Gibson Hummingbird

Made in Kalamazoo, MI in early 1965; Solid spruce top, laminated mahoghany sides, solid mahoghany back. 1 9/16" nut. Nitro finish. Mother of Pearl Parallellogram inlays. Adjustable wooden saddle(two screws), screwed down flowered pickguard, tulip style tuning keys. Visually beautiful in it's look and design. Slim neck like electric '335's of that era.
Came with original arched hardshell case(blue lining).

As in other reviews, this is not a loud guitar. But it makes up for it in it's sweet, balanced tone. 1 9/16" nut is a little narrow for fingerpicking, but manageable. When strummed with a pick and a soundhole pickup, the tone is harsh. When fingerpicked and strummed thumb style(like Lindsey Buckingham) through a soundhole pickup and Boss GE-7 equalizer, sounds great. This is a guitar whose sound grows on you over time. Sounds great for pick strumming just mic'ed.

Neck was reset and refretted by Elderly Instruments; they also repaired some cracks in the top, which I guess are common for this model. Neck just needed a slight trussrod adjustment to eliminate some buzzing; now it plays fine. Extensive finish checking on the top, not as much on the back---that patina adds to the mojo of this guitar! Stays in tune perfectly---I'm using light gauge strings. Will watch the bridge over time; the original bridges tended to pull up because of a poor design(not enough wood behind the bridge pins to alleviate the pull of the strings).

Yes, this would withstand live playing---it's done so since 1965! I always have a backup when I do an extensive set, but have taken this guitar by itself to open mics.

They were helpful in my research of the serial number as to when it was made.

Been playing since the mid-1970's; The Hummingbird is a guitar with a special tone palette to your musical arsenal. It doesn't do everything, but has that special sound that the others don't. If I need volume I go for my Martin D28, Taylor 810 revoiced, or Gibson CL-30 or Gibson CL-40(which are great guitars in their own right).
I would not buy a Hummingbird from the 70's or 80's(quality problems, double X-bracing that killed the tone, etc.)---I would buy one made during the Bozeman era('90's to now) if I couldn't afford one up to 1968. It's cool to have one from 1965 with the legacy of those who played this model(Stones) with the music I grew up with. Love that finish checking--if only this guitar could talk of it's experiences!

Mine's a 1973 natural-finish Hummingbird Custom, made in Kalamazoo. Mahogany back and sides, spruce top, slim neck, large frets, block inlays (why on earth did they get rid of the trapezoids?).

A very deep, woody tone, with a kind of whispery quality. Hummingbirds were voiced originally to accompany singers and Gibson may have something here. Not the loudest or sparkliest, nor the best for recording - the mids are too overpowering.
There's a lot of accumulated guitar lore, some of it on these pages, about bracing patterns and the supposed failings of 70s 'Birds, and I must admit this one probably isn't the very best. However, I have played early 60s Hummingbirds - the supposed golden era - I'm here to tell you there's not THAT much difference. Really. Mine lacks a little richness in tone and can even sounds rather dry, especially when the strings are old. But it has that identifiable Keith Richards tone (think Wild Horses, Let It Bleed) and when I hear people playing classic Hummingbirds, I recognize the tone. Okay? There is SO much BS talked about vintage guitars. Some definitely have a magic about them, but by no means all. Just because they were made in a certain year is no reason to reject them.

Bought this guitar used and someone has sanded the original lacquer off and left a kind of satin finish, presumably to let it 'breathe'. Hmmm. I may get it refinished one day but it's an expensive job. The Hummingbird's country look is not to everyone's taste but they are iconic guitars and I might make the investment.
Good action, nice neck and frets, very comfortable to play.

I have gigged with this guitar, but I won't be much in future. It's 35 years old, with a very light finish, and I have nightmares about bashing it. Keep it at home for songwriting.

Long past warranty, never dealt with Gibson.

I have been playing 25+ years and for all its failings, I have bonded with this guitar. The thought of selling it is too weird. I exchanged a Gibson Mark Series (unsuccessful 70s experiment) for it originally and I never looked back. My Martin 000-28 is sweeter-sounding and more articulate, but the two complement each other very well. Let's face it, most audiences can't tell a good guitar from a bad one, so I'll probably get a Jap electro-acoustic for live work and keep this baby at home. It has a mojo that can't be beat and with a new set of 13s is lovely to strum.

I am reviewing a 1990 Gibson Hummingbird, that was bought used in 2007. It has the J-45 style/colour sunburst and a classic black pickguard instead of the usual hummingbird guards. It has a spruce top with a mahogany body. MOP inlays all along the fret board. It has one of the biggest bridges I have ever seen on a guitar. Basically it looks like a square bodied J-45 that is all dolled up and ready for prom.

