Gibson Hummingbird

2004 Boseman made model, great case and humidifier....ALL QUALITY!!!

When I first played this guitar, I was disapointed. It sounded GOOD, but not great. I own several cheaper boxes and this one did not eclipse ANY of them! In frustration, I ditched my pick and began to finger pluck.....then it hit me like a wet towel across the ass..the tone, the vibration, the FUNK! This guitar is made to be expressive, a pick tends to leaven that. With the finger-picking, everything falls into place! You have to play one to understand. It can do anything.

Everything is well done, yet it seems to me that all Gibsons are initially set up with rather high action, even with a set of GHS boomer extra lites it seems tough. For this kind of jack I feel I shouldn't have to take it to a guitar tech and toss even more dough.

I will never use this axe in a live situation.

Huh?

I like it.....buuuut.... I am more of an electric string butcher, so this guit is not my bread and butter. Yet, I have always wanted one, now I have it. I own @ 15 guitars, and as total as this guitar is, it can't crack my top six. It's a flat top...a good sounding, well built flat top, but still a flat top. Want the classic Gibby sound without a third mortgage? Check out 70's Epiphones....they are damned near free.

This review is for my 1968 Gibson Hummingbird produced in Kalamazoo. It is the oval orange label model (one of the last great ones!). I have owned this one for ten years and bought it from the shop where Noel Gallagher (Oasis guitarist) bought many of his. The top is solid spruce and the back and sides are solid mahogany. It has an adjustable rosewood saddle sat on a rosewood bridge. This gave me a few problems when fitting an EMG active under-saddle pick-up as you can imagine, however, I'm glad that I did. It has all the original Kluson machine heads that have a gold finish to them (now faded). The neck is mahogany with rosewood fretboard (20 frets). The neck is very, very slim with double trapezoid MOP inlay and cream binding. The sctatch plate is the thick plastic variety and has lifted. It has been rather poorly fixed with small screws (I believe that this is not uncommon). The finish to the body is nicely glazed with checking and no cracks, splits or repairs evident. The neck has been refitted professionally at some time with a very slight fillet piece on the top of the body. the 9 score is for the slim neck lasting so long, as with the original case etc.

I have four other top end acoustic guitars (no names but you can guess) but, have never been able to put this one away for safe keeping because it sounds so good. I reherse with it, gig with it and have even taken it on holiday with me! It has that beautiful mellowed sound without any faults. I get calls from fellow musicians asking to borrow it for recording sessions. That is how high this guitar is regarded!

I was only born in 1968 so the guitar is as old as me! I therefore can't comment on what it was like from new, however, it is of typical quality Gibson materials and finish that have lasted so well. With the sound it has now, they must have done something right.

When I first bought it, the thin neck gave me real concerns. So much so that I use XL strings, but the sound is such quality that I do not think it matters. I've gigged it for 10 years and it has never let me down. I sold my Takamine Ltd 97 which I bought just to give this one a bit of a rest.

It's too old for this category.

If I came home and my house was on fire, I'd have to go in to get this guitar out! I once nearly lost my head and was about to trade it in for a great Martin M-35(I think it was) when the guy in the shop pulled me to one side and said "keep the Hummingbird". If ever stolen I would hunt it down as it would be bound to turn up back in the music industry. So, for all those who like to knock the Hummingbird fans, try a few, get an old one from the 60's, and don't look back. p.s. If you want to buy a new one, try at least three as I have recently done this and two of them were great. By the way, mine is not for sale!

2003 Bozeman. Mint condition, Solid Sitka maple top, solid mahogony sides and back, rosewood board. Price included OHSC.

This guitar has a beautiful, complex tone that sings at all volumes. With this guitar, I use Martin SP 80/20 light strings and Jim Dunlop Shell Classics (Heavy) picks. It sounds exactly like a Hummingbird is supposed to sound (Listen to "Angie" by the Stones - that's the sound).

