In this photo, John Frusciante can be seen with a Gibson ES-335 in a sunburst finish (the 335 is the second guitar from the left). In an [article from Vintage Guitar](http://www.vintageguitar.com/3743/john-frusciante/), John Frusciante talks about this same guitar. He says, "...I’m not sure what years the ES-175 and 335 are from. I don’t play those much; I bought them because [Steve Howe](http://equipboard.com/pros/steve-howe) played them, but they don’t really go with my style that well. I feel like Strats are an extension of me, and a Jaguar feels like the next closest thing to being an extension of me. Les Pauls and SGs seem like a further stretch. With a 175 or 335, I feel like a totally different person. I barely see a relationship to the way I play and the way those guitars are set up. You grow up developing a style on a Strat, and that’s what you play all the time." Later in the same interview he says, "Sometimes I go through a phase where I learn a lot of jazz, where my 175 or 335 will come in handy." Frusciante's ES-335 has a Bigsby vibrato.more
Although some people credit Ike Turner as author of the first rock and roll song (specifically, 1951’s “Rocket 88”), no one can deny that Berry was the architect of rock guitar. From Keith Richards to Tony Iommi to Angus Young and beyond, every rock guitarist who ever strapped on a six-string owes an incalculable debt to Berry. Here is a video of Berry playing an ES-335 in Belguim 1965more
Chris listed "Gibson 335" amongst his equipment in Coldplay's self published E-Zine in 2003. This guitar has been widely used by Chris, on the road as well as in the studio. In [this] video of the band playing at Glastonbury in 2005, Chris can be seen playing it on the song "Warning Sign". (https://www.youtube.com/watch?v=saxEJ3c4qLM)more
In this photo, Ryan Jarman can be seen playing live with his Gibson ES-335 electric guitar. In an [interview with Gibson](http://www2.gibson.com/News-Lifestyle/Features/en-us/the-cribs-1125.aspx), when asked if he used any Gibsons on The Cribs' album [Ignore The Ignorant](http://en.wikipedia.org/wiki/Ignore_the_Ignorant), Ryan answers: "Yeah I used my ES-335s a lot on the new record. The reason why I started playing them in the first place was [Alex [Kapranos]](http://equipboard.com/pros/alex-kapranos) from Franz Ferdinand had one and I used it in the studio and just loved the sound of it. I know it may look a bit weird in our band because it’s not the kind of guitar you’d expect us to play, but the thing that I really like about the semi-acoustic is that, since I like to have a lot of gain on my amp, the guitar is always on the verge of feeding back. I think it adds a lot of tension to the sound, which is something that I love."more
Lynne explains in this article: "Oh, yeah. I use maybe half a dozen electrics. Occasionally, I'll venture out if I want a really weird sound. I've got a really nice 335, and then I've got the Tom Petty Rickenbacker 12-string, which I always use. My favorite guitar is a '58 Strat – and the Tele, which is really an Esquire converted to a Tele. This Epiphone I've had for about three years is just fantastic. It's an old Epiphone – I don't even know what the number is. It's an archtop with one cutaway. Ahh – you can't beat it!"more
"The only thing I regret is I didn't have them for the album, but on the next one it's gonna be full of them, and maybe a Gibson Blues King acoustic, and a Gibson ES-335 or two, but the Juniors are my main guitars for sure." - Brian Fallon on which guitars he'll use on the next recordsmore
¨We made our second album with Gil Norton - he suggested I could use a bit more girth in my tone, instead of always sticking to Strats. He asked if I´d ever tried a 335, and I had, but I´d never really thought about them. He said he had this mate who could lend us one and I used it throughout the sessions. Halfway through, he said we could use it for a video shoot, but to be careful as it belonged to his mate Joey. And we asked, ´Who´s Joey?´ It turns out it was Joey Santiago from The Pixies! That guitar inspired me to switch and this was the second 335 I bought. (Total Guitar, January 2017)¨more
"I started off with a 335, an Epiphone Dot. That brought me into the world of jazz guitars, and I’ve just been trying to find that Jazzmaster that felt right and looked right" - [Robert Ackroyd](http://www2.fender.com/experience/artists/florence-machines-rob-ackroyd-modified-jazzmaster/)more