Sounds great anyway you play it. It compliments a singers voice perfectly as well, making it ideal for a singer/songwriter. This guitar sounds terrific whether you are hammering on it or playing quietly late at night.

This guitar was 17 years old when I got it, however it is still the most gorgeous instrument I have ever seen.

This guitar has some flaws. One of the original tuners fell apart and had to be replaced, and there is some lifting on the top of the guitar, breaking the finish where top panel meets the side panel. This guitar will stay in tune forever as long as the humidity is controlled, and it always sounds great.

N/A

I have been playing for 7 years and my previous guitar was a Takamine G-series. I finished school and came into some money and decided to buy a nice solid body guitar. When I saw this particular hummingbird, I was blown away by it's beauty and had to have it. It has a very rich and bright sound, and sounds great whether it is flat-picked, strummed, or finger-picked. I would buy this guitar again in a second.

I ordered this one from the custom shop in Boseman 2007. Really nice, this one. Washed cherry sunburst looks like Sheryl Crows on the video "The first Cut is the Deepest". The sides and back are this amazing quilted mahogany, the likes I have never seen before. The spruce top full of bearclaws. Gold hardware, fancy rosewood fretboard and bridge. Not Brazilian, but looks like it very much. Mahogany neck with a very comfortable medium rounded profile. Almost a slim taper 60's, but a tad deeper. It came in an incredible alligator case of intense construction, nicer than the usual case.

I needed this for live performance, so I had an LR Baggs pickup installed. The tone is bizarre, and it hasn't even "opened up" yet. The baggs pickup delivers maximum frequency response without feedback. A volume knob under the lip of the soundhole.

Perfect! The custom shop can really do it sometimes. They sure went above and beyond on this particular example.

I have had it a year, played live, added a strap bin under the heel, no cracks, very sturdy and strong as Gibson's are. Built like a battleship with high accuracy as to the measurements, so it stays together even under duress.

I ordered it, they built me an even better one than I expected, and had it crafted and delivered in 4 months. That is pretty amazing.

I have had just about every major brand of quality guitar, and many boutique creations by master craftsmen. This guitar is very, very beautiful, but not gawdy like some over inlaid parlor hangers. It sports the look of a regular guitar, but it is so finely made that it just draws attention like no other. No ka oi! Best Gibson acoustic guitar I ever played, let alone owned-well-caretaker of. They do stay here when we pass on. Someone in 100 years will be stoked by the quality in this one. I have no doubt it will last that long, and longer. A Harley D of acoustics. Good on ya, Gibson Montana!

2006 Gibson Hummingbird Historic Edition - Classic Cherry Burst w/ Nitro finish. This particular one is not quite as red as many that you see out there, which I prefer. It has a little more honey, a little less cherry.

BODY
Body Style: Square Shoulder Dreadnought
Top Species: Solid Sitka Spruce
Back and Sides: Solid Mahogany
Body Binding: 6-ply top, 4-ply back

NECK
Species: Mahogany
Scale: 24-3/4 in.
Profile: Round

FINGERBOARD
Species: Rosewood
Binding: single-ply
Number of Frets: 20
Inlays: MOP Double Parallelograms
Nut Width: 1.725

This is an extremely nice sounding guitar. As some of the other reviews have noted, it is not very loud. If you are playing with a group of D-28's, you will have a hard time being heard. But, this guitar is the perfect accompaniment to the singer/songwriter. I do not have a very loud voice when I sing, so I find this guitar easy to sing with since I do not have to compete with its overall volume. The mahogany body provides a nice clear tone, well suited to match the human voice.

The Hummingbird is very versatile and works well for light and aggressive strumming. Due to the lower volume, it is not well suited for finger picking IMO. I play mostly rock and alt. country (Pete Yorn, Ryan Adams, Wilco) and this guitar suits my style perfectly. I was originally attracted to this model after seeing Pete Yorn play one. It certainly has that Keith Richards tone that many players are going for.

Nice set-up from the factory. I prefer D'Addario strings to the Gibson strings it came with. Once I slaped a set of EJ-16s on her, she was ready to go. One aspect of this guitar I like is the larger frets. They are bigger than those on my J-45 and my Martin 000. This makes it easier to when I place the capo high on the neck (7th or 8th fret) for a few songs that I play. One modification I made was replacing the bridge pins. It still amazes me that Gibson sells you a $2000+ guitar with plastic bridge pins. I bought I set of fossilized ivory pins and the guitar really came to life. Much better sustain and note articulation.

