I found this picture of my 1976 Gibson ES-175 in my 2016 photo folder. I now remember taking it to show my new guitar-playing friend Dave Green what the guitar's pickguard looks like so he could compare it to his Japanese-made ES-175 copy.
Here you see much of the guitar's body. What pegs it as a 1970s Gibson archtop electric? It has chrome pickup covers and a chrome tailpiece (as opposed to nickel, which tends to age, albeit gracefully) and "witch hat" volume and tone knobs. The nickel covers -- made famous on the rare and pricey PAF (Patent Applied For) humbuckers -- tend to age, albeit gracefully. I believe Gibson introduced the "witch hat" knobs in the late 1960s. Earlier Gibson electrics came with "top hat" or speed knobs.
You can't see it here, but the neck is made of three pieces of maple (as opposed to a single piece of mahogany on earlier models) and includes the thickened "volute" near the nut, meant to strengthen the neck at the point where many Gibson's suffer from catastrophic breaks.
All three of those things contribute to neck strength: maple instead of mahogany, laminated instead of one piece, volute instead of no volute. The volute was unpopular and eventually discontinued. It doesn't bother me. I kind of like the "feel" of knowing I'm at the end of the neck.
The bridge on this guitar, for this year of production (1976) is a bit of an anomaly. It's a compensated rosewood bridge, the kind that Gibson had been using for decades on its archtop guitars, both acoustic and electric. I call it an anomaly because one of the changes Gibson made on the 1976 ES-175 is switching from the traditional wooden bridge to a metal Tune-O-Matic like you would find on a Les Paul or ES-335.
You can learn a lot about archtop guitars by going through the "sold" archive at Archtop.com. You can see descriptions and photos of hundreds of actual instruments. It's a valuable historical and educational resource that is really helping me learn about Gibson archtop guitars. What's missing? The prices. For that you need to look at the current inventory list.
What makes these Archtop.com lists so valuable is that there are so many examples of real guitars that have sold. The measurements show how the various models changed from the 1920s and '30s to the present day. They could turn the archive into a book, and I'd buy it.
Swing guitarist Jonathan Stout lays out his philosophy on swing music, the guitar, Charlie Christian, Allan Reuss, REALLY old Gibsons and Epiphones, X-bracing vs. parallel bracing and more on his Swing Guitar Blog and Campus Five YouTube channel.
His latest video was recorded on another YouTube channel because he made it at Norman's Rare Guitars in Tarzana. where Jonathan plays Harold Arlen's "It's Only a Paper Moon" on a 1929 Gibson L-5 acoustic.
Jonathan is a wonderful guitarist who explores three distinct "directions" on the guitar: swing rhythm on the acoustic archtop, swing-style chord-melody on the same instrument and Charlie Christian-style swing-to-bop soloing on the archtop electric.
They really are three different kinds of playing -- watch Jonathan's videos and see what I mean.
Ilene told me about her co-worker, a guitar collector, who bought an old Fender Super Reverb amp that might have been in a fire, but definitely didn't come with any of its four speakers.
He was taking the amp, or what was left of it, to Blankenship Amp Repair, where Roy Blankenship will fix your amp or make you a new one that's just like the old ones, only better (and with better parts). His clients include just about everybody in rock 'n' roll. To learn more about what Blankenship Amp Repair does, check out its Facebook page.
If you're more the do-it-yourself type, and need electronic tubes for anything from guitar amplifiers and vintage radios to broadcast transmitters, radar and x-ray machines and military equipment, ARS Electronics on De Celis Place near the Van Nuys Airport probably has it. They also sell connectors, speakers, capacitors (if it's old, the capacitors are probably bad, and you need new ones) and transformers.
After years of using flatwounds (generally D'Addario Chromes beginning with a .012) on my Fender Lead I guitar, I decided to go light(er) and roundwound with a set of Ernie Ball Power Slinky nickel-wound strings (.011, .014, .018p, .028, .038, .048).
And I'm liking the sound and playability very much. While I like the feel of really heavy strings (I use D'Addario Chromes, the .013 set, with an .014 subbed for the high E and a .018 for the B string), I think those strings overwhelm the solidbody Fender guitar. Or least that's how I feel for the way I play it.
I really like the plain 3rd string, which contributes to the overall evenness of volume and tone.
Even with only a bridge humbucking pickup, the Lead I has a very wide tonal range, and I can easily dial in a good jazz sound.
So much depends on the way you have everything set up -- the knobs on the amp and guitar, the way you play it. I generally use a heavier touch and keep the volume lower.
As I say above, I've gravitated to really heavy strings, but now I'm thinking differently, and I really like this Ernie Ball set. The lower strings, and the low end of the instrument in general, have a lot less muddiness (and a lot more definition).
The guitar, which I've had since I bought it new in what I think was 1979 (but the serial number indicates 1980) is a nice, heavy instrument.
I've pondered "converting" it to a Lead II with two single-coil pickups. I even have a Lead II pickguard ready to go, but I've just never gotten around to that mod (I would need the pickups, pots and tone capacitor, and then I'd have to figure out the wiring).
I'm using the orange Roland Cube 60 amp that, like pretty much every electric guitar I've ever had, I purchased when I was in high school.
About the only guitar I've "let go" over the years was the nice handmade classical that I used during my time in the music program at CSUN. I can't even remember the name of the company, but it was a nice guitar. It had a cedar top -- you could really smell it. I'm more of a spruce-top person, so I'm not all that sorry I don't have it, but it was a very, very nice instrument, and I think I'd enjoy playing a well-made classical guitar built with really good wood.
Takeaway: Players of different kinds of music on the guitar think that they need a certain type of instrument, strings and amplifier to credibly make a certain kind of music. For jazz that seems to be an archtop guitar, heavy flatwound string and amps with a whole lot of headroom so you don't have to drive it too hard to get the volume you need. While I agree with the amp requirement, and I absolutely love the sound of an archtop guitar (both electric and acoustic), when it comes to strings (light, heavy, flatwound, roundwound) and even type of guitar (solidbody, flattop, classical, full archtop, archtop with bridge in a block of wood), there are plenty of viable, sonically rich options.
Note: The Ernie Ball strings image came from the Musician's Friend site. I used an iPod Touch to take the Fender Lead I and Roland Cube 60 photos. The sweet case that Ilene sewed for the iPod Touch can be seen next to the guitar.