This guitar could be an outstanding choice for someone's one and only acoustic, depending of course upon the style of music usually played. I will say that it sounds less distinctive (that is, less like a Hummingbird) when taken outside it's traditional role. It sounds very good when fingerpicked or played hard or very quietly. Its niche is soft - to -medium loud flatpicking/strumming. The Hummingbird's strong point is its richness and complexity when chording, so that's when it sounds like what you expect it to sound like. If you are looking for a one-guitar-fits-all -- buy a Martin HD28. But don't expect it to sound like a Hummingbird, 'cause it never will. Neither will a HUmmingbird ever sound like a Martin. And that's a good thing for both Martin and Gibson! All that said, the Bird is a VERY versitile instrument.

A word of caution about buying used and vintage Hummingbirds. The early '60s HUmmingbird sound is the sound almost everyone expects out of a Hummingbird. But not all Hummingbirds have that sound. Unless you have played a particular Hummingbird that you are in love with, stay away from Hummingbirds made after 1965 and before Gibson opened the Bozeman, Montana workshop. The Bozeman Birds are made by the former Flatiron luthiers who impressed Gibson so much that Gibson bought the comapany. They have recreated the early '60s sound.

Of course, the action is what you make it. The guitar was entirely playable when I got it.

The fit and finish are flawless so far as anyone so far can tell. The Teaburst finish is beautiful. Some may be disappointed that it isn't the traditional cherry sunburst, but I was glad it wasn't -- I think the teaburst is beautiful and more elegant.

The day after I got it, I took it to be set up and have the saddle changed to bone. I didn't have a new nut made. The saddle change was not a negative reaction to anything I heard when I first got the guitar, I have bone on all my acoustics.

I find the neck very comfortable (I like substantial necks). The tuners are fine. I doubt I'll replace them.

We'll see, right? So far, so good. This is clearly a guitar that's made for playing, and that includes giging and recording. It's a solid instrument.

I'd never show up at a gig without a backup, no matter what instrument I was playing.

N/A -- I haven't needed customer support on this instrument.

This guitar is everything I expected it to be, and will only get better with age. It was an excellent investment as well.

I believe all great instruments have a distinctive sound. Some of those sounds are famous, and for a reason. I also believe it's a mistake to try to make an instrument sound like something it's not, since all instruments sound best as what they are (duh). A great Hummingbird has a distinctive sound and sounds absolutely magical when used to get that sound. Bozeman Birds are great instruments, and worth every penny.

I purchased a 2003 60's Historic Collection Hummingbird from Guitar Emporium in Louisville, Kentucky. My experience would mirror the first reviewer and his impressions - this one has the original pickguard from the "original" molds that were discovered by accident.
The lacquer sunburst finish is unlike anything I have ever seen.
The moment I saw the guitar, I knew I was going to buy it, before I even picked it up.

Into the stratosphere. However, the action was hard to play, at first, so I took the guitar to Elderly Instruments in Lansing for
an action adjustment. Turns out that the guitar needed a new neck -
so Elderly had the guitar sent back to Gibson in Bozeman, Montana.
They made me a new neck, which passed Elderly's inspection, and with
a new lower setup by Arnold in their repair department, an antique
bone saddle and nut, D'Addario light gauge phosphor bronze strings, and WOWWWWWWW !!!! This guitar is now the Holy Grail of all guitars. I have been a guitar collector for the past 30 years and
have played many pre-war Martins, Gibsons, newer Martins, Larson Bros.
guitars, etc.,etc.,etc... and NOTHING can touch this guitar for sound
quality - rich deep base, clean treble all the way up the neck, a
"punchy" rich sound never heard before. I will tell you this. The
guitar came from the factory with light gauge strings, and that is
exactly the proper gauge for this guitar. Martin dreadnaughts don't
produce their best tone unless they are strung with medium gauge
strings- but this Authentic 60's Hummingbird was designed for light
gauge strings. I never imagined that an acoustic guitar with light
gauge strings could produce that kind of sound. UNBELIEVABLE.