This guitar is built very well. I have bumped it against a few pieces of furniture and have not put a ding in it yet. I would not hesitate to take this guitar to a live performance without a backup. Tuners work well. They do not stay in tune as well as a Waverly, but perform fine. I know Gibson has gotten a lot of flack over the past few years for quality control, but the craftsmanship on this guitar is outstanding. I cannot find a flaw on it. Not even a speck of glue on the inside.

Lifetime warranty through Gibson. I have not had any issues, but have contacted Gibson with questions about other guitars and have found them to be friendly and responsive.

I have been playing for about 5 years. I also own a Gibson J-45 Custom (Adirondack) and a Martin 000-18GE. I love this guitar! I give it a 10 overall because of how well it suits my playing style. When I purchased this guitar, I compared it to a Gibson J-200, Gibson Advanced Jumbo, and Martin D-28. I was almost seduced by the volume of the AJ and D-28, both being rosewood. But over time I have come to appreciate the tone and clarity of mahogany. It may not be the loudest, but if you are singing without amplification, it lets your voice be the star. If I were forced to sell my guitars, this would be the last to go. I would certainly replace it if it were lost or stolen.

I just got this one but have some experience with Hummingbirds as my brother has one. Mine is a '67 Custom with natural spruce top, mahogany back, sides and neck. 20 frets on Brazilian rosewood fretboard. The finish is still perfect with minimal crazing and for a 39 year old guitar it looks like something from the late nineties
The Customs were fit with nickel Kluson tuners that have the Gibson "G" engraved on them. MOP double parallelogram fret markers. The neck joins the body at the 14th fret.

Although a little on the quiet side, this guitar has tone you just don't find in newer instruments. Extremely well balanced, warm and sweet tone across the board. This is not a bright sounding box. It is mellow and can cry as well as it sings. I love playing blues and jazz on this beauty and expect that my son will too, when I pass it on.

Set up is just perfect. The action is right where I want it and the neck reminds me of the earlier Les Pauls. Not too wide but shallow so you can really wrap around it. Mother of pearl inlay work is flawless as well as the headstock logo. Binding is in perfect condition and shows no sign of breaking loose. Bone nut and belly-up rosewood bridge round out one great guitar.

Based on its appearasnce and playability, this nearly 40 year old guitar is as solid as the day it was built. I know some of the history of it and it has withstood extensive travel and frequent play. I really think it will last a minimum of another 40 years.

They were very helpful in verifying the serial number and the build year. Have not had experience with their repair services or lifetime warranty.

I've played professionally for 8 years and recreationally for 35 years. I also own an American Deluxe Strat, '67 Guild Starfire, and a beautiful CP Thornton Professional Custom single cut semi-hollow with 2 lindy fralin humbuckers. Various Fender and Traynor amps and some custom cabs.
If my hHummingbird were lost or stolen I would search for a replacement of equal value. Martin and Taylor make outstanding guitars but my Bird simply soars above them. This will remain in my collection for as long as I live.

This review is an update on one I submitted in 2001. While I was very taken with the guitar when new (and no doubt trying to justify the huge expense) I did have some reservations about how quiet the instrument was. It was easily drowned out in loud party sessions by other 'lesser' guitars.

To stick to the format: I have always been very happy with the features of the guitar. I play the guitar a lot and I have been a little surprised at the fretboard wear that is starting to show around the open chords areas. I have also been a little disappointed at the way the pickguard has worn to the point where the 'bird' has virtually disappeared. Having said that I have found the main parts to be very hard wearing and I am surprised at how little the finish has marked. Although I try to be careful with it there are always going to be times when you bang it into something like a table, chair or music stand. The case is solid and durable.

Here is the main reason I have elected to submit a new review. Because of the quietness I have described I deliberately set out to 'open' the guitar up. I discussed the issue with lots of people including a luthier and a guitar technician and excellent player. I put the guitar in my lounge on a wall hanger right next to my stereo and have stored it there full time ever since. (Along with 2 other quality guitars I own) This was a good move as I reach for it more often due to better access. It has taken a long time, but I am now absolutely stoked at the improvement. The combination of constant exposure to musical noise and beats together with over 5 years of regular playing has improved the sound incredibly. This guitar is now the sweetest thing I own. It puts out beautiful melodic tones when I want them. It also punches out crisp and loud when I want it to. It will produce the loud and dirty stuff of rock and roll with a ring and clarity that I really love. I have lately taken to using Martin XP's. They really make the guitar 'bark' when I want it to bark. The sustain is great, to the point that when the music sheet says 'let ring' it really does ring until you hit something else. I have submitted this new review to encourage other guitar owners to allow their instruments to 'open up' properly. Dont despair - try everything!!

