Archtop Guitar Timeline

1923-1960

This timeline features archtop guitars from makers Gibson, Epiphone, D’Angelico, Stromberg, Guild, Gretsch, Hofner, and Martin. While largely classified now as “jazz guitars,” archtops were the most coveted, expensive, and luxurious guitars of their time. They largely fell out of popularity when the electric guitar was established. This timeline starts with the Gibson L-5 in 1923 (the first modern archtop guitar) and ends with archtop electrics in 1960.

1923

  • Gibson L-5 introduced (first guitar to feature “f” holes, 16” wide body, carved spruce top with parallel bracing, bound elevated pickguard, birch back and maple sides, three-piece maple neck, brown sunburst finish, 14-fret neck joint, 24.5” scale length, adjustable truss rod, elevated bound ebony fingerboard with dot inlays, flowerpot peghead inlay, engraved open-back strip tuners with mother-of-pearl buttons, ebony adjustable bridge, trapeze tailpiece, silver-plated hardware, discontinued in 1938)

1925

  • Gibson L-5 given figured maple back and gold plated hardware

1927

  • Stromberg G-1 introduced (16” wide body, pressed arched spruce top with parallel and transverse top bracing, bound elevated pickguard, laminated maple back and sides, bound ebony fingerboard with notched diamond inlays, rosewood adjustable bridge, nickel hardware, discontinued in 1955)
  • Stromberg Deluxe introduced (16.375” wide body, pressed arched spruce top with parallel and transverse top bracing, bound stairstep pickguard, laminated maple back and sides, sunburst or natural finish, 5-piece maple neck, bound ebony fingerboard with block inlays, Kluson Seal Fast tuners, rosewood adjustable bridge, gold-plated hardware, discontinued in 1955)

1929

  • Gibson L-5 given pearloid block fingerboard inlays
  • Gibson L-10 introduced (16” wide body, carved spruce top with parallel bracing, unbound elevated pickguard, maple back and sides, three-piece maple neck, black finish, bound ebony fingerboard with dot inlays, trapeze tailpiece, nickel-plated hardware, discontinued in 1939)

1930

  • Gibson L-5 given individual open-back gold-plated Grover tuners
  • Gibson L-12 introduced (16” wide body, carved spruce top with parallel bracing, unbound elevated pickguard, maple back and sides, red mahogany sunburst finish, 3-piece maple neck, bound rosewood fingerboard with ornate flower inlays, vase peghead inlay, trapeze tailpiece, gold-plated hardware, discontinued in 1955)

1931

  • Epiphone DeLuxe introduced (16.375” wide body, carved spruce top with parallel bracing, bound black elevated pickguard, maple back & sides, sunburst finish, five-piece maple neck, “master built” peghead inlay, Grover open-back Sta-Tite tuners, bound rosewood fingerboard with diamond and triangle inlays, 25.5” scale length, adjustable rosewood bridge, trapeze tailpiece, gold-plated hardware, discontinued in 1970)
  • Epiphone Broadway introduced (16.375” wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, solid walnut sides, laminated walnut back, tobacco sunburst finish, 5-piece maple & mahogany neck, “master built” peghead inlay, bound rosewood fingerboard with diamond-shaped inlays, 25.5” scale length, adjustable rosewood bridge, trapeze tailpiece, nickel-plated hardware, discontinued in 1970)
  • Epiphone Triumph introduced (15.25” wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, solid walnut sides, laminated walnut back, sunburst finish, laminated maple neck, “master built” peghead inlay, open-back tuners, unbound rosewood fingerboard with paired diamond inlays, 25.5” scale length, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1970)
  • Epiphone Royal introduced (15.5″ wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, mahogany back and sides, sunburst finish, 3-piece mahogany neck, “master built” peghead inlay, unbound rosewood fingerboard with dot inlays, 25.5″ scale length, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1935)
  • Epiphone Blackstone introduced (14.375″ wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, maple back & sides, black ebony finish, mahogany neck, “master built” peghead inlay, open-back strip tuners with plastic buttons, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1949)
  • Epiphone Zenith introduced (13.625″ wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, sunburst finish, maple back & sides, “master built” peghead inlay, open-back strip tuners with plastic buttons, 3-piece mahogany neck, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1957)
  • Epiphone Olympic introduced (13″ wide body, carved spruce top with parallel bracing, unbound black elevated pickguard, brown finish, mahogany back & sides, open-back strip tuners with plastic buttons, mahogany neck, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1949)
  • Martin C-2 introduced (15” wide body, carved spruce top with round sound hole and sunburst finish, unbound elevated pickguard, arched rosewood back and sides, 14-fret neck joint, mahogany neck, bound ebony fingerboard with diamond inlays, vertical Martin peghead logo, adjustable ebony bridge, trapeze tailpiece, nickel hardware, 28-style appointments, discontinued in 1942)

1932

  • Gibson L-7 introduced (16” wide body, carved spruce top with parallel bracing, bound elevated pickguard, brown sunburst finish, maple back and sides, mahogany neck, bound rosewood fingerboard with varied-pattern inlays, fleur-de-lis peghead inlay, trapeze tailpiece, nickel-plated hardware, discontinued in 1956)
  • D’Angelico L-5 Style introduced (16.5” wide body, carved spruce top with parallel bracing, bound elevated tortoiseshell pickguard, maple back & sides, 3-piece maple & mahogany neck, sunburst finish, bound ebony fingerboard with block inlays, Grover oval button tuners, trapeze tailpiece, gold hardware, discontinued 1936)
  • Martin C-1 introduced (15” wide body, carved spruce top with round sound hole and sunburst finish, unbound elevated pickguard, arched mahogany back and sides, 14-fret neck joint, mahogany neck, unbound ebony fingerboard with dot inlays, vertical Martin peghead logo, adjustable ebony bridge, trapeze tailpiece, nickel hardware, 18-style appointments, discontinued in 1942)
  • Martin C-3 introduced (15” wide body, carved spruce top with round sound hole and sunburst finish, bound elevated pickguard, arched rosewood back and sides, 14-fret neck joint, mahogany neck, bound ebony fingerboard with varied snowflake inlays, vertical Martin peghead logo, adjustable ebony bridge, trapeze tailpiece, gold-plated hardware, 45-style appointments, discontinued in 1934)
  • Martin C-1, C-2, and C-3 given “F-holes” later in the year
  • Martin R-18 introduced (14.125” wide body, arched spruce top with round sound hole and sunburst finish, unbound elevated pickguard, mahogany back & sides, 12-fret neck joint, mahogany neck, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, nickel hardware, discontinued in 1942)

1933

  • Epiphone Tudor introduced (16.375” wide body, carved spruce top with parallel braces, bound elevated pickguard, maple back & sides, sunburst finish, 5-piece maple & mahogany neck, “master built” peghead inlay, individual Grover open-back tuners, bound rosewood fingerboard with diamond and triangle inlays, 25.5″ scale length, adjustable rosewood bridge, trapeze tailpiece, gold-plated hardware, discontinued in 1936)
  • Epiphone Triumph given 16.375” wide body, laminated maple back & sides, and dot fingerboard inlays
  • Epiphone Royal given walnut back & sides
  • D’Angelico Style B introduced (17” wide body, carved spruce top with parallel bracing, unbound f-holes, bound elevated tortoiseshell pickguard, maple back & sides, maple neck, bound ebony fingerboard with block inlays, Grover open-back tuners, adjustable ebony bridge, gold hardware, discontinued in 1948)
  • Martin R-18 given “F-holes”

