#1
|
|||
|
|||
Gibson ES-125
What are the differences between the ES-125 and the ES-125T?
Is one generally more desirable than the other? Does one tend to be more expensive than the other? |
#2
|
|||
|
|||
I'm not sure of the value of either but the 'T' means thinline as the body depth is thinner.
__________________
=================================== '07 Gibson J-45 '68 Reissue (Fuller's) '18 Martin 00-18 '18 Martin GP-28E '65 Epiphone Zenith archtop |
#3
|
|||
|
|||
Price varies according to market, but FYI the more lightly-constructed full-depth 125's from the late-40s through mid-50s are viable acoustic instruments as well (much like their current Godin Kingpin and Loar LH-309 counterparts, as well as the 17" ES-150 from the same period), and have a dedicated following among Swing/early Bop-era jazzers and postwar blues players; FWIW I've played a few 125T's over the years, and if you're really in the market for "that" look/sound there are several modern instruments - Epiphone Century/James Bay, Loar LH-301T, Guild T-50 - that offer the same vibe and, since they can all be had for under $1K, save you a fistful of Franklins in the bargain...
__________________
"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#4
|
|||
|
|||
Quote:
Last edited by jricc; 04-29-2019 at 06:51 PM. |
#5
|
|||
|
|||
I've had a couple of ES-125T's, both single pickup, one with a P90 in the middle between bridge and neck. I loved them, and honestly have no recollection of selling them yet I no longer own them...
They were, and are, student model guitars, lowest of the line, not embellished at all, in fact the mid-1960's ones had a horrible plastic pickguard thing and only one F-hole. The neck joints sometimes caused problems on the thin body versions, not much neck block. The cheapness instilled a certain mojo, a kind of funky feel, and there is no question that they are Gibsons. Brian
__________________
Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#6
|
|||
|
|||
I believe you're thinking of the ES-120T, which was to the ES-125/125T what the Melody Maker was to the SG Junior - a rock-bottom entry-level instrument equipped with a single Fender Duo-Sonic style pickup and controls, mounted into a bulbous elevated pickguard assembly that obscured most of the lower half of the guitar. I had a grad-school friend who owned one and, while it played like a contemporary Gibson thinline, wasn't in the same league tonally compared to its ES-125T counterpart - the better examples of which could IME go from a classic jazzy sweetness to an edgy, bluesy crunch...
__________________
"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#7
|
|||
|
|||
George Thorogood...
__________________
Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#8
|
|||
|
|||
Early 50's full-depth 125 here. Bright but also full, resonant and responsive acoustically and plugged in. It might have been positioned as a "student" guitar but plays as well, if not better then many 175's I've tried. The early models definitely are lighter in build and still a good value. Though certainly not as cheap as they once were.
|
#9
|
|||
|
|||
I have my Father’s 1950 ES 125. It needs a fret replacement down in the cowboy chord region. I just don’t seem to be able to have it done. All that wear came mostly from him.
|
#10
|
|||
|
|||
Ha! I could have written the EXACT same thing, except I had a 1958 ES-125 and a 1958 ES-125T
|
#11
|
|||
|
|||
I have a '59 ES 125T, got I for about$1400 a year ago. I really like the unamplified sound, fun to play in the living room, it would never cut through playing out. Plugged in I'm struggling, but blaming my Blues Jr which I never liked. A bit boomy up top, plinky down low. I can coax a decent jazz sound out of it, but its a balancing act. I want to go try it through a Princeton, or even an acoustic amp. I can get a deep dark reverb sound thats cool, but not the range of sound Id hoped for. Check Youtube though, theres a bunch of guys there that make these things sound great.
__________________
'19 Waterloo WL-14X '46 Gibson LG2 '59 Gibson ES125T '95 Collings 0002H '80s Martin M36 |
#12
|
|||
|
|||
Quote:
__________________
"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#13
|
|||
|
|||
It had flat wounds on when I got it, really dark. I popped for some Thomastik Infeld Jazz bebops 53-13, and definitely prefer them to the flat wounds. I haven't messed with the pole pieces. Are you suggesting I take the bass ones down a bit and raise the treble? I could give that a try. I did stop by a shop breifly and plugged into a Princeton, and thought it sounded worlds better. I don't think that my Blues Jr can produce a nice balanced clean sound at low volumes like I'm playing. So I have a Princeton on my mind, but also would like to plug into a small Roland or AER acoustic amp and check those sounds. Any amp advice?
__________________
'19 Waterloo WL-14X '46 Gibson LG2 '59 Gibson ES125T '95 Collings 0002H '80s Martin M36 |
#14
|
|||
|
|||
Quote:
|