As I stated above, turns out the guitar needed a new neck because
the repairmen at Elderly felt the original neck was out of spec and
had too much "bow" when sighting down the fingerboard. They couldn't
do a proper action setup because of the neck. So they called Gibson
in Bozeman and had the guitar sent back for repair. It was Gibson
(custom shop) that made the call to replace the neck. It's now
perfect. Action, Fit, Finish: PERFECT.

PERFECT. Remember, this guitar is made for D'Addario phosphor bronze
light gauge strings- nothing else. It can be finger picked, flat
picked, thumb picked, any style, any technique, any way you like.
Nothing else will touch it. I feel it fair to say, however, that
I have the AUTHENTIC 60's HISTORIC COLLECTION Hummingbird. I have
played the regular Hummingbirds made by Gibson (with the black style pickguard and what looks like an ebony bridge) and they don't have
the same tonal qualities or "feel" that the AUTHENTIC 60's Hummingbird has. The Authentic 60's Hummingbird Historic version
is completely handmade in the custom shop at Bozeman. They are made in limited runs. It's got better wood, a better fit and finish, everything better than what I have seen in the standard Hummingbird- it's altogether a completely different guitar, although I think Gibson would officially try to deny this. Trust me, it's not the same guitar.

See above. Rather than f--k around, Gibson went ahead and made a
completely new neck for the guitar.

All "10's" - nothing else will touch it. Not even a Stephen Stills
Martin D-45. I challenge anybody to beat this guitar.

2004 Gibson 60's Hummingbird Historic Collection. Special run, this one was built on March 28, 2004 in Gibson Montana's Bozeman factory, and it one of 48 produced in 2004. Don't know the sequence that it was built (neither does Gibson) but it is supposed to be a limited run for 2004 only, though Gibson may produce another run if they choose to do so. This came with a certificate along with a case and goodies (humidifier, pick carved from the same material as the pickguard, and papers).

Has a couple of different features then the standard Hummingbirds being produced by Gibson. I'll start with the common features - Square shoulder dreadnought design, sitka-spruce solid top with solid mahogany sides and back. 1.725" nut, 20 frets, Heritage Cherry lacquer finish, rosewood fretboard, rosewood belly-up bridge, dual parallelogram pearl inlays, Gibson logo and crown on the headstock done in MOP, and the standard Hummingbird binding, 6-ply top and 4-ply back.

The differences are as follows - the scale is 25.5" as opposed to the 24.75" scale that come standard with the Hummingbird. Don't know if that's period correct or not. The tuners are the gold Klusons with the keystone buttons as opposed to the chrome tuners that are standard. and lastly, the pickguard is supposed to have been molded from an "original mold" that Gibson has recently discovered. This pickguard is beautiful, the design is "carved" in via the mold, and then painted in by hand.

This is a beautiful guitar. It is obvious Gibson took a lot of care in putting this together, there are no flaws whatsoever in any part of this guitar.

Beautiful rich sound. I had an Epiphone Hummingbird, and for the price that was a good sounding guitar. But the Gibson version blows that one out of the water, period. Sweet tones, with lows, mids and highs complementing each other perfectly. I took the stock Gibson strings off and put on some D'Addario 11's and the Bird sings so sweetly. I cannot put this guitar down and it is because of the sweet sounds I am getting out of it. Whether strumming or finger-picking, this guitar just shines. I would give it an 11 here if I could.

Guitar was setup the standard way you would expect coming from the floor. I won't base my rating on that, I always find that unfair. Rather, I will base it on how well it can be setup. And this guitar is now setup perfectly. It is *almost* like an electric guitar, the action is low, and it practically fingers itself.

In regards to fit and finish, this is quite simply the most beautiful guitar I've ever owned, and it is 100% fit. Gibson Montana did a great job with this guitar, and from what I gather they typically do a great job.

Guitar seems very durable and reliable. Of course, because it's a beautiful Hummingbird I am going to do everything in my power to baby it from dings and scratches, but it is a very solidly built acoustic guitar. From the hardware the the body construction to the finish, everything is top-notch.

