"Cherry Sunburst" is the description of this finish used in Gibson literature of the time, although it is often called "ice-tea sunburst" in the current guitar market. Compare with this 196 ES-125TC which retains a far more vibrant finish. The Cherry Sunburst on the front of this guitar has faded somewhat. The October 1966 recommended retail price was $265 (United States zone 1), compared to $365 for the ES-335, $305 for the SG Standard and between $199.50-$379.50 for a Firebird.
1966 gibson es 125 tc full#
TC stands for Thinline Cutaway (not to be confused with the non cutaway or full body depth hollow-body ES-125 models. This example is one of 750 ES-125 TCs shipped hat year. This ES-125TC was produced at the famous Gibson Kalamazoo plant, Michigan, USA in 1966 alongside many classic guitars: ES-335s, Firebirds, SGs etc. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.The 1966 Gibson catalogue mentions the single pickup ES-125TC, but only pictures the dual pickup version, the ES-125TDC. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there.
1966 gibson es 125 tc full size#
Click on the images for full size versions, or click on the model names below for more about each instrument Electric Guitars: Johnny Smith Guitarīy the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price). The entire ranges of electric guitars, basses, acoustics, banjos, mandolins and amplifiers are shown: fourteen pages of electric guitars and basses eight pages of Gibson amplifiers twelve pages of Gibson acoustic guitars (flat tops, classic acoustic and archtops) three pages of banjos two pages of mandolins, and a single page of steel guitars. They provide the musical perfection that has become Gibson tradition through more than 60 years of dedication to creating the worlds finest fretted instruments. Gibson instruments are true to their heritage, each one crafted like a fine violin. These are the stirring notes of nature's symphony, reflected today in the most sensitive of musical instruments, the Gibson guitar. The lyric song of birds, the wind whistling softly through the trees, the music of a rippling brook, the rumbling bass of a thunderstorm! The electric guitar section is adorned with birds, the amplifier section fish, and the acoustic guitars plants. There is a theme of the natural world running through this catalog, from the trees on the front and back covers, via the photographs of guitars in and amongst nature, and to the illustrations of plants and animals throughout the catalog as a whole. There was a huge rise in the popularity of guitar playing, and cheaper imported brands were not yet been able to compete on grounds of quality. 1965 had been their very best year, with massive sales and a huge expansion of their Kalamazoo facilities. But this was a very sucessful time for Gibson. It had been the first to be in full colour, and contained Gibson's entire product range, from high-end jazz guitars, solid bodies (including the newly designed non-reverse body style Firebird range), amplifiers, and Gibson's wide range of acoustic instruments. The 1966 Gibson catalog was the most lavish produced to date, and for many years afterwards. 1966 Gibson 'Guitars & Amplifiers' Catalog