1934

  • Gibson L-10 given mahogany neck, rosewood fingerboard with varied-pattern inlays enclosed in rectangular pearl borders, and vase peghead inlay
  • Gibson L-12 given bound pickguard
  • Gibson Super 400 introduced (18” wide body, carved adirondack spruce top with X-bracing, bound imitation marble pickguard, maple back & sides, 3-piece maple neck, brown sunburst finish on body and neck, bound ebony fingerboard with split-block inlays, 24.75” scale length, split-diamond peghead inlay, engraved open-back Grover tuners, rosewood compensated bridge, gold hardware, engraved “Y” shaped tailpiece, discontinued in 1955)
  • Gibson L-5 Advanced model introduced (larger 17” body width, X-bracing, longer 25” scale length, hinged flat gold tailpiece, brazilian rosewood bridge, sunburst finish, discontinued in 1958)
  • Gibson L-7 given 17” wide body, X-bracing, 3-piece maple neck, rectangular pearl borders around fingerboard inlays, and vase peghead inlay
  • Gibson L-10 given 17” wide body, X-bracing, checkered top binding, double arrow fingerboard inlays, and red mahogany sunburst finish
  • Gibson L-12 given 17” wide body, X-bracing, double parallelogram fingerboard inlays, diamond/star peghead inlay, and brown sunburst finish
  • Epiphone Spartan introduced (16.375″ wide body, carved spruce top with round sound hole, unbound black elevated pickguard, solid maple sides, laminated maple back, sunburst finish, mahogany neck, stickpin peghead inlay, open-back Grover tuners, bound rosewood fingerboard with dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1949)
  • Epiphone DeLuxe given “tree of life” peghead inlay, floral fingerboard inlays, and white pickguard
  • Epiphone Tudor given vine peghead inlay
  • Epiphone Broadway given carved walnut back, block fingerboard inlays, vine peghead inlay, bound pickguard, and gold-plated hardware
  • Epiphone Triumph given solid maple back & sides, bound fingerboard with notched-diamond inlays, elongated snowflake peghead inlay, and mahogany neck
  • Epiphone Blackstone given 15.5″ wide body, mahogany back & sides, sunburst finish, and rounded-top stickpin peghead inlay
  • Epiphone Zenith given 14.75″ wide body, walnut back & sides, and rounded-top stickpin peghead inlay
  • Epiphone Olympic given 13.625″ wide body
  • Martin R-17 introduced (14.125” wide body, arched mahogany top with sunburst finish, unbound elevated pickguard, mahogany back & sides, 12-fret neck joint, mahogany neck, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, nickel hardware, discontinued in 1942)

1935

  • Gibson L-4 redesigned to feature “f-holes” instead of a round sound hole (16” wide body, carved spruce top, bound elevated pickguard, sunburst finish, maple back & sides, mahogany neck, bound rosewood fingerboard with varied pattern inlays, pearl fleur-de-lis peghead inlay, grover tuners, adjustable rosewood bridge, discontinued in 1956)
  • Epiphone Emperor introduced (18.5” wide body, carved spruce top with parallel bracing, bound elevated tortoise pickguard, sunburst finish, maple back & sides, seven-piece maple neck, “tree of life” peghead inlay, open-back Grover tuners, bound ebony fingerboard with pearl and abalone V-block inlays, 25.5″ scale length, adjustable rosewood bridge, plate tailpiece with 4 cutouts, gold hardware, discontinued in 1957)
  • Epiphone Electar M Spanish introduced (14.75” wide body, laminated maple top with horizontal bracing, sunburst finish, Model M “horseshoe” pickup in bridge position, volume & tone knobs, unbound elevated black pickguard, laminated flat maple back & sides, “Electar” nameplate on headstock, open-back tuners, mahogany neck, bound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1938)
  • Epiphone DeLuxe given 17.375” wide body, cloud fingerboard inlays, and “arrow” tailpiece
  • Gretsch Model No. 150 introduced (16” wide body, carved spruce top, bound elevated engraved pickguard, maple back and sides, sunburst finish, 3-piece maple neck, 24.75” scale length, bound ebony fingerboard with block inlays, elaborate pearl peghead inlay, engraved tuners, ebony adjustable bridge, trapeze tailpiece, gold-plated hardware, discontinued in 1938)
  • Gretsch Model No. 100 introduced (16” wide body, carved spruce top, bound elevated pickguard, available with “f-holes” or round sound hole, maple back and sides, sunburst finish, 3-piece maple neck, 24.75” scale length, bound ebony fingerboard with elaborate pearl position markers, ebony adjustable bridge, trapeze tailpiece, gold-plated hardware, discontinued in 1938)
  • Gretsch Model No. 50 introduced (16” wide body, carved spruce top, bound elevate pickguard, available with “f-holes” or round sound hole, maple back and sides, sunburst finish, 3-piece maple neck, 24.75” scale length, bound ebony fingerboard with cut diamond inlays, ebony adjustable bridge, trapeze tailpiece, nickel hardware)
  • Martin F-9 introduced (16” wide body, carved spruce top with brown sunburst finish, bound elevated pickguard, arched Brazilian rosewood back & sides, 14-fret neck joint, mahogany neck, bound ebony fingerboard with hexagonal pearl inlay,s vertical C.F. Martin peghead logo, engraved gold-plated open-gear Grover tuners, adjustable ebony bridge, gold-plated Grover tailpiece, only 72 instruments made, discontinued in 1942)
  • Martin F-7 introduced (16” wide body, carved spruce top with brown sunburst finish, bound elevated pickguard, arched Brazilian rosewood back & sides, 14-fret neck joint, mahogany neck, bound ebony fingerboard with hexagonal pearl inlays, vertical C.F. Martin peghead logo, nickel-plated open-gear Grover tuners, adjustable ebony bridge, nickel-plated Grover tailpiece, discontinued in 1942)
  • Martin C-2 given shorter scale length, and bound fingerboard and pickguard

1936

  • Gibson ES-150 introduced (first successful “electro spanish” guitar, 16.25” wide body, carved spruce top with X-bracing and sunburst finish, “Charlie Christian” single-blade bar pickup, master volume and tone controls, bound elevated tortoise pickguard, flat maple back & sides, mahogany neck, open-back tuners, 24.75″ scale length, bound rosewood fingerboard with dot inlays, ebony bridge, trapeze tailpiece, nickel hardware, discontinued in 1942)
  • Gibson releases the ES-85 pickup which attached to acoustic archtop guitars
  • Epiphone DeLuxe given a tortoiseshell larger pickguard and compensated tailpiece with four cutouts
  • Epiphone Broadway and Triumph given 17.375″ wide body, flat tailpiece with four cutouts, and bound tortoiseshell pickguard
  • Epiphone Spartan given “f-holes” instead of a round sound hole, solid walnut back and sides, column peghead inlay, and notched rectangle fingerboard inlays
  • Epiphone Blackstone given 16.375″ wide body, maple back and sides, elongated notched diamond peghead inlay, individual open-back Grover tuners with plastic buttons, and parallelogram fingerboard inlays
  • Epiphone Zenith given 16.375″ wide body, individual open-back tuners with plastic buttons, and elongated notched diamond peghead inlay
  • Epiphone Olympic given 15.25″ wide body and sunburst finish
  • D’Angelico Style A introduced (17” wide body, carved spruce top with parallel bracing, unbound f-holes, bound elevated tortoiseshell pickguard, maple back & sides, maple neck, bound ebony fingerboard with block inlays, Grover open-back tuners, adjustable ebony bridge, nickel hardware, discontinued in 1945)
  • D’Angelico Excel introduced (17” wide body, carved spruce top with X-bracing, bound elevated tortoiseshell pickguard, maple back & sides, maple neck, sunburst finish, bound ebony fingerboard with solid block inlays, adjustable ebony bridge, stairstep tailpiece, gold hardware, discontinued in 1964)
  • D’Angelico New Yorker introduced (18” wide body, carved spruce top with X-bracing, triple-bound f-holes, bound elevated tortoiseshell pickguard, maple back & sides, 3-piece maple neck, bound ebony fingerboard with split-block inlays, inlaid ebony bridge, skyscraper peghead logo, Grover Imperial tuners, gold hardware, discontinued in 1964)