Gibson Montana replied to every e-mail I sent in a very friendly manner. I have to give them their props, they kept responding to my questions and never blew me off. However, they could not tell me what sequence # my guitar was built (there were only 48 of them) and they could not tell me if the run was only for 2004 or if they would build another run in 2005. Based on that I have to knock it down one notch. But they will respond to your questions.

Been playing for over 25 years. I own three basses (2 Fender P's and a Rickenbacker 4003) along with the Hummingbird. I have owned in the past a Gibson Les Paul, a Fender Strat, a Rickenbacker 330, a Hofner '63 reissue Violin Beatle Bass, and the aforementioned Epiphone Hummingbird.

If it were stolen or lost, I'd hunt the person down and shoot them. Just kidding. I'd definitely want another one, but it's a limited run. If I couldn't score the Historic Collection I would definitely get the standard 60's version they're producing now. Gibson Montana is doing some great work right now.

My favorite features:
Sound
Looks
Playability
I guess everything. But especially the sound, it is a sweet, sweet sound. It is complete for my needs. It was pricey ($2250, list price is $3800) but it was worth it being a limited edition and all. The Hummingbird has always been my favorite acoustic, and I thought I could be satisfied with the Epiphone version, but once I found this Gibson version I knew I had to have it. The Epi version, again, is a great guitar for the price range, but if you have to have the real deal, dig into your wallet and get the Gibson, you will be glad you did.

MADE 2003 IN BOOZMAN MONTANA
Mahogany back and sides sitka spruce top

the best sounding guitar i have ever played or owned. full rich woody sounding. very load to soft and sweet. no dislikes

Actin was perfect. finish was perfect.after all it was handmade!

no probloms yet and don't expect any

been playing 30 years. i own a martin d15, washburn 12n , gibson les paul,epiphone sg p-90,epiphone viola bass, fender brx 200 bass amp, vox t60,fender acoustisonic sfx.If it were lost or stolen id buy another one in a heart beat!I compared it with a taylor 714ce and a martin d35.both great guitars but the hummingbird touched my soul!

As you read through the reviews on this page, keep in mind that Gibson has produced the Hummingbird for over 44 years. During this time, such basic specifications as top bracing, neck shape, trim and even scale length have varied. In other words, a '63 Hummingbird is a very different guitar from a '73 or a '93.

Today, I'm reviewing my 2003 Gibson Hummingbird, which I purchased in September '03. Like all recent Gibson acoustics, it was made in Bozeman, Montana. It is a dreadnaught shape guitar, made with a solid Sitka spruce top and solid mahogany sides and back. A solid mahogany neck is joined to the body with a traditional dovetail joint. The neck is topped with a rosewood fingerboard with 20 frets. The scale length is a short 24 3/4 inches (like many Gibson electrics). Except for Gibson, few manufacturers today make a short scale, large body acoustic guitar.

Gibson refers to the guitar as a "1960 Hummingbird", and they attempt to replicate the desirable features of the first year of Hummingbird production. The guitar does a good job of capturing most of the features of an early 'bird. The headstock has the Gibson logo and crown emblem inlaid in mother of pearl. The fingerboard has the period split parallelogram inlays. The fingerboard edges are neatly bound and feature tortoise shell colored edge dots. The body is bound front and back in multiple layers of white and black plastic. The guitar is beautifully finished in gloss nitro lacquer in "heritage cherry sunburst", which is more rust colored than cherry red. I think Gibson is trying to make the finish look aged and faded. It's certainly attractive, but not really what I remember Hummingbirds looking like. The thing that really sets the Hummingbird apart, visually, from all other guitars is the distinctive pickguard. This large, multi pointed piece of tortoise shell celluloid features the traditional hummingbird, vine and butterfly engraving. It's so over the top that my neice took one look at it and said it was "the gayest guitar she'd ever seen".