I did have some teething troubles with this guitar that are well documented in my earlier review. But these days it rarely needs adjustment and performs flawlessly. Holds tuning very well indeed.

Solid as a rock. All aspects now totally reliable.
No wonder well heeled rock stars like this guitar!

Havent had anything to do with Gibson, or their agents, for over 5 years.

I now own 6 guitars. I have the Gibson, a Martin D16RGT, a Maton 12 string (Brilliant), Yamaha FG180 (very old - see reviews), a Wolf archtop electric and an old classical. The Gibson Hummingbird is out on it's own as a six string acoustic. It's what I tend to reach for all the time. Family and other people around me are sick of hearing me rave about it every time I grab it! My son also plays guitar and heads straight for it every time he calls at our house. I used to say that I wouldnt produce it at drunken sing-alongs - but I do - I am just so happy with it and proud of it that I cant resist it! So after 5 years of ownership it just keeps getting better.

1968 Gibson Hummingbird made in Kalamazoo, Michigan. 20-frets (14-frets clear of the body). Solid Spruce top, Mahogany neck, back, and sides. Rosewood fingerboard w/ pearl double parallelogram inlays. This one has it's original belly-below bridge with the original rosewood adjustable saddle. It has it's orginal nickel "G" made in Germany (I think Grover) tuners. It is of-course, a square shoulderd dreadnought, with cherry sunburst top, and the super-groovy hummingbird pickguard. I've got the non-invasive (no holes drilled) Fishman rare-earth humbucking pickup in the sound hole.

The sound is very warm...and at the risk of using Gibson marketing terminology..."honey-tone" just about sums it up. It's very even from the bottom end to the top. This one is a log...it weighs a ton for an acoustic guitar...it is much heavier than my friend's SJ-200, or my brothers D-28. For me this is a great flat-picker...It has a very balanced and clear voice but it is way to quiet for fingerpicking.

I got this one used in 2001. It was set up wonderfully...but it was in need of a fret-job...which I had done with jumbo frets that are similar to the factory original. Gibson was in some trouble by 1968 and many collectors feel that workmanship at the Gibson plant was not up to par toward the end of the 60's and even through most of the 80's. This guitar, however, appears to be finished beautifully. All the binding work appears to have been done with great care. The inlays, and back-stripe are all very clean, as is the finish. It does have some finish crazing but it's 38-years old.

I perform at Folk Festivals throughout the south-east (mostly Florida). I've had her in all kinds of weather, temperatures, and humidity...and I've logged considerable hours sitting around the campfire. It's a truly reliable, well made, and durable axe. At gigs I always bring a back-up...but thats mostly in-case I break a string...otherwise this thing is a tank. The only thing I'll add is dont get mosquito repellant on it while your pickin' around the fire...that stuff will screw up the finish on any guitar.

Never had to deal with Gibson. But Gibson has a great reputation for standing by their instruments. My buddy had purchased a used Gibson flat-top (a newer L-series flat-top)and the top caved in on him. He was not the original purchaser...but Gibson replaced it free of charge. *I'll add that he probably did not tell Gibson that he wasnt the orginal purchaser.

I've been playing for 20+ years. I divide my time as an upright-bassist for other acts...and as guitarist in my own outfit. I have a 40's Gretsch archtop, and a newer US Standard Stratocaster. I spit time between all three guitars pretty evenly. There's nothing to ask before buying a Hummingbird. The thing's a looker. You look at it...fall in love...play it...freak out some more...yank out the credit card...and take her home. The greatest thing about a Hummingbird is it's looks...It's flashy...and when you take it out of the case it will almost always start a conversation. The worst thing...I don't know...If I had to pick one thing it would be the adjustable bridge saddle. If I lost it...I'd probably buy a flat-top with rosewood back and sides (a Gibson Advanced Jumbo, or a Martin D-28)...but that's just me...The Hummingbird is a great guitar, and I love owning, and playing mine like crazy.