1937

  • Gibson Super 400 given wider upper bout (12.25” to 13.625”) and longer 25.5″ scale length
  • Gibson L-5 Advanced given gold-plated tailpiece with silver insert, and gold Grover Imperial tuners
  • Gibson L-12 given flat tailpiece with cutouts
  • Epiphone Electar Model C Spanish introduced (13.5” wide body, laminated flat maple top with horizontal bracing, sunburst finish, “U-shaped” magnet pickup with flat blade in bridge position, volume knob, unbound elevated pickguard, laminated flat maple back & sides, “Electar” nameplate on headstock, open-back tuners with white plastic buttons, mahogany neck, unbound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1939)
  • Epiphone Emperor, DeLuxe, and Broadway given frequensator tailpiece
  • Epiphone Triumph given closed-back nickel tuners
  • Epiphone Electar Model M given “Trubalance” pickup with adjustable pole pieces and an added “rhythm” control knob
  • Epiphone Electar Model C given added “rhythm” control knob
  • Stromberg Master 300 introduced (19” wide body, pressed arched spruce top with parallel and transverse top bracing, maple back & sides, 5-piece maple neck, natural or sunburst finish, bound ebony fingerboard with solid block inlays, rosewood adjustable bridge, gold-plated hardware, discontinued in 1955)
  • Stromberg Master 400 introduced (19” wide body, pressed arched spruce top with parallel and transverse top bracing, bound stairstep pickguard, maple back & sides, 5-piece maple neck, natural or sunburst finish, bound ebony fingerboard with slashed-block inlays, rosewood adjustable bridge, gold-plated hardware, pearl inlayed headstock, discontinued in 1955)
  • Martin R-18 given carved top

1938

  • Gibson Electric Upright Bass introduced (maple top with no “f-holes,” “Charlie Christian” single-blade bar pickup in neck position, volume and tone knobs, maple back & sides, sunburst finish, 3-piece maple neck, bound rosewood fingerboard with dot inlays, trapeze tailpiece, approximately 3 made)
  • Gibson ES-100 introduced (14.75” body, carved spruce top with X-bracing and sunburst finish, white square bar pickup in neck position, master volume and tone controls, elevated tortoise pickguard, flat maple back & sides, mahogany neck, open-back strip tuners with white buttons, 24.75″ scale length, unbound rosewood fingerboard with dot inlays, rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1941)
  • Gibson L-5 Advanced changes scale length to 25.5″
  • D’Angelico A-1 introduced (17” wide body, carved spruce top with parallel bracing and sunburst finish, unbound f-holes, bound elevated tortoiseshell pickguard, maple back & sides with mahogany-stained finish, maple neck, bound ebony fingerboard with block inlays, Grover open-back tuners, adjustable ebony bridge, nickel hardware, discontinued in 1943)

1939

  • Gibson ES-250 introduced (17” wide body, carved spruce top with X-bracing, 6-blade “Charlie Christian” bar pickup in neck position, master volume & tone controls, bound elevated pickguard, arched maple back and sides, sunburst finish, 3-piece maple neck, 25.5″ scale length, bound rosewood fingerboard with “open book” inlays, stairstep peghead, Kluson nickel Seal-fast tuners, rosewood adjustable bridge, “Y-shaped” tailpiece, nickel hardware, approximately 90 instruments made, discontinued in 1940)
  • Gibson goes back to two parallel soundbars instead of X-bracing on all “Advanced” archtop models
  • Gibson ES-150 pickup given single blade for bass strings and 3 blades for treble strings
  • Gibson Super 400 and L-5 given redesigned solid metal tailpiece with Vari-Tone Control – a screw that adjusted the break angle of the strings over the bridge
  • Gibson Super 400 given parallel top bracing, “butterfly” Kluson Seal-Fast tuners with plastic buttons or also available with gold Grover Imperial tuners with art deco design, and available in natural finish
  • Gibson Super 400 Premiere introduced (venetian cutaway model, sunburst or natural finish, discontinued in 1983)
  • Gibson L-5 Premiere introduced (cutaway model, discontinued in 1982)
  • Gibson L-5 models now available in natural finish and given gold-plated Kluson Sealfast tuners with plastic buttons
  • Epiphone Zephyr introduced (16.375” wide body, laminated maple top, back & sides with natural finish, single-coil “Master pickup” in bridge position, volume knob & “Mastervoicer” treble & bass knob, unbound elevated tortoiseshell pickguard, “bikini” headstock plate, individual open-back tuners with metal buttons, 3-piece maple neck, bound rosewood fingerboard with rectangle inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1963)
  • Epiphone Century introduced (14.75” wide body, laminated maple top, sunburst finish, “Master pickup” with flat blade in bridge position, volume & tone knobs, unbound elevated black pickguard, laminated mahogany back & sides, “bikini” headstock plate, individual open-back tuners with white plastic buttons, mahogany neck, bound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1969)
  • Epiphone Coronet introduced (14.375″ wide body, laminated mahogany top, sides & back, “Master pickup” with flat blade in bridge position, volume & tone knobs, unbound elevated black pickguard, sunburst finish, mahogany neck, “bikini” headstock plate, individual open-back tuners with white plastic buttons, unbound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1949)
  • Epiphone Emperor and DeLuxe available in natural finish
  • Epiphone Emperor, DeLuxe, and Broadway given Epiphone enclosed 16:1 ratio tuners with marbeloid buttons
  • Epiphone Broadway given maple back and sides
  • D’Angelico New Yorker given gold stairstep tailpiece and conventional “f-holes”
  • D’Angelico Excel given conventional “f-holes”
  • Gretsch Synchromatic 400 introduced (18” wide body, carved spruce top with “cat eye” f-holes and sunburst or natural finish, bound elevated tortoise pickguard, maple back & sides, five-piece maple neck, 26” scale length, bound ebony fingerboard with slashed humptop inlays, rosewood stairstep bridge, harp tailpiece, gold hardware, discontinued in 1955)
  • Gretsch Synchromatic 300 introduced (17” wide body, carved spruce top with “cat eye” f-holes and sunburst or blond finish, bound elevated tortoise pickguard, maple back & sides, five-piece maple neck, 26” scale length, bound ebony fingerboard with slashed humptop inlays, stairstep bridge, “chromatic” harp tailpiece, gold hardware, discontinued in 1955)
  • Gretsch Synchromatic 200 introduced (17” wide body, carved spruce top with “cat eye” f-holes and sunburst or blond finish, bound elevated tortoise pickguard, maple back & sides, five-piece maple neck, 26” scale length, bound rosewood fingerboard with humptop inlays, stairstep bridge, “chromatic” harp tailpiece, gold hardware, discontinued in 1949)
  • Gretsch Synchromatic 160 introduced (17” wide body, carved spruce top with “cat eye” f-holes and sunburst or blond finish (tortoise top binding on blond model), bound elevated tortoise pickguard, maple back & sides, five-piece maple neck, 26” scale length, bound rosewood fingerboard with split block inlays, stairstep bridge, “chromatic” harp tailpiece, nickel hardware, discontinued in 1942)
  • Gretsch Synchromatic 100 introduced (16” wide body, carved spruce top with conventional f-holes and sunburst or blond finish, unbound elevated tortoise pickguard, maple back & sides, three-piece maple neck, 24.75” scale length, bound rosewood fingerboard with block inlays, stairstep bridge, “chromatic” harp tailpiece, nickel hardware, discontinued in 1949)
  • Gretsch Electromatic Spanish introduced (16” wide body, laminated spruce top, single-coil neck pickup, volume & tone controls on the upper bouts, elevated pickguard, laminated maple back & sides, sunburst or blond finish, maple neck, checkerboard bound rosewood fingerboard with colored dot inlays, six-on-a side tuners, rosewood adjustable bridge, trapeze tailpiece, discontinued in 1942)
  • Martin C-2 given hexagonal fingerboard inlays

