Part 2
The history of the Gibson J-45
The trajectory of the legendary instrument known as "The Workhorse"
The J-45, a story passed down through generations
Part 1:A history of the Gibson J-45, from 1942 onwards.
Part 2: 1964-1969 Timeline (This page)
Gibson 1965 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1965.
A distinctive feature of this guitar is that the cherry color on the rim of the body top has faded, giving it an overall orange appearance.
Further fading will result in a natural finish, making it almost indistinguishable from a J-50.
Since there are no structural differences between the J-45 and J-50, you can distinguish them by the stamp inside the body, or if the stamp has disappeared, you can determine it by visual inspection.
After seeing many of them, you'll start to notice the difference between faded cherry and natural J-50. This fading is seen from 1963 to 1966. The adjustable bridge has a wooden saddle.RecruitThe wood used is primarily rosewood and ebony.
In addition, you can see that the joint between the neck and body has a black paint finish called a "stinger."
This stinger was originally applied as a decorative element to the back of the headstock of higher-end models such as the J-200, Super 400, and L-5, but it was sometimes applied in this form to hide processing marks or damage during the manufacturing process.
CurrentlyNewSometimes, these features are intentionally included as customizations, appealing to the enthusiast's heart.
Gibson 1965 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1965.
This year saw a major change in specifications for vintage Gibsons. The neck, which previously had a nut width of around 42mm to 43mm, was narrowed to about 40mm, giving birth to the so-called "narrow neck." This was a revolutionary event, as the same specification change was applied not only to acoustic guitars but also to electric guitars.
This had a significant impact on playability and sound.
Which is "better," a narrow neck or a regular neck?
This question has been asked countless times before. Now, the opinion that "narrow necks are unpopular" may be held by a minority.
Of course, in the vintage market, it's true that regular neck models from before 1965 have higher value as antiques and are ranked higher in terms of market price.
However, narrow necks have their own unique appeal. For example, playability. For players who frequently use a "Western grip," where they press down on the root note with their thumb, a narrow neck is easier to hold and offers greater freedom of movement. Singer-songwriter Motohiro Hata uses a 1966 J-45, and he seems to play in exactly this style.
Furthermore, narrow-neck guitars have a unique character in terms of sound. They boast a sharp, crisp, and sharp tone. A prime example is the 1967 J-45 used by Takuro Yoshida. In the song "Ringo" from his classic album "Genki desu," Takahiko Ishikawa plays using Yoshida's J-45, and you can truly enjoy its sharp sound. It has a percussive bass and a tight tone with a slight compression.
That's precisely the kind of charm that only the J-45 from the late 1960s possesses.
Gibson 1966 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1966.
The cherry sunburst finish has faded beautifully, giving it that quintessential '66 look! Besides the narrow neck, the 14° headstock angle is also characteristic of this period.
This transition also began in 1965.
Another point worth mentioning is the type of pegs used.
The manufacturer is Gotoh, a leading Japanese parts manufacturer. It is commonly found on 1967 J-45s and small-body models, but it is very occasionally seen on 1966 models as well.
This particular unit has had its knob replaced with a thicker, more substantial one from the same era.
The original also used Gotoh tuning pegs.
Gibson 1966 J-45 Adj.
Cherry Red “BGN” Stamped
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1966.
The distinctive feature is the cherry red color on the body top, which is not a sunburst. The first question that comes to mind is why the serial date is 1966 and the color is cherry. Generally, custom colors for acoustic guitars (mainly cherry red and ebony black) have serial dates from 1967 to 1969. The key to solving this mystery is the "BGN" stamp on the back of the headstock.
This stamp is not something the owner added later, but rather something that was added at the Gibson factory. "BGN" is one of the identification marks stamped on the back of the headstock at the Gibson factory, and is said to be an abbreviation for "Bargain." This indicates that the guitar was significantly discounted for employees and is said to be one that was not distributed to the general market. Therefore, we believe that this particular guitar had problems being distributed to the general public and was sold to employees in cherry red.
Regarding custom colors for Gibson acoustic guitars, why were they created, and what was the process behind their development?
We are unable to find any official records to confirm this, and therefore the details are unknown. Regarding custom colors for electric guitars, the Firebird was introduced in 1963.RecruitIt is available in various colors, and a color chart is also provided for users to choose from.
The features of the custom colors for the acoustic guitar are as follows:
- Commonly seen between 1967 and 1969
- Many individuals have a second stamp.
- Some models have a four-piece body top.
-This can also be seen in small-body models such as the B-25 and LG-1, as well as models like the Ephiphone FT.
-Rare colors such as brown also exist.
Given this situation, the most plausible explanation at present is that units that would not have been eligible for sale under normal standards were made available for sale by altering their finish through painting. In other words, it's possible that custom colors were used to reduce factory yield (losses).
Gibson 1967 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1967.
From this year onward, the appearance of the Cherry Sunburst color changes. The red on the rim is a solid, bright color, and does not fade as much with age as the examples from 1966 and earlier.
At that time, the fading of the Cherry Sunburst finish was already being recognized as a problem, and one can imagine a scene where the paint was changed to prevent the color from fading.
The tuning pegs are made by Gotoh. The bushings are chrome (only the 4th string bushing has been replaced with a nickel one).
Gibson 1967 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1967.