I have just bought a 1969 Hummingbird. I paid #1000 which I think is a good price at the moment considering the Early to mid 60s birds are being sold for #3500 - #5000 in UK. The only thing that has been changed are the tuners to nickle grovers. And the case was not origanal. It has the slightly wider ajustable brimendge than earlier and later models and the bracing is not as tight as the 70s models which feel very heavy, - I have played the mid 60s humming birds and it is definatley more reminicent of those, even if the tone is not quite as open ( neithers my wallet)
What I really like about this guitar compared to the 70s versions and more recent replicas is that it has a very slim little neck on it, great for small hands (like me). Over all the condition is fair for a 36 year old instrument, It has some cracks on the finish but nothing structural (In my opinon guitars that have been played in and are obviously used! play a lot better than collectors origanals which have been kept in the box).
The neck is actual remarkable condition. One odd feature is that the back of the head stock has a Black tapering down to a v on the neck -Apparently this is not unusual on some models of this age.

Suits my musical style 100% Im a rock / indie songwriter, I use it for mainly Studio work, which Im hoping it will be great for. I struggle to get a good recroded tone out of my Martin. The Hummingbird has a lot neater Tone and the over all response is stronger. It is not as loud as I had expected but handles bass and treble remarkably well.
Another pont worth mentioning is that this guitar works incredibly well with a bug through an amp (not conventional I appreciate but try it!) Iam lucky enough to own an orginal 1955 gibson amp - the sound of the hummingbird through a bug in to the amp sounds amazing.Imagine early Neil young mixed with a bit of Dinasaur Junior.
Likes - every thing - Dislikes - nothing

I gave an 8 because of the age of the instrument - but to be honest I think used guitar look a lot cooler than not.

I think this guitar has many years left in it, altyhough I will not be looking after it, not trawling it around the gig circuit.

This is my dream acoustic - I shall keep it until I die - only thing that would improve it was if it was an early 60s model - but for #1000 I would beg to differ if the difference is worth the extra 3 k youd have to pay. Compared to my Martin it is a better instrument - but then to be fair lets see how the Martin plays in 30 years.
PS: Let face it - Bolan - Keith Richards - liked it so do I, ROCK

2005 Hummingbird. Has blue "Historic Collection" stamp on back of the neck - but came with a regular case, regular serial number, and no COA. I have learned that Gibson is making 480 of these in 2005! 40 per month. So it is not as rare as the Custom Authentics with the long scale, engraved pickguard and plastic tuners that had only 48 made in 2004, but still kind of cool to know the number that will be produced this year. Gibson told me the model features are the same since 2003 (not counting those 48 aforementioned long scale models). It might be the same going farther back - I didn't press them for more details.

The "Custom Collection" stamp feels like marketing gimmick to me. I'm not sure I like it.. feels cheezy (of course if it had special serialization and a COA I'd be ALL DOWN WITH THAT). The stamp I could do without but it's the instrument that counts! It's a good one!

Let me tell you I am just SO happy with the sound of this guitar. My idea of good music is Sister Morphine, Angie etc... Sticky Fingers/Exile on Main Street era Stones.

I've spent a lot of money on nice guitars... had two Martin HD28Vs, a Martin D18V (wish I had kept that one = Nice!), a Lowden F32C. But I could never get the jangly chimey kind of folk/rock sound that I wanted. I read somewhere that Keef played a Hummingbird so I set out to find one. The guitar did not disappoint. Is it as loud as my HD28V? no. But loudness is not everything. I think it sounds just more appropriate to folk/rock than the Martin though. I love it.

The top grain is great - straight and consistent width. The mahogany back has cool figure too. Nice wood! The wood choice on this guitar seems consistent with the Martins I've had. The actual gluing together of the guitar - I'm very impressed... not a drop out of place - the inside looks perfectly clean.

The sort of Iced Tea faded burst is lovely. I wouldn't have minded having a clownburst like some vintage Hummingbirds I've seen, but this finish is very tasteful and one day people will probably look back fondly at this exact finish. It is a beautiful guitar.

The pickguard is painted, not engraved. I think that's cool though... I don't want to pay extra for a hand-painted engraved pickguard. I guess Gibson was up for doing 48 of those, but not 480 :-)

Actually I wouldn't mind if it did have the special pickguard, but I guess it wouldn't be special if EVERYONE had it right?

On a gig... heh heh. I'm a lifetime porch picker, jam with my brother when he's in town a bit. That's all. I feel this guitar, my HD28V, and my 58RI Les Paul will all outlive me and who knows, when my kids are old and they don't have so much rosewood, ebony, spruce, maple and mahogany around they might be worth real money. I will leave them to my kids (hey I have 4 kids but only THREE primo guitars... hmmmm...I wonder if for the good of the team I should buy a Custom Shop Nocaster to round things out?)

Gibson customer service has always been really cool and down to earth with me. I love Gibson - very accessible.

I'm pretty sure I have a lifetime warranty but I better go read up about that. Gold Warranty whatever that is.