There are a few differences between this guitar and an actual 1960 'bird. First Gibson used the same jumbo fretwire on their acoustics and electrics back in 1960. This guitar has very narrow fretwire, typical of modern acoustic guitars. Second, the fingerboard inlays are real pearl on this guitar instead of the imitation pearloid used back then (an improvement, IMO). Lastly, this guitar came equipped with Grover rotomatic tuners in chrome finish rather than the gold Kluson deluxe tuner with "keystone" buttons which were correct for the period. More about the tuners later.

Typical of the "historic" line of Gibson acoustics, there is no Pickup installed.

The fingerboard is fairly wide (1 3/4 inches at the nut), with a 12 inch radius. The neck is relatively shallow front to back, and feels a lot like the "60 slim taper" neck on a Les Paul. The radius makes chord playing comfortable, and there is plenty of room on the fretboard for fingerstyle playing.

The guitar comes with a good quality TKL hardshell case, a humidifier and a couple of "Gibson Montana" guitar picks. The case fits very well, but there's a fair amount of extra space above the headstock. Apparently, Gibson uses the same case for a longer scale guitar or maybe a 12-string. This means the case takes up a bit more space in the car than it needs to.

How do you rate an acoustic guitar for "features"? It has everything that a "1960" Hummingbird shoud have, and then some. On the other hand, it has no built in pickup, no coil taps, no Floyd Rose....oh quit it.

Even in the store, with too high action and dead strings, I could hear the potential in this guitar when I played it. I played several other guitars (Martins, Taylors, other Gibsons), but this one kept drawing me back. I left, but came back a week later and bought it. I restrung it with D'addario EXP Phospher Bronze custon lights (.011-.052) and, wow! Rich warm bass, sweet mids and chimey highs with more sustain than an acoustic guitar ought to have. Notes have a harmonic complexity to them that makes anything I play sound better.

To be fair, the further up the neck I played, the more the sound felt a little "choked", as if the sound was being deadened. I attributed this to the short scale, but I was wrong. Read on.

The guitar is very lightweight and, with the Grover tuners, was noticeably headstock heavy. For this reason, and because I liked the look, I decided to replace the rotomatics with a set of Gotoh "Kluson" style tuners. I had to buy conversion bushings from Stewart-MacDonald to fit the 10mm pegholes and drill a few holes. After the conversion, the guitar felt better balanced. I no longer have to hold the neck up with my left hand while playing. It also sounded MUCH better. Notes ring and chime all the way up the neck, and the sound seems much more "open" than it did before. I attribute this to two things. First, the new tuners weigh 5 oz. less than the Grovers they relaced. This will have an effect on how the neck resonates. Second, the "Klusons" have a much shorter string post than the rotomatics, meaning that the strings come off the front of the nut at a steeper angle, creating more down pressure at the nut. I can't say if this would work on any guitar, but it was well worth it on this one. Maybe I was just lucky.

Before the tuner swap, I'd have given this guitar a "9". Now it's definitely a "10"

The guitar is beautifully made from top quality materials. The interior of the guitar is clean and neat, with well cut bracing and kerfing, and not a drop of glue out of place. the inlays and binding are flawless, and even the ticklish job of scraping the binding between the frets is flawless on this guitar. The top, back and sides are perfectly matched, and the sunburst finsh is smooth and glossy, but there are a couple of tiny drips on the soundboard. You have to hold the guitar in the light, just right, to see them, though.

There are a couple of other flaws. It looks like someone at the factory forgot to sand and polish the top end of the headstock, as the finish is quite rough there. Also, someone apparently slipped and dented the body with a screwdriver when installing the strap button. It has been touched up and polished out at the factory, but a tiny dent remains.

The nut slots were very high from the factory. Closer inspection revealed that the nut had been replaced at the factory. Perhaps they cut the slots too deep the first time, and didn't want to goof the second time around. The slot for the low E was so high that I had intonation problems. Fortunately, I have a bit of experience in setting up guitars, so I spent an evening deepening the nut slots and tweaking the truss rod. It's perfect now, nice low action and a buzz free fingerboard with only a tiny bit of relief.