1940

  • Gibson ES-300 introduced (17” wide body, carved spruce top with parallel bracing, 6.75” slanted pickup with individually adjustable polepieces, master volume & tone controls, bound elevated pickguard, arched maple back & sides, natural finish, 3-piece maple neck, crown peghead inlay, open-back Kluson tuners, 25.5″ scale length, bound rosewood fingerboard with double parallelogram inlays, rosewood bridge, L-7 style tailpiece, nickel hardware, discontinued in 1942)
  • Gibson Super 400 Premiere and L-5 Premiere given elevated fingerboards
  • Gibson ES-250 given regular peghead, amber tuner buttons, varied pattern fingerboard inlays in pearl boxes, flat-bar “V” tailpiece, and available in natural finish
  • Gibson ES-150 given parallel top braces, larger f-holes, two-piece arched maple back, unbound fingerboard, unbound pickguard, rosewood bridge, and metal-covered pickup with adjustable pole pieces in the bridge position
  • Gibson ES-100 given a metal-covered pickup with adjustable pole pieces in the bridge position
  • Gibson offers electric pickup attachment for its acoustic archtop guitars – the EP-22 with volume control and the EP-17 without volume control
  • Gibson L-7 available in natural finish and given split parallelogram fingerboard inlays and crown peghead inlay
  • Gibson L-4 available in natural finish
  • Stromberg Deluxe and G-1 given 17.125” wide body
  • Stromberg guitars given solid carved tops with one diagonal brace and adjustable truss rods

1941

  • Gibson ES-300 given smaller slanted pickup in bridge position and available in sunburst finish
  • Gibson L-12 given crown peghead inlay and tulip tuner buttons
  • Gibson ES-100 renamed ES-125 (discontinued in 1942)
  • Epiphone Zephyr DeLuxe introduced (17.375″ wide body, laminated spruce top, “Master Pickup” in bridge position, volume & “Mastervoicer” treble & bass stacked knob, bound elevated tortoiseshell pickguard, laminated maple back & sides, natural finish, vine peghead inlay, 5-piece maple neck, bound rosewood fingerboard with cloud inlays, adjustable rosewood bridge, frequensator tailpiece, gold hardware, discontinued in 1954)
  • Epiphone Ritz introduced (15.5″ wide body, carved spruce top with parallel bracing, unbound tortoiseshell elevated pickguard, laminated maple back & sides, natural finish, cherry neck, unbound rosewood fingerboard with dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1949)
  • Epiphone Broadway available in natural finish and given cherry neck
  • Epiphone Triumph available in natural finish
  • Epiphone Spartan available in natural finish with white mahogany back & sides, and given tortoiseshell pickguard
  • Epiphone Blackstone available in natural finish and given cherry neck and tortoiseshell pickguard
  • Epiphone Zephyr given closed-back tuners
  • Epiphone Century given larger 15.5″ wide body and tortoiseshell pickguard
  • Epiphone Coronet given “Master pickup” with smaller housing and tortoiseshell pickguard
  • America enters World War II

1942

  • Martin discontinues all archtop models
  • Epiphone Zephyr DeLuxe given individual volume and “Mastervoicer” knobs

1943

  • Gibson ES-300 only available in sunburst finish

1944

  • Epiphone Zephyr pickup moved to middle position and given notched rectangle inlays

1945

  • World War II ends

1946

  • Gibson ES-125 reintroduced (larger 16.25” wide body, laminate mahogany top with parallel bracing and sunburst finish, one single-coil pickup with non-adjustable pole pieces in neck position, 1 volume and 1 tone knob, unbound tortoise grain elevated pickguard, laminate flat mahogany back & sides, mahogany neck, open-back strip tuners with white buttons, 24.75″ scale length, unbound rosewood fingerboard with pearloid trapezoid inlays, rosewood bridge, trapeze tailpiece, nickel hardware, discontinued in 1970)
  • Gibson ES-150 reintroduced (given larger 17” wide laminate all-maple body, single P-90 pickup in neck position, longer 25.5″ scale length, discontinued in 1956)
  • Gibson ES-300 reintroduced (given a laminate all-maple body, single P-90 pickup in neck position, mahogany neck, tuners with plastic keystone buttons, and Kluson “f-hole” tailpiece, discontinued in 1952)
  • Gibson L-48 introduced (16” wide body, mahogany top, back and sides, sunburst finish, unbound elevated tortoise pickguard, mahogany neck, unbound rosewood fingerboard with dot inlays, individual open-back tuners with white buttons, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1971)
  • Epiphone Emperor given rosewood fingerboard
  • Epiphone Century given larger 16.375″ wide body, unbound fingerboard, and pickup moved from bridge position to neck position
  • Stromberg Deluxe Cutaway introduced (Deluxe model with venetian cutaway, discontinued in 1955)
  • Stromberg Master 300 Cutaway introduced (18.5” wide Master 300 model with venetian cutaway, discontinued in 1955)
  • Stromberg Master 400 Cutaway introduced (18.5” wide Master 400 model with venetian cutaway, discontinued in 1955)
  • Gretsch New Yorker 6050 introduced (16” wide body, spruce top w/ sunburst finish, unbound tortoise elevated pickguard, maple back and sides, maple neck, Grover individual open-back tuners with cream plastic buttons, 25.5” scale length, bound rosewood fingerboard w/ block inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1970)

1947

  • Gibson ES-350 introduced (first Gibson electric with a cutaway, 17” wide body, laminated maple top with rounded cutaway, parallel bracing, and sunburst or natural finish, P-90 neck pickup, master volume and tone controls, bound elevated tortoise pickguard, laminated maple back & sides, 3-piece maple neck, 25.5″ scale length, bound rosewood fingerboard with double parallelogram inlays, crown peghead inlay, open-back tuners with keystone buttons, rosewood bridge, trapeze tailpiece with pointed ends, gold hardware, discontinued in 1956)
  • Gibson L-12 Premiere introduced (rounded cutaway, discontinued in 1949)
  • Gibson L-4 given double parallelogram fingerboard inlays and crown peghead inlay
  • Epiphone Zephyr DeLuxe pickup moved to middle position
  • Epiphone Zephyr given 17.375” wide body, “Tone Spectrum” pickup in neck/middle position, and available in sunburst finish
  • D’Angelico Excel available with cutaway
  • Gretsch Synchromatic 160 reintroduced with ebony fingerboard and gold hardware

1948

  • Gibson introduces pickguard-mounted pickups as an option (either one or two pickups). Often referred to as a “McCarty” pickup unit
  • Gibson Super 300 introduced (18” wide body, carved spruce top, bound elevated pickguard, maple back & sides, sunburst finish, 3-piece maple neck, crown peghead inlay, Kluson Deluxe tuners, 25.5” scale length, bound rosewood fingerboard with parallelogram inlays, compensated rosewood bridge, “Y” shaped tailpiece with no varitone or engraving, nickel hardware, discontinued in 1955)
  • Gibson Super 400 Premiere (400P) renamed Super 400 Cutaway (400C)
  • Gibson L-5 Premiere (L-5P) renamed L-5 Cutaway (L-5C)
  • Gibson L-7C introduced (cutaway version, discontinued in 1971)
  • Gibson L-7E, L-7ED, L-7CE and L-7CED models introduced (same specs as acoustic L-7 models, but with attached McCarty pickup units with either one or two pickups, discontinued in 1954)
  • Gibson ES-300 & ES-350 given 2 P-90 pickups, 2 volume knobs and master tone knob
  • Epiphone Zephyr DeLuxe Regent introduced (cutaway, “Tone Spectrum” pickup in neck/middle position, and pearl and abalone V-block fingerboard inlays, discontinued in 1970)
  • D’Angelico New Yorker available with cutaway
  • Gretsch 400 Synchromatic available with cutaway