I've been playing since I was a teenager. I wish I had bought a Gibson Hummingbird early on...15 years ago. I feel like it is the acoustic I always wanted.

I'd buy another one. I actually was wanting to get a real early 60s Hummingbird but I played one in a store and the neck was too thin - didn't like it. This modern version is very nice though - highly recommended. If I could only keep this OR my HD28V it would be a hard call but I think I'd keep the Gibson.

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.

1964 gibson hummingbird

I have a very wide range of music that I like. Believe it or not from bluegrass to hard rock. The guitar can be chimed almost anywhere which is not very common in many guitars. My grandpa who gave it to me liked his martin better but I think he must've been crazy. The tone of this guitar is amazing. As for an acoustic guitar, I would have no other.

The action of the guitar is awesome. For an acoustic, it is very easy to fret. The binding is partly separated but not bad, it just feels a little uneven, and the finish is spider-webed (this may have something to do with temperature changing and humidity and the fact that my grandpa left it on the top of his car and drove off) The standard wear on a 1964 eh? But as far as how the guitar looks aside from all of the wear yeah the finish is awesome.

^ My grandpa droped it off of his car and it survived (it was in a case thankfully) I would use it on any gig without a backup. Except for my electric, but that is for a whole diferent reason.

I haven't ever dealt with the company.

I have been playing for about 7 and 1/2 years. I am 17 1/2. But I don't think I will ever let it go. If it were stolen or lost I would be really mad because I don't have the money to replace it. The only thing that I really dislike is that some dumb-butt drilled a hole for an electric pickup. I took it to the local guitar shop and they said like it is it is worth $1500-$2000 So I think I'll keep it. If nothing else it is the best acoustic that I have ever played.

2002 boozeman montana
sitka spruce top with mahogany back and sides.Unlike other manufacturers Gibson uses laquer finish (like what you would find on an expensive stataverious).not a cheap finish that just shines.dovetail neck which resonates thru the whole guitar unlike some manufactures who use cheap bolt on necks to cut production cost.
(taylor).This is a HANDMADE instrunent not hand assembled.

I play mainly acoustic rock,folk and country blues.I use an AMT gooseneck condensor mic-these are very pricy around $600 but makes lrbaggs and fishman seem like cheap toy's.I play thru a fender acoustisonic sfx amp.Nothing sounds as good with the exception of a $15,000 olsen guitar.Guess that's why this is the most recorded guitar in history.Kieth richard said this is the only flattop he would ever need.

The action is perfect.The wood is emaculant and the finish is like no other

Play out every other week sounds better everytime

never had to use.I have heard nightmare stories though.

I have been playing for 30+ years.I own a martin d45,martin d-17,taylor 714ce,taylor 912ce,Olsen,santa cruz,gibson j160e.With the exception of my Olsen this is without a doubt the finist instrument i own-hands down.I would replace it in a heartbeat if it were stolen.I highley recomend this guitar.I have nothing but great things to say about this guitar.Way to go Gibson!

This is a classic Gibson Hummingbird bought new last month. Made in Bozeman, Montana, the serial number says it was made in October, 2001 so it was kicking around in a music store near Boston for nearly a year and a half. When it arrived I almost refused it, due to the age and some (very) small scratches on the pick guard. However, the tone was so good, that I forgot about it after playing it for a while. It is a standard square shoulder dreadnaught which I like the looks and playability of. The top is Sitka Spruce and the body solid Mahogany. It has a very distinctive look ? Heritage Cherry Sunburst with a painted pickguard with ? you guessed it- Hummingbirds. The Hummingbird is probably the most easily identifiable acoustic guitar made. The painting on the pickguard is wearing off very quickly ? a common problem I?m told.

It has a round, 24 ?? scale, 20 fret, and mahogany neck with binding - not too thick, but not thin neck by any stretch... The short scale makes it easy to play and the action is perfect. I had a Fishman passive pickup installed and a strap button on the lower heel of the neck. I wish Gibson installed them (strap buttons).
The rosewood fingerboard is flawless with MOP parallelograms and the frets are good. Binding was also good ? no obvious flaws. It has Nickel plated Grover tuners ? easy to use and they hold tuning pretty well.

It came with a hardshell case, a humidifier and a guitar pick.