I should deduct more points for the action and set up issues, but they were easy to fix. I always have to set up every guitar I buy, but I will admit that I rarely have to file a nut.

Still I'm impressed with the overall build quality. Maybe the luthiers in Montana could visit Nashville and show them how it's done.

Gibson guitars have been withstanding live playing since before you were born. This guitar is as well built as any of them. Of course, like any solid wood acoustic, you should treat it with respect. Watch the humidity during the winter months, keep it in the case when you're not playing and so forth. Lacquer finishes are not as durable as the modern stuff, but you can touch them up, which you can't with polyester. I'd rather have the lacquer.

I don't care about the strap buttons, because I sit down when I play acoustic guitar.

I have one complaint with the "engraved" pickguard. At one time Gibson probably did engrave the design on the pickguard. This one appears to have been merely "hot stamped" with the design. Just playing the guitar and resting my fingers on the pickguard wore the pattern off the pickguard within a month. I fully expected this in time, but I didn't expect it to wear so fast. I've seen plenty of 30 year old Hummingbirds with pickguards that show less wear than mine shows in a month. It's not terribly important to me because I'm a player, not really a collector, but I should mention it.

I'm confident that I could depend on the guitar.

Gibson Montana offers a lifetime warranty to the original purchaser.

I noticed that this guitar didn't come with a truss rod wrench and so I e-mailed Gibson about this. They replied that they'd send me one, and they did a few days later.

I've dealt with Gibson before on warranty matters and found them very helpful. On one occasion they replaced a defective tuneamatic bridge, and on another, a complete guitar. I've found that the secret to customer service is simply to be polite and explain the problem, and see what they suggest. I've been pleasantly surprised more often than not.

I've been playing for 37 years and have owned more guitars, both electric and acoustic, than I can list here. I've always wanted a short scale Gibson acoustic, but never played one that really impressed me tonally until I played this Hummingbird. I also own an SJ-200, and cannot really say which one I prefer. The Super Jumbo has a big loud sound which I love, but can't really match the warmth and sweetness of the 'bird.

If something happened to this guitar, I'd probably get another 'bird, or maybe a J-45 or similar Gibson. I looked at a lot of Martins and Taylors, but they couldn't match the tonal complexity and sweetness of this guitar.

I love the tone and easy playability. I love the distinctive look. The Hummingbird is one of a handful of "different" guitars in a sea of Martin D-28 clones.

I wish the guitar came with Kluson style tuners from the factory for the reasons I've given. Other than that I wouldn't change a thing.

This is an expensive guitar, but when I play it, I don't think about the money, just the sound and feel. Maybe that tells you something.

Bought this guitar this month of Feb 2004 its a Early 60s Humming bird made in Montana solid spruce top , mahogany sides, 24 1/4" scale dovetail neck to body joint, Heritage cherry sunburst nickle hardware. It came with a hardshell case and a humidifer

It sounds great if you are playing major chords on the first two or three frets. The neck seems rather thick to me and bar chords further up the neck seem harder to play

The action was alright but the d string and g string buzz on the first two frets. As i removed it from the case for the first time i noticed that the pickguard was pulling away from the body. I pushed it back down and held and it seems fine now. Also at this time I must admit that it may be my fault but I expected the original cherry burst but instead the finish looked the color of tomatoe soup. I was real disapointed. there should be some reference made to the two colors not being even close. Also the case did not come with a lock and the material around the seams was separating and in other places was bunched up

The guitar seems to be built to last. The pickguard is probably the thickest I've ever seen. If i was going to gig with this I wouldn't hesitate to leave any back up home. I believe it would handle the mission

Never had any dealings with Gibson, owned a Les Paul Studio back a while ago and loved it ,changed my music and went to a Strat