1949

  • Gibson ES-175 introduced (first guitar with florentine cutaway, 16.25” wide body, laminated maple top with parallel braces, laminated maple back & sides, sunburst or natural finish, P-90 pickup in neck position, 1 volume & 1 tone knob, bound elevated pickguard, mahogany neck, bound rosewood fingerboard with double parallelogram inlays, 24.75″ scale length, crown peghead inlay, Kluson Deluxe tuners with keystone buttons, rosewood bridge, trapeze tailpiece with pointed ends, nickel hardware)
  • Gibson ES-5 introduced (first guitar to have 3 P-90 pickups, 3 volume and 1 master tone knob, 17” wide body, laminated maple body with venetian cutaway, sunburst or natural finish, bound elevated pickguard, 3-piece maple neck, 25.5″ scale length, bound rosewood fingerboard with pearl block inlays, crown peghead inlay, Kluson Super tuners with keystone buttons, rosewood bridge, trapeze tailpiece with pointed ends, gold plated hardware, discontinued in 1961)
  • Gibson L4-C introduced (L-4 with Florentine cutaway and laminated maple back & sides, discontinued in 1971)
  • Gibson ES-150 given bound fingerboard with trapezoid inlays
  • Gibson ES-125 given dot fingerboard inlays and closed-back strip tuners
  • Gibson ES-350 given closed-back Kluson Deluxe tuners
  • Gibson Super 400 and L-5 given rosewood fingerboard
  • Gibson Super 300 given double parallelogram fingerboard inlays
  • Epiphone Devon introduced (17.375″ wide body, carved spruce top with parallel bracing, bound tortoise elevated pickguard, mahogany sides, laminated mahogany back, dark cherry finish with sunburst top, 3-piece cherry neck, oval peghead inlay, open-back tuners, rosewood fingerboard with oval inlays, adjustable rosewood bridge, frequensator tailpiece, nickel hardware, discontinued in 1957)
  • Epiphone Kent introduced (15.375″ wide body, laminated mahogany top, sides & flat back, larger non-adjustable “Tone Spectrum” pickup in bridge position, volume & tone knobs, unbound elevated tortoiseshell pickguard, sunburst finish, mahogany neck, “bikini” headstock plate, open-back tuners with white plastic buttons, unbound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1954)
  • Epiphone Emperor, DeLuxe, Broadway, and Triumph Cutaway models introduced (later called Regent)
  • Epiphone DeLuxe given 18.5″ width body
  • Epiphone Zenith given maple back & sides, cherry neck, tortoiseshell pickguard, and availabel in natural finish
  • Epiphone Zephyr given New York pickup in neck position and 3-piece cherry neck
  • Epiphone Zephyr DeLuxe pickup moved to neck position and available in sunburst finish
  • Epiphone Zephyr DeLuxe Regent available with 2 “Tone Spectrum” pickups and 3-way pickup selector switch, and available in sunburst finish
  • Gretsch reintroduces the 6185 Electromatic Spanish with a single-coil DeArmond neck pickup, volume & tone controls on the lower bout, 3-on-a-side tuners, white dot inlays, sunburst finish, and black & white binding (discontinued in 1953)
  • Gretsch Synchromatic 100 renamed Synchromatic 6014 (sunburst) and Synchromatic 6015 (natural)
  • Gretsch New Yorker 6050 given unbound fingerboard w/ dot inlays

1950

  • Gibson ES-5 given bound f-holes
  • Gibson ES-125 given P-90 pickup with adjustable pole pieces, laminated maple top, and arched laminated maple back & sides
  • Gibson Super 400 and L-5 fingerboard changes back to ebony
  • Epiphone Zephyr Emperor Vari Tone introduced (cutaway Emperor with 3 “New York pickups”, 1 volume and 1 tone knob, “Vari Tone” control plate with 6 pickup combination pushbuttons, laminated spruce top, and laminated maple back & sides, discontinued in 1968)
  • Epiphone Zephyr DeLuxe available with 2 “New York” pickups and 3-way pickup selector switch
  • Epiphone Zephyr DeLuxe Regent only available with 2 “New York” pickups
  • Epiphone Zephyr available with rounded cutaway (Zephyr Regent)
  • Epiphone Century given New York pickup in neck position

1951

  • Gibson L-5CES introduced (2 P90 pickups, first guitar to have 3-way pickup selector & 2 volume and 2 tone controls, sunburst or natural finish)
  • Gibson Super 400-CES introduced (2 P90 pickups, 3-way pickup selector, 2 volume & 2 tone knobs, sunburst or natural finish)
  • Gretsch Electro II introduced (16” wide body, laminated spruce top, 2 DeArmond single-coil pickups, 2 volume and 1 tone knob, bound elevated pickguard, maple back, sides & neck, bound rosewood fingerboard with block fingerboard inlays, rosewood stairstep bridge, trapeze tailpiece, nickel hardware, sunburst (6187), blonde (6188), discontinued in 1953)
  • Gretsch Electro II Cutaway introduced (17” wide body, laminated spruce top with venetian cutaway, 2 DeArmond single-coil pickups, 2 volume and 1 tone knob, bound elevated pickguard, maple back, sides & neck, bound rosewood fingerboard with block fingerboard inlays, longer 25.5” scale length, rosewood stairstep bridge, “harp” tailpiece, gold hardware, sunburst (6192) or blonde (6193) finish, discontinued in 1978)
  • Gretsch Synchromatic 6030 introduced (17” wide body, spruce top with “f” holes and venetian cutaway, bound elevated tortoise pickguard, maple back, sides & neck, bound rosewood fingerboard with block inlays, rosewood stairstep bridge, “chromatic” harp tailpiece, gold hardware, sunburst or natural (6031) finish, discontinued in 1960)
  • Gretsch Synchromatic 400 given conventional “f-holes” and G-tailpiece, and renamed Synchromatic 6040 (sunburst) and 6041 (natural)
  • Gretsch Synchromatic 300 given conventional “f-holes” and G-tailpiece, and renamed Synchromatic 6036 (sunburst) and 6037 (natural)
  • Gretsch 6185 Electromatic Spanish available in natural finish

1952

  • Gibson ES-295 introduced (16.25” wide body, laminated maple top, back & sides with florentine cutaway and gold finish, 2 P-90 pickups with cream covers, 3-way selector switch, 2 volume and 2 tone knobs, cream pickguard with gold floral design, mahogany neck, crown peghead inlay, 24.75″ scale length, bound rosewood fingerboard with double parallelogram inlays, Kluson deluxe keystone tuners, Les Paul trapeze-style bridge, gold hardware, discontinued in 1959)
  • Gibson ES-350 given 2 volume knobs and 2 tone knobs, and a 3-way pickup selector switch
  • Gibson L-48 given spruce top, maple back, mahogany sides, and 3-on-a-plate Kluson Deluxe tuners
  • Epiphone DeLuxe goes back to 17.375″ width body
  • Epiphone Broadway given flower peghead inlay
  • Gretsch Electro II given master volume knob on upper bout
  • Gretsch Electro II cutaway given Melita bridge and master volume knob on upper bout
  • Stromberg G-5 introduced (17” wide body, carved spruce top with venetian cutaway, bound tortoiseshell pickguard, solid maple back and sides, sunburst or natural finish, 23.5” short scale length, 5-piece maple neck, bound ebony fingerboard with block inlays, Kluson Seal Fast tuners, rosewood adjustable bridge, gold-plated hardware, discontinued in 1955)
  • Hofner President introduced (16.25” wide body, carved spruce top with venetian cutaway, unbound elevated tortoiseshell pickguard, maple back & sides, blonde or brunette finish, 5-piece maple neck, bound rosewood fingerboard with triple-dot inlays, vine-flower pehead inlay, bone saddle on ebony base, “compensator” tailpiece, nickel hardware, discontinued in 1973)