I bought this guitar because of the tone. It is beautiful. When I went looking for a ?good? acoustic, I went out looking to compare a Gibson Dove, Hummingbird and other brands (Guild, Martin, Taylor, etc.). I ended up stuck between the Hummingbird and a J-200, two very different sound instruments (see review on SJ-200 Reissue on Harmony Central). As this was a birthday present I told my wife I couldn?t decide, so I told her to surprise me. She did ? she got both?
I play original music ? a blend of folk-rock, country and pop. This guitar fits in really well. The tone is smooth ? woody and exquisite. The notes blend almost magically and it sounds beautiful. The bass stands out crisp, clear and deep, and the higher notes blend well, rather than the crisp distinctive sound the SJ-200. I flatpick and it just sounds great. It reinforces vocals well, without standing out.

As I mentioned before, the guitar was a year and a half old when I bought it new. The action was good, and made better when the luthier installed the Fishman pickup. He touched up a few dings as well. The fit is good, and the woodworking is really good. However, the finish on it is very thin. It picks up surface flaws easily and I am concerned about taking this guitar out in a rough environment. The finish will not take much abuse. One three minute session when I first brought it home resulted in a bad case of buckle rash, which seemed to go right through the finish. I guess that?s the price you pay for such tone. A small chip of wood and finish fell off the top of the headstock the day I brought it home. Luckily it was on the back side, or it would look terrible. I have the Gibson Lacquer repair pens which work really well. I suspect I?ll be using them a lot with this guitar. The hand painted Hummingbird pickguard is already wearing off after a month of playing. I know I have acidic sweat, but it seems ridiculous that it would so easily come off. I?d rate this guitar a ten for action and fit, but a five for finish. A seven total, although it should be a ten!

The craftsmanship of the woodworking is excellent, but the finish is so sensitive I suspect I?ll only gig with this guitar in a controlled environment ? probably more for recording than playing live. If it weren?t for the finish issues I?d give it a ten, but this is significant enough a problem to lower the rating to a 7.

The last time I had to use Gibson service I wasn?t real happy, but that was over ten years ago. I have heard good things about them recently. I was really impressed when I reviewed my other guitar (SJ-200) and they actually e-mailed me and asked me how they could improve ? that is a sign of a company that cares. I?ll rate them a 10 for effort, and hope I never have to find out otherwise.

I?ve played guitar since 1971 and have mostly played Gibsons. I have a 30 year old J-40 bought new in 1972, a Gary Moore Les Paul, an ES-335, an SJ-200 Reissue, a Fender Telecaster and a couple of ?beaters?. I have always wanted a Hummingbird ? since back in the 60?s. It just took a few extra years to be in a position to do so. I am a bit disappointed on how fragile the finish is, but it is a good guitar and I?d probably get another if this one was stolen. I?ll know better after I play it for a while. I love the tone; I do not own a better sounding guitar. It is a good looking instrument ? not the usual natural spruce top with dark wood back and sides. It is unique. On top of everything else, my music room has a really good ?fresh? wood smell to it. I also wish the paint on the pickguard didn?t wear off so easily. I like this guitar a lot, but hesitate to use the word love, due to the aforementioned issues, but I think in time I will grow to either love or hate this guitar.
Overall rating - sound, woodworking - 10, finish 7 - total 8

1968 USA Kalamazoo. Usual features. Natural spruce top finish. Mahogany back and sides. THis one has had the adjustable bridge replaced with nice bone, thankfully. Kluson deluxe tuners are still charming. Has all the features you could want in a flattop. Nice old case. I bought it this year. Love the look of it.

Its best feature. Most amazing guitar I've owned or played. Once I got over the initial shock of its general quietness, and got into this guitar, and especially after I had recorded with it, I was in love. Sweet bell like tones to single notes. I ve never been commfortable with single tones high up on steel strings before - but the hummingbord is sweet, reminds me of a spanish classical i once had. It has the punchy gibson sound for meaty rock strumming,a nd is crystal clear when fingerpicked. Can take a belting, but loves a gentle carress too. It must be quite limited in the heaviness of its overtones, not all jangly and instantly big, but perfect balance and clarity, esp. with new martin strings as another reviewer mentioned. So rich and complex and sweet this guitar. Now I'm certain about the sound of old mahogany. I have a mahogany '66 guild starfire, which is similar. I makes me want to try one of these old MArtin mahog finger pickers next! Cannot rave enough about the beauty of the sound of this guitar. I sit in the bathroom or the hall way for hours playing nothing in particularly just mavelling at the sound.

nicely made, love the finish, plays brilliantly, but Low bridge is affecting the playability abovve the 12th fret. It either needs a new bridge or neck set or something. I just dont play it above the 12 th fret! It is a joy to play, lovely gibson neck, nnnarrow at the nut but grat frerts and thin neck make it very playable, rather like a gibson electric neck, can see why Kieth Richards once said something like: it is the only flattop you need, or something to that effect. The finish, well, she is lovely but the finish cracking has to be seen to be believed. It has had a small top crack repaired. I love the finish patina! Looks like its falling apart, but is solid as a rock really. Can belt it and it holds up very well. Stays in tune - no worries.

it is solid and reliable. its 35 years old. and still going strong. I barely gig live anymore, but it is sturdy anough to take it. Dont tihnk I'll take her out of the studio though. Doesnt need a backup.