The sunburst color scheme is very striking. This year marks the return of the brown-toned sunburst color.
Compared to the early 1960s, it differs in that the rim area has a reddish tint when it fades.
It is very similar to the J-45 that Takuro Yoshida used.
It seems the owner used different saddles, including ceramic saddles, fixed saddles, and wooden saddles.
Gibson 1968 J-45 Adj.
The serial date is 1970, but based on the Gibson logo on the pickguard and the coloring, this particular guitar was determined to be from 1968. It has a completely different impression from the tobacco sunburst guitar mentioned earlier, with the black color on the rim remaining clearly visible. Looking at the back of the headstock, there is a "second" stamp, so I think the finish may have been redone at the factory. The paint texture is also slightly thicker, and there are signs that the neck may have been refinished.
That said, it is certainly in very good condition, and it is a perfect example of a vintage piece that allows you to imagine what a tobacco sunburst J-45 from that era must have looked like.
Regarding the Gibson logo on the pickguard, similar to the custom color options, we don't know the details of its background or other aspects.
We can confirm that this design appeared on the back cover of the 1966 catalog. Some say it represents the image of someone pressing down on the strings on the fretboard, but personally, I think the interpretation that it represents a sound barrier is very plausible.
When this graphic is featured on 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 specifications of the bridge, this particular guitar was determined to be a 1968 model.
This "Ebony Black" model features a striking all-black color scheme and yellowish plastic accents.
Upon closer inspection, this particular specimen reveals that its body is made up of four pieces.
Sunburst and natural finishes tend to stand out, but pure black certainly doesn't.
Gibson 1968 J-45 Adj.
Cherry Red
Based on its serial number and specifications such as the bridge, this particular instrument was determined to be from 1968.
This particular guitar also has a four-piece body top. The cherry red color has faded with age, resulting in a lighter, more "cherry-like" hue.
It's not uncommon to find pieces that have faded in this way. This is a finish that is unique to vintage items.
The pickguard is white, screw-on, and lacks the Gibson logo. Originally, the screws were also painted white, but this has peeled off, exposing the metal underneath.
Gibson 1968 J-45 Adj.
Ebony Black
Based on the serial number engraved on the back of the headstock, this guitar was manufactured in 1968.
It boasts a magnificent ebony color. The pickguard is white, screw-on, and lacks the Gibson logo. The yellowish patina that develops with age is simply irresistible.
The bindings have also aged similarly, and this yellow and black combination is absolutely stunning.
This truly embodies the look of vintage ebony black.
The bridge is down-belly. This specification can be seen starting with serial dates from 1968.
This 1968 J-45 Ebony Black with a downbelly bridge is the same specification as the "No. 1" guitar that Kazuyoshi Saito uses as his main instrument. He himself removes the saddle screws and uses it with the saddles flush against the body.
Gibson 1969 J-45 Adj.
Based on the serial number engraved on the back of the headstock, this particular guitar was manufactured in 1969.
In terms of structural features, it includes the down-belly bridge introduced in 1968, a 43mm nut width, a larger bridge plate, and an L-shaped neck block—specifications characteristic of the transitional period leading up to the 1970s.
The bridge plate is made of rosewood. However, maple is sometimes used for this size, so the material used may vary from one instrument to another.
That's quite a large size. Similar structural changes can also be seen in Martin guitars from the same period.
Martin changed the material of its bridge plates from maple to rosewood in 1968, and increased their size in 1969.
These trends suggest that structural reforms prioritizing strength were underway across acoustic guitars, regardless of the manufacturer, and this trend is likely strongly reflected in the design of the J-45.
Gibson J-45 Timeline
(From 1942 to 1969)
*This is statistical data and should be used for reference purposes only.
If you have seen or own any irregular or specially modified items, please share the information with us at the email address below.
email address:aco@tcgakki.com
To: Inoue, Advance Guitars
1940s
1950s
1960s
The "J-45," a legendary instrument affectionately known as "The Workhorse," has been a beloved instrument for many years.
Given its rich history, the vast amount of documentation and discussions that have taken place over the years, the love that people involved with acoustic guitars have for the J-45 is immeasurable.
Putting it all together systematically again was no easy task, but through this writing process, I was able to reaffirm the appeal of the J-45.
As mentioned at the beginning, our exploration of the J-45 is not yet complete.
We aim for further development as Advance Guitars continues its journey.
Advance Guitars Store Manager Inoue
Part 1:A history of the Gibson J-45, from 1942 onwards.
Part 2: 1964-1969 Timeline (This page)
Advance Guitars
one thing: "This is one of the articles I've poured the most effort and soul into writing so far. I focused on building as much 'fact' as possible, based on past data, a vast amount of actual equipment, and literature. Even now, when I'm checking newly arrived units, I refer to this article as my bible."
Author of this article:Advance Guitars Store Manager Inoue - Vintage Guitar Researcher
Having been involved with musical instruments since childhood, he is an expert who has been involved in the appraisal and sale of thousands of vintage guitars. He has strong connections with collectors and dealers overseas. Believing that "the history of a guitar changes with even a single color or stamp," he strives to provide detailed and passionate explanations.
Qualifications and experience: Eight years of experience as a musical instrument appraiser, contributing articles and supervision to Guitar Magazine and other publications.
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