James has a number of Gibson ES-335 guitars. In this photo, he is seen playing only one of them. The second one is used for ["One Big Holiday"](https://www.youtube.com/watch?v=4Z5gy94x450) live on the Letterman. For that song, he used his Gibson Flying V as well, most notably on the Bonnaroo Festival. In the [Premier Guitar](http://www.premierguitar.com/articles/22604-my-morning-jacket-childlike-wonder?page=3) interview, he confirmed he uses one of those guitars for songwriting. "I write in my head, and then just grab whatever guitar is around. I keep just a couple of guitars at home. I’ve got an old 1950s Martin parlor guitar and a Gibson ES-335."more
His guitar tech says its Billys second main guitar and that they use the magnetic pickups with an acoustic pickup in the body of the guitar and they run both signals together in a stereo cable. They seperate them in the board where electric signal goes through some stompboxes and the acoustic goes to a DI.more
"It was a Gibson ES-335. It has humbuckers, but it can get a cool, almost Tele-like twang, too. The amp I used was built by Jesse Duke, a friend of mine in Austin, and it’s a big part of the sound. It’s a Fulton Webb 30 Watt, which has a ’60s Marshall channel and a tweed Deluxe channel. I flipped the half-power switch, turned it up loud, and that’s the sound it made."more
Alvin's ES-335, nicknamed "Big Red" is probably his most recognizable guitar, he doesn't use it so much, as seen in this [*Guitar World* interview](http://www.guitarworld.com/interview-gear-talk-former-ten-years-after-guitarist-alvin-lee-whos-still-road-freedom): "On the album's opener, the title track, you can immediately tell it's Alvin Lee on guitar—not just because of your note choices but also your sound. How would you say your sound has evolved over the years? Are you still using your Woodstock-era Gibson ES-335? 'I've still got the original Woodstock 335, but, sadly, I don’t use it these days as it has become too valuable. She’s now in a vault since some loony offered me half a million dollars for her.'"more
http://www.gibson.com/News-Lifestyle/Features/en-us/legendary-guitars-clarence-708.aspx From a Gibson article: "Gatemouth Brown’s guitar choice similarly rejected the bounds of strict categorization. The jazz elements in his playing might have led him toward an ES-175, the electric blues an ES-335 or a Fender Stratocaster, the country a Gretsch or a Telecaster. Instead, Brown embraced one of the most radical and atypical guitar designs of all time: the Gibson Firebird. Wielding alternately with his fiddle, he bent the Firebird to boppin’ rhythm chops and lithe, wiry solos that ran the gamut from roadhouse blues jumps to fleet-fingered swing excursions, and – despite the fact that this was a guitar that always seemed most at home toward the gnarlier edges of alternative rock – made that odd, offset bird seem right at home with all of it."more
http://www.icollector.com/Blue-s-Legend-Lowell-Fulson-s-1965-Gibson-ES-335_i5175166 <B>Blue's Legend Lowell Fulson's 1965 Gibson ES-335 Guitar</B></I> (1921-1999). Very few people can lay claim to a career spanning six full decades and including every type of blues imaginable. Very few guitar models have been around for 47 years and can still excite both new players and legendary veterans. Put the two together and you have an important, historical offering. Up for bids is the Gibson Cherry Red ES-335 (Serial #8656890) instrument that Lowell Fulson purchased new in 1965 and played until 1997. Can you imagine the blues licks played on this instrument? <BR><BR>Lowell Fulson was born in Tulsa, Oklahoma growing up on local area blues and Bob Wills' Western swing. He toured with Texas Alexander in the early 1940s, then served a stint in the Navy. After that, Fulson moved to Oakland, California, hooked up with Bob Geddins and the 78 RPMs started rolling out including the big hit "Three O'Clock Blues", later covered by B.B. King. In 1948, he switched over to Swing Time Records and the hits really began to flow - such as the immortal "Every Day I Have the Blues", "Blue Shadows", "Lonesome Christmas", and an instrumental, "Low Society Blues", played on by pianist Lloyd Glenn and alto saxist Earl Brown. From about 1950 on, Fulson toured extensively with band