1953

  • Gibson L-5CES & Super 400-CES changes pickups from P-90s to Alnico Vs and given tune-o-matic bridge
  • Gibson ES-175D available with 2 P-90 pickups, 3-way pickup selector switch, and 2 volume & 2 tone knobs
  • Epiphone Zephyr available with DeArmond pickup
  • Gretsch electric models given truss rods
  • Gretsch 6190 introduced (16” wide body, laminated spruce top with venetian cutaway, unbound elevated tortoise pickguard, 1 DeArmond single-coil pickup, volume & tone knobs, laminated maple back & sides, maple neck, bound rosewood fingerboard with block inlays, Melita bridge, trapeze tailpiece, sunburst (6190) or blonde (6191) finish, discontinued in 1958)
  • Grestch Electro II Cutaway renamed Country Club (given laminated maple top, 3-way pickup selector switch, 3-piece maple neck, bound ebony fingerboard, Melita bridge, “G” tailpiece, and available in Cadillac Green finish (6196))
  • Gretsch 6185 Electromatic Spanish replaced with the Corvette model (6182 in sunburst finish and 6183 in natural finish, discontinued in 1956)
  • Guild X-500 Stuart introduced (17” wide body, laminated spruce top with Venetian cutaway, bound elevated pickguard, 2 single-coil pickups, 3-way pickup selector switch, 2 volume & 2 tone knobs, laminated maple back & sides, 5-piece maple neck, bound rosewood fingerboard with pearl V-block inlays, harp tailpiece, gold hardware, sunburst or blonde (X-550) finish, discontinued in 1995)
  • Guild X-350 Stratford introduced (17” wide body, laminated spruce top with Venetian cutaway, bound elevated pickguard, 3 single-coil pickups, 1 volume & 1 tone knob, multi-switch pickup changer with 6 push-buttons, laminated maple back & sides, 3-piece maple neck, bound rosewood fingerboard with block inlays, 25.5” scale length, harp tailpiece, gold hardware, sunburst or blonde (X-375) finish, discontinued in 1964)
  • Hofner Committee introduced (17.5” wide body, carved spruce top with venetian cutaway, clear elevated pickguard, birdseye maple back & sides, 5-piece maple neck, blonde or brunette finish, bound ebony fingerboard with floral inlays, “frondose” peghead with tulip inlays, ebony adjustable bridge, nickel hardware, discontinued in 1972)

1954

  • Gibson Super 300C introduced (cutaway version of Super 300, discontinued in 1958)
  • Epiphone Zephyr Emperor Vari Tone given laminated maple top and renamed “Emperor Electric”
  • Epiphone Zephyr DeLuxe Regent renamed “DeLuxe Electric”
  • Epiphone Zephyr renamed “Zephyr Electric” and Zephyr Regent renamed “Zephyr Electric Cutaway”
  • Epiphone Devon and Century available in natural finish
  • Epiphone Zenith given oval pearl peghead inlay
  • Gretsch 6190 renamed Streamliner (given laminated maple top, thinner 2.75” body, 1 DeArmond pickup in neck position, lucite pickguard, “G” tailpiece, Jaguar Tan or Bamboo Yellow top with Copper mist back, sides and neck (6189), sunburst (6190) or blonde (6191) finish)
  • Gretsch Country Club given humptop block inlays, a gold plastic raised pickguard, and Grover Imperial “stairstep” tuners
  • Guild X-175 Manhattan introduced (17” wide body, laminated spruce top with Venetian cutaway, bound elevated pickguard, 2 single-coil pickups, 1 volume & 1 tone knob, 3-way pickup selector switch, laminated maple back & sides, 3-piece mahogany neck, unbound rosewood fingerboard with block inlays, harp tailpiece, chrome hardware, sunburst or blonde finish, discontinued in 1985)
  • Guild X-150 Savoy introduced (17” wide body, spruce top w/ rounded cutaway, bound elevated pickguard, 1 single-coil neck pickup, 1 volume and 1 tone knob, maple back and sides, 3-piece mahogany neck, individual open-back tuners with metal buttons, 25.5” scale length, bound rosewood fingerboard w/ block inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, sunburst, gold or blonde finish, discontinued 1965)
  • Guild X-50 Granada introduced (16-3/8” wide body, laminated maple top, back and sides, unbound elevated pickguard, 1 single-coil neck pickup, 1 volume and 1 tone knob, 3-piece mahogany neck, open-gear strip tuners with metal buttons, 25.5” scale length, unbound rosewood fingerboard w/ dot inlays, adjustable rosewood bridge, trapeze tailpiece, nickel hardware, sunburst finish, discontinued 1970)

1955

  • Gibson ES-5 Switchmaster introduced (3 P-90 pickups, 4 position pickup selector switch (1, 2, 3, ALL), 3 volume and 3 tone knobs, gold tune-o-matic bridge on rosewood base, discontinued in 1962)
  • Gibson Byrdland introduced (first thinline archtop guitar, 17” wide & 2.25” thinline body, carved spruce top with parallel bracing and venetian cutaway, bound tortoise pickguard, 2 Alnico V pickups, 3-way pickup selector switch, 2 volume & 2 tone knobs, maple back & sides, sunburst or natural finish, 23.5” short scale length, 1-5/8″ nut width, 3-piece maple neck, bound ebony fingerboard with block inlays, 1-5/8” nut width, flowerpot peghead inlay, Kluson Sealfast tuners with metal keystone buttons, tune-o-matic bridge on rosewood base, triple-loop tubular tailpiece, gold hardware)
  • Gibson ES-350T introduced (17” wide & 2.25” thinline body, laminated maple body with parallel bracing and venetian cutaway and sunburst or natural finish, 2 P-90 pickups, 3-way pickup selector switch, 2 volume & 2 tone knobs, 23.5” short scale length, 3-piece maple neck, bound rosewood fingerboard with double parallelogram inlays, 1-5/8″ nut width, crown peghead inlay, Kluson Deluxe tuners with plastic keystone buttons, tune-o-matic bridge on rosewood base, wire loop tailpiece, gold hardware, discontinued in 1963)
  • Gibson ES-225T introduced (16.25” wide & 1.75” thinline body, laminated maple body with florentine cutaway and sunburst finish, 1 P-90 pickup in middle position, 1 volume and 1 tone knob, bound elevated pickguard, mahogany neck, bound rosewood fingerboard with dot inlays, Kluson Deluxe tuners with white oval buttons, Les Paul trapeze-style bridge, nickel hardware, discontinued in 1959)
  • Gibson ES-130 introduced (same specifications as ES-125 but with a bound fingerboard with trapezoid inlays and a bound pickguard, discontinued in 1958)
  • Gibson ES-350 given tune-o-matic bridge
  • Gibson’s 16” electric archtops (ES-295, ES-175, ES-125) move from 19-frets to 20-frets
  • Epiphone Harry Volpe Model introduced (15.25″ wide body, laminated mahogany top, sides & back, non-adjustable DeArmond pickup in neck position, volume & tone knobs, unbound elevated tortoiseshell pickguard, sunburst or natural finish, mahogany neck, metal headstock plate, open-back strip tuners with white plastic buttons, unbound rosewood fingerboard with dot inlays, rosewood adjustable bridge, trapeze tailpiece, nickel hardware, discontinued in 1957)
  • Epiphone Devon given brass Epiphone nameplate which replaced the headstock inlay
  • Gretsch 6136 White Falcon introduced (17” wide body, spruce top, gold elevated pickguard, Two DeArmond single coil pickups, 3-way pickup selector switch, 3 knobs on lower bout (volume, volume, tone), 1 knob on upper bout (master volume), Laminated maple back & sides, White finish with gold sparkle binding, Maple neck, bound ebony fingerboard with block inlays w/ engraved birds, longer 25.5” scale length, Grover Imperial tuners, melita bridge, Cadillac “G” tailpiece, 24K gold-plated hardware, approx 12 made, discontinued in 1981)
  • Gretsch 6120 Chet Atkins Hollowbody introduced (15.5” wide body, Laminated maple top with Amber Red finish and branded “G”, Two DeArmond single coil pickups, 3-way pickup selector switch, 3 knobs on lower bout (volume, volume, tone), 1 knob on upper bout (master volume), gold elevated pickguard, laminated maple back & sides, maple neck, bound rosewood fingerboard with block inlays w/ cows and cactus, 24.5” scale length, brass nut, aluminum bridge on rosewood base, Bigsby vibrato, gold hardware, discontinued in 1980)
  • Gretsch 6199 Convertible introduced (17” wide body, spruce top with Lotus Ivory finish, One floating DeArmond single coil pickup in neck position, volume and tone controls mounted on gold elevated pickguard, maple back, sides, and neck with Copper Mist finish, bound rosewood fingerboard with humptop inlays, 25.5” scale length, Grover Imperial tuners, rosewood bridge, “G” tailpiece, gold hardware, discontinued in 1967)
  • Gretsch Synchromatic 6040 (sunburst) and 6041 (natural) renamed Eldorado (discontinued in 1960)
  • Gretsch Synchromatic 6030 (sunburst) and 6031 (natural) renamed Constellation and given symmetrical bridge and “G” tailpiece
  • Gretsch Synchromatic 6014 (sunburst) and Synchromatic 6015 (natural) renamed Corsair (discontinued in 1960)
  • Gretsch Streamliner given humptop fingerboard inlays
  • Gretsch Corvette available in Jaguar Tan finish (6184)
  • Guild X-150 Savoy given harp tailpiece
  • Hofner President & Committee Electric introduced (2 rosewood single-coil pickups, 2 volume & 2 tone knobs on oval plate)

