm thinner and between the 4th and 5th frets was 3.6mm thinner compared to a 1959 model. The numbers alone are a little hard to imagine, but the difference is obvious when you actually hold it. In terms of sound, combined with the adjustable bridge, it gives the impression of being sharp and crisp. However, the sound doesn't feel thin, and when you play the E string, you get a solid "boom" in the bass. The way the plain 1st and 2nd strings ring is also distinctive, with a "tap-tap" sound, and I think it gives a good nuance with a strong attack. The neck thickness doesn't change that much towards the higher positions, so it's also a plus that you can press down from the lower frets to around the 9th fret with the same feel. I imagine this was an improvement made by Gibson to meet the needs of the time.

This particular guitar was made in 1962, as evidenced by the serial number stamped on the back of the headstock. The "FON" stamp on the neck block was discontinued from this year onward, making it possible to determine the year of manufacture from the back of the headstock. The body's coloring drastically changes the overall feel. The rim finish, which had previously been black, was changed to a reddish cherry sunburst in 1961. The 1961 catalog also describes it as the "Cherry sunburst version," suggesting that the standard finish for the J-45 was changed. You can see that the reddish tint remains not only on the top of the body, but also on the sides and back.
A model called "1962 J-45" appeared in the 1990s, but its appearance is quite different from that one.

This guitar is from 1963, as indicated by the serial number engraved on the back of the headstock. While the cherry sunburst color is the same as the previous year, a distinctive feature is the use of plastic in the bridge. This specification was only seen on J-45s from late 1962 to 1964. This bridge was also found on other models such as the Hummingbird, B-25, LG-1, and LG-0.RecruitThis bridge was used in small-body models, and examples of this bridge being used can be found up until around 1967.

Structurally, the bridge is fixed to the body top via a bridge plate using four bolts. The load from the tuned strings relies on the bridge plate, which seems like a somewhat flawed design. In fact, it's common to see guitars with cracked, warped, or even detached plastic bridges.
From a repair standpoint, it's troublesome because, unlike wood, it cannot be processed and cannot be restored to its original state. Even in this condition, it is still screwed in, so there are no problems with playing, but it is often replaced with a wooden bridge to improve the appearance and to avoid damage to the body top/bridge plate.

One might wonder why no measures were taken to compensate for these structural weaknesses, but what's interesting here is the change in the bridge plate specifications in 1963. Upon closer inspection, it can be seen that the plate, which had been a single piece until the previous year, was a three-layer structure, and its size was also slightly larger. I have also seen a 1963 Hummingbird with a two-layer specification. Plastic bridgeRecruitWhile the correlation is not clear, it is possible that the modification was made to increase the guitar's overall strength.

Considering the structural aspects, is it better to avoid choosing a guitar with a plastic bridge...?
It's understandable that you might think that.
This is not limited to plastic bridges,
If you don't like the appearance or feel that the playing condition is unsatisfactory, we cannot recommend it to you.
However, some guitars equipped with plastic bridges can produce surprisingly wonderful tones.
Because plastic bridges are hollow inside, they produce a clear, open sound that seems to contain air.
It would probably go well with singing and playing an instrument.
Since there aren't many of these still in existence, it's appealing because it allows you to create a sound that's unique and unlike anything else.
This particular instrument is also in excellent condition and is one of the J-45s that produces a wonderful tone.

Based on the serial number engraved on the back of the headstock, this particular guitar was manufactured in 1963.
One noticeable change in the exterior design is the change from a single ring to a double ring soundhole ring.
This specification was originally found in higher-end models such as the Hummingbird and Southern Jumbo, and can be seen in the J-45 from 1962 onwards.
The ceramic saddle has also undergone a change, now featuring a matte finish.

Based on the serial number engraved on the back of the headstock, this particular guitar was manufactured in 1964.
A plastic bridge is used.

Based on the serial number engraved on the back of the headstock, this particular guitar was manufactured in 1964.
The ceramic saddle has also undergone a change, now featuring a matte finish.
These parts can be found dating back to around 1963.
The presence of screws on the bridge plate indicates that it was originally a plastic bridge.

Based on the serial number engraved on the back of the headstock, this particular guitar was manufactured in 1964.
A major feature of this model is the shift from the previous celluloid, thin-type pickguard (approximately 0.5mm) to a thicker, resin-type pickguard (approximately 2.0mm).

In addition, the bridge plate has been made even larger.