members inlcuding Ray Charles and Stanley Turrentine. He signed with Chess in 1954 and recorded the classic "Reconsider Baby", cut in Dallas under Stan Lewis's supervision with a sax section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone. It became a massive hit and Elvis Presley covered it in 1960. Another label change (to Kent) brought him his biggest hit, "Tramp", which was written and recorded using this very guitar. Fulson continued to perform and record using this Gibson as his main guitar until poor health forced his retirement in 1997, the year he sold this guitar to the present owner. Included with this lot are photos of Lowell playing and signing this awesome instrument as well as his signed affidavit dated August 1997 certifying authenticity. Few players and few guitars can stay contemporary with style changes over such an extended period of time - here's an amazing combination that did just that.more
Around 1:31 into this studio interview (recording the upcoming Thrice album), Teppei gives a breakdown of his Gibson 335: “And then for everything else I just use my 335, actually in the neck position which I think is pretty unusual for our style of music; but I think it ended up having a pretty interesting sound, and for some reason I just started writing in the studio that way; and we’ve been demoing and whatever just on the neck pickup and I liked it, so I just kept it”more
"You know it. The Beatles were a big inspiration to us. Jojo wrote that with Matthew Gerrard out in Los Angeles. When we were trying to get it together, it was like, “Wow, it sounds like the Beatles and Queen had a baby.” There’s a bunch of guitars all over that song, man—little fills and stuff. I played a Gibson ES-335."more
This post, by Deryck, on Sum 41s [Facebook](https://www.facebook.com/Sum41/), says, "i bought this guitar in new york with brown tom back in 2007 when we did a photo shoot at the guitar center there. it's a '62 gibson 335. it's in absolutely prefect condition. not a single sign of age on it. back in the 60's some doctor bought a bunch of guitars as art and kept them in glass cases. he didn't even know how to play! he's sold them all now since they're worth so much money. i always feel nervous playing it because i don't want to be the first one to put a scratch on it. it sounds and plays amazing. i used this on the song "screaming bloody murder". it's the main guitar in the heavy section after the guitar solo."more
Segall wrote and recorded much of Manipulator using a 1977 Gibson ES-335, a guitar he bought specifically for the project. "I'm kind of superstitious," he says, "In that I like to get a new guitar to write a new record. If there is a specific sound to it that you're not used to, it definitely affects your brain and your creativity, and makes you have a more open mind when writing new songs. This guitar has a coil-tap switch on it, which means you can switch the humbuckers to single coils, so there's like four different sounds you can get out of it."more
From the article of: http://www.vintagevinylnews.com/2015/04/statue-of-little-milton-installed-at.html "Statue depicts Milton embracing his Gibson ES-335 guitar while seated on a “gar bench”m so-called because of the legs in the shape of gar fish found in the Mississippi River, found in Memphis area parks and created by the Memphis-based National Metal Museum. Funding was provided by Milton’s friends and admirers at the North Atlantic Blues Festival, held annually in Rockland, Maine. The festival is headed by Paul Benjamin who was in attendance. Both he and Mrs. Pat Campbell, Milton’s widow, addressed the crowd, as did Blues Foundation President & CEO Jay Sieleman."more
"I spent an entire year developing them. The benchmark was my ’59 ES-335, which has incredible PAFs. An almost magical upper harmonic blooms out of the note. We built a test guitar where we could change pickups in seconds, so you could really do an objective comparison. Then we took the necks of my two favorite PRS guitars—both of which were atypical due to the way the sander had finished them—and interpolated them for the neck shape. I think it’s the most vintage-inspired guitar that Paul makes."more