1956

  • Gibson L-5CES and Super 400-CES given Kluson Sealfast tuners with metal keystone buttons
  • Gibson ES-5 given tubular tailpiece with double-loop design
  • Gibson ES-125 offered as a thinline electric (ES-125T)
  • Gibson ES-175 given T-tailpiece with zigzag tubes
  • Gibson ES-225T available in natural finish
  • Gibson ES-225TD introduced with 2 P-90 pickups, 3-way selector switch, and 2 volume & 2 tone knobs
  • Gibson ES-130 renamed ES-135
  • Gretsch 6120 given plain block inlays
  • Guild A-500 introduced (acoustic version of X-500 with solid spruce top, discontinued in 1969)
  • Guild A-350 introduced (acoustic version of X-350 with solid spruce top, discontinued in 1973)
  • Guild A-50 introduced (acoustic version of X-50 with 16-1/4” wide body, 24.75” scale length, discontinued 1972)
  • Guild CA-100 Capri introduced (16-3/8” wide body, solid spruce top w/ Florentine cutaway, unbound elevated pickguard, laminated maple back and sides, 3-piece mahogany neck, “G” peghead inlay, 24.75” scale length, individual open-gear tuners w/ metal buttons, bound rosewood fingerboard w/ block inlays, rosewood adjustable bridge, nickel hardware, sunburst or blonde finish, discontinued 1973)
  • Guild CE-100 introduced (16.25” wide body, maple top w/ Florentine cutaway, bound elevated pickguard, 1 single-coil neck pickup, 1 volume and 1 tone knob, maple back and sides, 3-piece mahogany neck, “G” peghead inlay, 24.75” scale length, individual open-gear tuners w/ metal buttons, bound rosewood fingerboard w/ block inlays, rosewood adjustable bridge, chrome hardware, sunburst finish, discontinued 1985)
  • Guild X-50 Granada given shorter 24.75” scale length
  • Guild X-150 Savoy given shorter 24.75” scale length and “G” peghead inlay

1957

  • Gibson ES-175, ES-295, ES-350T, and ES-5 Switchmaster change pickups from P-90s to Humbuckers
  • Gibson L5-CES, Super 400-CES, and Byrdland change from Alnico V pickups to Humbuckers
  • Gibson ES-125T offered with 2 P90 pickups (ES-125TD, discontinued in 1963)
  • Gibson L-48 given laminated mahogany top, back and sides
  • Gretsch 6120 given humptop inlays and branded “G” is removed
  • Gretsch White Falcon given humptop inlays
  • Gretsch Corvette available in ivory finish with grey mist back & sides and rounded cutaway (Model 6187)
  • Guild CA-100 Capri and CE-100 given Chesterfield peghead inlay
  • Hofner 500/5 Bass introduced (arched spruce top, maple back and sides, 2 single-coil rosewood pickups, 2 volume & 2 tone knobs on oval plate, brown tortoise-shell pickguard, blonde or sunburst finish, 3-piece maple neck, vine peghead inlay, open-gear individual tuners with white plastic buttons, unbound rosewood fingerboard with dot inlays, ebony bridge with metal saddles, wire tailpiece, nickel hardware, discontinued in 1979)

1958

  • Gibson ES-5 Switchmaster given Grover rotomatic tuners
  • Gibson Super 400C and L-5C Kluson Sealfast tuners changed from plastic buttons to gold-plated metal buttons
  • Epiphone Century given thinline body and maple back & sides
  • Gretsch redesign on all models
    • Introduces Filtertron humbucking pickups, 3-way tone switch replaces tone knob, ebony fingerboard replaces rosewood, “Neo Classic” thumbprint fingerboard inlays, metal bar bridge or “space control” roller bridge replace melita bridges
  • Gretsch introduces trestle bracing on its archtop electric models
  • Gretsch introduces Project-O-Sonic stereo electronics on the White Falcon and Country Club – three strings captured by each pickup and sent to a separate output. The controls included two 3-way tone switches (one for each pickup) and a 3-way pickup and amp combination selector switch
  • Gretsch 6122 Chet Atkins Country Gentleman introduced (17” wide body, 2 Filtertron Humbucking pickups, 3-way pickup selector and master tone selector switches, 2 individual pickup volume knobs, master volume knob, thinline laminated maple body with mahogany brown finish, painted “f” holes, gold elevated pickguard, short 24.25” scale length, maple neck, bound ebony fingerboard with thumbprint inlays, metal nut, Grover Imperial tuners, metal bar bridge, Bigsby vibrato, gold plated hardware, discontinued in 1980)
  • Gretsch 6119 Chet Atkins Tennessean introduced (15.5” wide body, 1 Filtertron humbucking bridge pickup, master volume knob and 3-position tone switch, laminate maple body with cherry red finish, black elevated pickguard, maple neck, unbound ebony fingerboard with thumbprint fingerboard inlays, bone nut, zero fret, metal bar bridge, Bigsby vibrato, chrome hardware, discontinued in 1978)
  • Gretsch Single Anniversary introduced to commemorate Gretsch’s 75th year (15.5” wide body, 1 Filtertron humbucking neck pickup, master volume knob, 3-way tone selector switch, laminated maple body with sunburst (with gold elevated pickguard) (6124) or 2-tone smoke green finish (with green elevated pickguard) (6125), maple neck, unbound ebony fingerboard with thumbprint inlays, roller bridge, “G” tailpiece, discontinued in 1975)
  • Gretsch Double Anniversary introduced to commemorate Gretsch’s 75th year (15.5” wide body, 2 Filtertron humbucking pickups, 3-way pickup selector and master tone selector switches, 2 individual pickup volume knobs, master volume knob, laminated maple body with sunburst (with gold elevated pickguard) (6117) or 2-tone smoke green finish (with green elevated pickguard) (6118), maple neck, unbound ebony fingerboard with thumbprint inlays, roller bridge, “G” tailpiece, discontinued in 1975)
  • Gretsch Clipper introduced (15.5” wide body, 1 DeArmond single-coil pickup in neck position, volume and tone knobs, laminated maple body with Bamboo Yellow top and grey back, sides & neck (with grey elevated pickguard) (6185) or sunburst (with gold elevated pickguard) (6186) finish, maple neck, unbound rosewood fingerboard with dot inlays, 24.5” scale length, ebony bridge, “G” tailpiece, discontinued in 1975)
  • Gretsch Streamliner volume knob relocated to the upper treble bout
  • Guild A-150 introduced (acoustic version of X-150 with solid spruce top, 24.75” scale length, Chesterfield peghead inlay, harp tailpiece, nickel hardware, discontinued 1973)
  • Guild A-500 given ebony fingerboard and bridge
  • Guild X-350 given laminated maple top and 24.75 scale length
  • Guild X-175 given additional volume & tone knobs
  • Guild Slim Jim T-100 introduced (16.25″ wide and 2” deep thinline maple hollow body with 2 f-holes and florentine cutaway, sunburst or blonde finish, “Franz” single coil neck pickup, 1 volume and 1 tone knob, black elevated pickguard, mahogany neck, open-gear strip tuners with metal buttons, 24.75” scale length, bound rosewood fingerboard with dot inlays, rosewood height-adjustable bridge, harp tailpiece, nickel hardware, discontinued in 1973)
  • Guild Slim Jim T-100D introduced (2 “Franz” single coil pickups, 3-way pickup selector switch, 2 volume and 2 tone knobs, discontinued in 1973)
  • Guild CE-100 available in black finish
  • Hofner electric archtops given black plastic pickup covers and rectangular control plate with 2 volume knobs, 2 pickup on/off sliders and 1 volume boost slider