I did ask them about a replacement for the factory guarantee sticker, and got a polite but curt reply saying none available.

Ive played bass and guitar fairly seriously (on and off) mostly on since about 1968. I would replace her if lost, for sure. Love its look and playablility but especially the sweet complex compressed chimelike SOUND. Dont get it if you want a loud bluegrass jamming guitar. But for sweet classic rock folk blues, both fingerpicking and flatpicking, especially for recording, this guitar is going to be very hard to beat. I love it.

My '89 Hummingbird was an early Bozeman model, with the blonde or natural top. The Bozeman factory really does great work, and they have taken care of all the earlier quality problems that plagued Gibson... This Hummingbird had Jumbo or "tall" frets, which in the end I could never get used to; whenever I picked up some other nice guitar with smaller, normal frets, I was envious of the ability to really slide on the scale... I ended up selling the Hummingbird after a few years for $1050 (cost of Gibsons both new and used whent up quite a bit there) to buy a Gibson J-60 at the same price, and have been very happy with that.
One notable thing about my Hummingbird was, I removed the pickguard. It was so large and heavy, and I was convinced that it dampened the vibration of the top, and that was indeed the case; when it came off the guitar was louder and sounded better. To tell the truth, I never really preferred the garish appearance of the pickguard; the cherry red finish on the back, sides, and neck was beautiful, but with all the inlays and the white trim, it was pretty loud in appearance. With my limited abilities, I need to be a little humble, and so I would have preferred the same guitar with plainer appointments; I always coveted this old Country Western model I had seen once, which was the same exact guitar but with a plain brown pickguard, normal dots, and subdued colors. Later when I got the J-60 I was happier in that regard. Anyway, I thought the Hummingbird looked so beautiful with no pickguard on it, just that big blonde top. People told me that the resale value would be lowered, and when I posted it on eBay later, I did get replies from people saying they thought it was a shame. It still sold for more than it cost to buy my '98 J-60, which I think is much superior; I think it shows people are into guitars for the looks more than anything else... I always did get compliments whereber I took it...
This guitar had a beautiful voice. I installed the Fishman Blender, which I cannot say enough good things about; get one, and then remove it if you sell your guitar, and put it into your new guitar, -- it's a keeper. I changed the tuners, putting on Gotoh's because the hole pattern matches, and then putting the original grey plastic tuners back on to sell it...

The Hummingbird has a small narrow neck, good for people who like to mix rock styles in with their acoustic stuff. The voice is a good voice for folk music, or for gospel, a sweet voice, not as bass-y as some.

The tall frets on this 'Bird were unusual. But another thing I noticed was that it came out of tune a lot, needing a lot of fussing and attention. When I switched to the J-60, which had a slightly thicker neck, I never had that problem.

The Bozeman guitars are really great quality, though. Buy one. Buy two. Look all over them, look inside with a mirror, all the joints fit so well; not all brands look like that... When I let go of the guitar, it was about 9 years old, everything was still great. The bridge was nice and tight; the top has the slightest curve, just exactly I think what you want. Very well built and built to last. Seasonally, the guitar needed one small neck adjust for the winter and one for the summer, to keep the string height at the factory setting, but this is quick and easy -- even fun -- to do at home, and this pattern stayed repeatable year after year.

Customer support on the 'phone at Boxeman is awesome, I was astounded that people like Ren Ferguson and others would actuall spend their time generously with customers like me. Astounding. Very helpful. Having work done at the factory takes time and money though...

I had a Gibson Gospel, and sold it to get the Hummingbird, which because of its traditional solid construction seemed like a keeper. But I let the Hummingbird go to get the Gibson J-60, which is all the same dimensions, but with its rosewood/ebony instead of mahogany/rosewood, it seemed a better unit. But a person could live happily ever after with the Hummingbird, a good lifetime guitar which will appreciate. Stay with the Boxeman guitars though, much better than the 70's/early 80's product, and also better than the highly coveted early Gibson's that everyone ooh's and aah's about; the old Gibsons are fantastic because they are old, but the Bozeman instruments are just better when you compare them. Hand one down to your kid or something.