What equipment are you using? Same white Stratocaster as always. A Tele. Just got a 1956 Les Paul TV Jnr from Stevie Klasson in Sweden. Love the sound of the P90 pickup. I've also got a reverse Firebird and a 335 which I play open tuned. Marshall amps then I switched to Fenders. A pair of Fender Vibro Kings sound good. Ten inch speakers. Not twelves. Find a good Fender amp that matches the guitar and off you go. I've got a Martin M38 acoustic I've played for 20 years which is a sweetheart; and a 12 string Guild acoustic which records like a dream.more
His 2000's black Gibson ES-335 is his primary guitar. In [Premier Guitar interview](http://www.premierguitar.com/articles/23057-kristofer-steen-reunited-relevantrefused?page=2), he discusses this guitar. On question why did Steen switch to ES-335, he answered. "I really enjoyed its sound—especially live. I recorded mainly with the Customs and other solidbody guitars, but when I feel like fighting, I’ll bust out the 335 onstage because that’s where it comes alive. It howls, screeches, barks, and gives me everything the Les Paul can and more sometimes. It has a full, thick, rich tone that is just a different flavor than the Customs. A lot of our music has really fast, dynamic tempo shifts and tight breaks, so the Les Paul is great for recording because you can get really quiet, really fast, whereas tracking with a 335 in our style of music causes things to sound sloppy or me to miss my cues because of its feedback. But when I play the 335 live, I really feel the extra noise and howling adds to the chaotic frenzy we produce onstage during a performance."more
Alan saw a cherry red Gibson 335 and could only raise sufficient funds by Jim throwing in his Eko guitar part exchange and Alan’s Telecaster plus £50. This was to become Alan’s main guitar for many years. He changed the colour from red to blond, later bitterly regretting this and changing it back to red again!more
"Oh, hell no. No way. That 335 belongs to my boss at Killer Vintage, Dave Hinson. He just loaned us that because we wanted something with a Bigsby on it. That's the first guitar you hear on the album: that's “Monday (Everytime I Turn Around),” I was nervous having it. I don't want to drop it. I don't want to get it stolen. It was freaking me out because that's an expensive guitar. Dave's really cool like that, but still I don't want to be the one responsible for breaking the 1960 ES-335 when I trip over the cable in the studio and friggin' knock it off of the stand. We used it quick: got in, got out."more
When I first joined Shinedown, I had a definitive vision of what I wanted to have on-stage and what I wanted to present. That vision was to have all Gibsons, all in black. I have an ES-335, Les Paul Custom, a ’57 reissue, a ’67 reissue Flying V, an Elvis Presley Signature Dove, the black SG GT, an Explorer and a black Firebird. When you see all those guitars together in a rack, it just has such a presence. - Nick Perrimore
"Gibson was kind enough to provide guitars, though sadly I have to give them back. I started playing these because Les Pauls, even if I don’t play much during a set, tend to mess with my neck. After a while, I feel like I’m getting corkscrewed! The 335s don’t make a huge difference, but I like how the fretboards fly like an SG."more
Here is a picture of Kieran from Circa Waves with his Walnut, Gibson ES-335. I think its likely to be a vintage model, probably 1970's although can't be sure from the limited info! The photo was taken in the studio during the recording process for their second album (Different Creatures).more
> Personally I reckon it's better to get the sound from the guitar directly rather than to try to create a guitar sound by some software and stuff like that.Obviously there are some effects a guitar cannot give you but for istance in a funky groove like Notorious the best sound is obtained by a 335more
CG: Tell me about your Gibsons. NW: "Right now I have four Firebird V series, two more on the way. And I got two 335s." He can be seen here playing a red one with a standard fixed bridge. https://farm1.staticflickr.com/160/387660845_985f445e6c.jpg Here he can be seen playing a blue 335. https://s-media-cache-ak0.pinimg.com/236x/75/b5/d1/75b5d1588c6e48e61b01a38e77fce7e2.jpgmore
This is part oif an interview by Tom Guerra to Matt: ... TG: Amps and guitars at this time? MGM: By that time, it was mostly Gibsons, a hollowbody 335 and 345. I played through a Fender Twin Reverb, and sometimes a Quad Reverb…that’s the one with 4 speakers in it. http://www.tomguerra.com/mattmurphy.htmmore