1959

  • Gibson L-5CT introduced (24.75” scale length, thinner body depth of 2.125”, cherry red finish, discontinued in 1961)
  • Gibson ES-175 no longer available in natural finish
  • Gibson L-5CES, Super 400-CES, and Byrdland available with Stereo Varitone circuitry
  • Gibson ES-350T renamed ES-350TD and given regular 1-11/16″ nut width
  • Epiphone Emperor Electric given 1.8125″ thinbody, 3-way pickup selector switch, 2 volume & 2 tone knobs, Grover Imperial tuners, ebony fingerboard, and tune-o-matic bridge
  • Epiphone Zephyr Electric given 1.875″ thinbody, 2 New York pickups, 3-way pickup selector switch, 2 volume & 2 tone knobs, mahogany neck, slotted block fingerboard inlays, and available with venetian cutaway
  • Epiphone Broadway given 2 New York pickups, 3-way pickup selector switch, 2 volume & 2 tone knobs, laminated maple body, and a venetian cutaway
  • Gretsch White Falcon Project-O-Sonic adds an additional two 3-position pickup selector switches for a total of 54 tonal variations
  • Gretsch 6120 and Country Gentleman given zero fret and bone nut
  • Gretsch Anniversary given nameplate on peghead and bigsby vibrato
  • Gretsch 6119 Convertible renamed Sal Salvador
  • Gretsch Clipper given trapeze tailpiece and available in Blond finish (6187)
  • Guild X-50 Granada given 1-piece mahogany neck
  • Guild A-50 given 1-piece mahogany neck and available in blonde finish
  • Guild X-150 Savoy no longer available in gold finish
  • Guild CE-100D introduced (2 pickup version of CE-100)
  • Hofner “Golden Hofner” introduced (18” wide body, carved spruce top with venetian cutaway, clear elevated pickguard, maple back & sides, blonde finish, 11-piece maple neck, bound ebony fingerboard with floral inlays, “frondose” peghead with tulip inlays, ebony adjustable bridge, gold hardware, less than 100 made, discontinued in 1962)
  • Hofner “Golden Hofner” Electric introduced (2 “Toaster” pickups, Rectangular control plate with 2 volume knobs, 2 pickup on/off sliders and 1 volume boost slider)

1960

  • Gibson Super 400-CES, L-5CES, Byrdland, ES-350TD and ES-5 Switchmaster given pointed “Florentine” cutaway
  • Gibson ES-125T offered with Florentine cutaway and cherry sunburst finish (ES-125TC & ES-125TCD)
  • Gretsch White Falcon given leather back pad and double string mutes
  • Gretsch Country Club given new Project-O-Sonic electronics (additional two 3-position pickup selector switches)
  • Gretsch Anniversary given Hi-Lo Tron pickups and rosewood fingerboard, and no longer featured trestle bracing
  • Gretsch 6120 given thinner 2.5” deep body
  • Gretsch Clipper given Hi-Lo Tron pickup
  • Guild Starfire introduced (16-3/8″ wide and 2” deep single-cutaway laminated mahogany or maple hollowbody with florentine cutaway and cherry red finish, chesterfield peghead inlay, mahogany neck, 24.75″ scale length, bound rosewood fingerboard with dot inlays, adjustomatic bridge on rosewood base, harp tailpiece, chrome hardware)
    • Starfire I (DeArmond single-coil neck pickup, 1 volume and 1 tone control, discontinued in 1964)
    • Starfire II (2 DeArmond single-coil pickups, 3-way pickup selector switch, 2 volume and 2 tone controls, discontinued in 1976)
    • Starfire III (2 DeArmond single-coil pickups, 3-way pickup selector switch, 2 volume and 2 tone controls, Bigsby vibrato, discontinued in 1973)
  • Guild A-350 given ebony fingerboard and bridge
  • Guild CA-100 Capri given harp tailpiece
  • Hofner 500/3 Bass introduced (arched spruce top, maple back and sides, single-coil “toaster” neck pickup, 1 volume knob & 2 pickup on/off sliders and 1 volume boost slider, brown tortoise-shell pickguard, blonde or sunburst finish, 3-piece maple neck, treble clef inlay, open-gear individual tuners with white plastic buttons, unbound rosewood fingerboard with dot inlays, ebony bridge with metal saddles, wire tailpiece, nickel hardware, discontinued in 1964)

Other Notable Archtops

  • 1957 Kay Barney Kessel Jazz Special (2 single-coil “Gold K” pickups, 3-way pickup selector switch, 2 volume and 2 tone controls, 16” wide and 3.5” deep single-cutaway hollowbody with laminated spruce and laminated maple back and sides, natural or sunburst finish, bound rosewood fingerboard with block inlays, melita bridge, injection molded plastic “Kelvinator” peghead, grover imperial tuners, nickel hardware, discontinued in 1960)
  • 1962 Guild DE-500 (2 DeArmond single-coil pickups, 3-way pickup selector switch, 2 volume and 2 tone controls, master volume control, 2” deep hollowbody with laminated spruce top, maple back & sides, natural or sunburst finish, mahogany neck, bound rosewood fingerboard with block and triangle inlays, Bigsby vibrato, gold hardware, discontinued in 1969)
  • 1963 Guild DE-400 (2 DeArmond single-coil pickups, 3-way pickup selector switch, 2 volume and 2 tone controls, master volume control, 2” deep hollowbody with laminated spruce top, maple back & sides, natural or sunburst finish, maple neck, bound rosewood fingerboard with block inlays, Bigsby vibrato, nickel hardware, discontinued in 1968)