I have been playing for about 41 years and have owned and played a lot of guitars. Played a friends Hummingbird back in the 60's a few times and loved it, always wanted one. As my years of gigging are coming to a close i wanted to buy a nice acoustic and unload alot of the stuff that you collect after years of playing. I'm at the position where i can afford a Hummingbird so that was my choice. This is the problem with ordering through a catalog and not playing or handling the guitar before buying. I would never have bought this guitar if i had a chance to see it first. It just doesn't measure up to the price, I will be sending it back to Muscians Friend and then looking for another that I can check out first. I don't know if this was one that slipped through or all these new ones are like this

1992 model..made in Bozeman Montana Gibson Hummingbird (white label)Mohogany neck-back-and sides..spruce top

I recently bought..(and returned) a 2001 model...at $2,200.00 it was a little steep for me. But I may be regreting taking it back now. I just purchased this 92 model a few days ago on ebay. (hoping to get the same quality at less than half the price) Gibson must have finally got their act together, cause the newere ones sound MUCH better then these do! Was talkin to the "guitar guru" who owns a small music store here in town. He said he's read many articles claiming that Gibson was Importing guitar components..(necks, backs, and tops) and merely assemblying them in their Montana plant. This took place from mid 70's til mid 90's...plus the bracing under the tops during those years are a little different compared to the newer ones..overall...this 92 model sounds ok..and worth the $900 I paid for it..but if you can afford it..get a newer one (late 90's to present)or the "real deal" from the 60's! The new one I had was so resonate...i could pluck the low E string..go in the kitchen to make a sandwich..come back, and I would still be able to hear it.

sub par craftsmanship...the laquer finish is allready peeling off the headstock. There's a crack on the "driver's side"..and the mid-line on the back of the guitar looks terrible..(like a big-long crack) unlike the newer ones that dont have that problem.

A couple of the tuner gears allready feel like they're startin to go out. But other than that...the guitar seems like it should last a while. If it were lost, or stolen? (I really doubt that will happen, cause I plan to put it up for sale on ebay as soon as it dissapears from past sales in the history)

never dealt with Gibson

this praticul hummingbird I would give maybe a 6+ the new one I had for a week...I'de give it a deffinate 10...stay away from the ones from the mid 70's! I played one that they wanted 3 grand for..sounded terrible!

Early 70s Gibson Hummingbird, blond model. Not as stunning as the sunburst, but this gentleman prefers blondes. The spruce top has aged to a gorgeous honey colour. Original grover machine heads, BIG frets that still show no sign of wear - I bought from original owner who has had no work at all done on this guitar. Lighter weight than a standard dreadnought, due to the mahogany sides I think.

Sound is magical, mystical, shimmering chords with a full even response - great for any sort of rhythm playing, better than a Martin or a Gibson Jumbo or J45 etc for rock music. I play a bit of rock, a lot of folk, some bluegrass. The sound of this guitar is hard to define - and I don't care that it's not an early 60s light bracing model - it still sits in a band, duo or solo like nothing else I've ever played. You have to play one to know what I'm talking about - and ignore the 60s Hummingbird snobs out there. Think Cat Stevens, think Keith Richards - that's the sound.

As far as I know, there's been no work done to this geetar in the last 30 years, and it plays like new. Big frets, low action, light-ish strings add up to easy playing. Top is beautiful, the hummingbird pickguard still has the painted design on it (striking yellow & white) and there is hardly any wear on the finish. These guitars definitely stand the test of time.

It's been chucked around for 30 years in jams, gigs, campfire singalongs and you name what else, and still going strong. Gibson make instruments that last.

unknown - I doubt very much that Gibson would these days give a hoot about it.

I've been playing guitar for about 30 years. I've owned lots of electrics, including Rickenbackers, Vox and assorted weird 60s guitars, plus Maton acoustics (Australian guitars). I've recently been concentrating on bluegrass dobro and needed an all-round acoustic axe for a variety of musical styles - the hummingbird fits the bill. It's the best acoustic I've ever played, it sure beats anything Maton could dream about. If I lost it I'd assume a foetal position and hit the bourbon until the insurance came through. uh .. I ain't gonna lose it though.