In this article from Australian Musician Magazine, Seamus Coyle talks of playing a Gibson ES-335 1960s guitar: > Essentially Seamus is a Strat man. However for Land Of Pleasure he was also seeking some different tones. “I borrowed my mate’s Gibson ES335, a 1960’s model,” he says. “It’s a hollow body with a beautiful sound. It was great for [‘If You Go’](https://www.youtube.com/watch?v=tmj8dTTSkoY), the real Britpoppy one, with the rockier chorus.” Pedal-wise, he keeps it reasonably simple. “I try not to use too much but when I joined Sticky Fingers I realised there was a lot of room for some really cool sounds. I’d be lost without my wah and delay. Other then that I try not to go overboard with pedals.”more
"Gibson came to rehearsal back in 1985 and presented me with that guitar before we left for the Parade tour. It’s been my jewel. I have a few other 335s from 1967 that are absolutely phenomenal, too, but the white one was made for me and I now play it consistently. I only play it with flatwounds and it’s just been a dream guitar. That guitar was used for the entire Parade tour and our last tour as a band. Actually, Prince called me about 6 months before he passed and goes, “God! Do you still have that white 335?” And indeed I do."more
Hayward owned a cherry red 1963 model. “The first time I played that 335, I knew it was for me. I had one before I joined the Moodies, but had to sell it because I was broke. [The red 335] came from the factory exactly like that. When I first came to the U.S., I met the guys who made it in Kalamazoo.”more
Bought in 2009 so i'd have something to pair with my telecaster. My main guitar for jazz gigs and very useful in the studio. Huge sound! I've flown on dozens of flights with it and never had any problems.
This an 80s pre-custom-shop 59 copy, pretty early ttempt at recreating a golden age 335. It has Tim Shaw humbuckers that are thick and syrupy with a complex tone. The neck is medium fat as it should be, very similar to the shape of my Yamaha 335, but the Yamaha has a mid-60s thin nut and this has the wide 50s nut that encourages bends but is a bit less fast on flatpicked jazz runs. Mine is black, not my preferred color but it was a great deal for a 335 having been re-fretted at least once. Obviously there is n fret edge binding left after the refret. Great rosewood fingerboard with a wide, streaky grain you don't see on a lot of modern guitars due to old growth woods being virtually non-existent now. Its also on the light side for a 335 and has a brightness on the bridge pickup that's almost gretschy. Its even louder unplugged than any of the other semis I've owned right up there with the starfire I used to play in highschool jazz band which was fully hollow but thing. This guitar sounds and plays great. Didn't even need to tweak the setup from the store. If you can get an 80s dot go for it, they are far better than most 80s les pauls if my 335 and the 88 LP I used to own are any indication. Love it. So stoked to finally have a Gibson 335, my favorite guitar ever.
Bought this beauty last week. Originally wanted the Tom Delonge signature es-333 as soon as I had found out about it, but the more I looked into it, I wanted to be able to change the tone and Tom's won't allow it. Noticed many of my favorite guitarists have used it, so I went with this one.
I'm very used to acoustic and this is the perfect feel for in between electric and acoustic in my opinion. Love the sound whether plugged in or not. Very easy feel on the neck. Great weight. Body is a little big to what I'm used to on an electric, but I'm quickly getting accustomed to it.
The one I played was a vintage 1960's version with a factory defect and output jack issues but still... Nothing sounds more rock & roll to my ears than a 335. Nothing. Sounds so full and beefy with layers of overtones. In my opinion nothing sounds better through a thinker fuzz pedal. Only wish it had a Bigsby, but that's why they made the 355.
This was the most expensive guitar I'd ever purchased, even with the tempering influence of my wife sitting next to me in the shop - it was a must purchase. Those lovely hum-bucking pick-ups and big hollow body - what an ideal combination for the guitarist. Giving enormous versatility and sich a serious look. A beautiful piece of craftsmanship from Gibson.