Gibson Hummingbird

Grover tuners and a flashy pickguard.lol

I don't know if I got just got really lucky or if all Hummingbirds sound this good but its allmost orgasmic it sounds so good to me.

I have never been able to pick up a guitar and just start playing songs with exactly the same sound I heard on the recording before and perhaps thats what is so wonderfull for me.

The guitar was setup to some degree by the previous owner so I can't speak for the factory settings.

I am very happy with it despite it being a shade higher then I think it should be.

The colors are very pleasant to look at, nice orangish top and reddish sides and back.

Everthing is top end on this guitar as it should be for the money I paid. Not complaining mind you, not much anyways.lol

I don't think I would play this at most gigs I have been on but it be great for solo type folk entertaining with the nice projection it has.

I have talked to Gibson about other guitars I have had repaired and found them helpfull as in giving me someone to make the repairs for me.
Elderly music of Lansing, Michigan is the best!
Lifetime warranty which I doubt I will ever be able to make a claim against.

I have been playing for about 23 years and also own a Les Paul Studio in wine red with gold pickups. oh yea baby.
I compared it to every other guitar on the market and the Taylors compared the best.
Sorry but that Martin sound does nothing for me. I bought two at Guitar Center and took them both back.lol

I purchased this Hummingbird new in the late 60's from a little shop in Dallas, Texas. (Trivia time: The shop was "Mel Renfro's House of Sound" in Wynnewood Shopping Center. "Mel Renfro was a Dallas Cowboy football star and had opened this little music store near his home.)
As I recall, the price was mid $300 range and came with a Gibson case.
It was Cherry Sunburst with gold hardware. Made in Kalamazoo, Mi. It was well set up from the factory and had great "play-a-bility."
This one had a Maple body with a Spruce top. I don't beleive that all Hummingbirds were Maple.
I bought the Hummingbird for the looks...I fell in love with the sound.

I was a founding member of a nationaly known rock band in the mid to late sixties.....and I bought this Hummingbird to have something to play on while riding my life away in the tour bus. (I was a bass player in the days before acoustic basses.) It wound up being used a few times on stage by my guitarist (it is even on one of the albums linear photos) and was used in the studio a time or two also.)
The sound was great! The neck was rather thin and narrow and was very fast. The tone was full and a bit on the bass end. We'd play around on the bus with bluegrass and folk-rock tunes.

From the start this Hummingbird was set up very well. The action was good. The finish was perfect....well it was before it got dropped and stepped on...."is that covered by the warranty???"

The Hummingbird took a great deal of abuse on the road and in hotel rooms. It withstood the abuse very well. The finish held up well and except for getting stepped on...it would still be here. (I did get the spruce top replaced by a cool custom shop in Salt Lake City, but it was never the same in looks or sound. I gave it away after it was repaired.)

If I had been an acoustic performer, I would have used this without a back up and not felt bad.

In the old days at Kalamazoo, you got great customer support. I picked up a custom guitar there one time and all of the folks were just great!!! I was not "big" enough to rate free toys (Fender handed them out to us but not Gibson) from the Kalamazoo boys but they were still really great. To see what I'm talking about today, just contact the guys at Heritage guitars...some of them are the same guys working in the same buildings that they did when they were still with Gibson. This year (2002) I needed some info on a Les Paul that was built in 1954 or 55. The folks in the historic department were fantastic....they called me back in response to my e-mail within two hours!!!!! And they saved me $2000 bucks by warning me off of that purchase. Thanks!!!! ("don't buy a LP prior to 1958....Les Paul told them they didn't have it right until then.")

I began playing in about 1956. I have owned just about everything that was around in the 60's and early 70's. Today I just collect Martins and noodle around on them with my kids....but I sometimes miss this guitar --- playing a new Hummingbird at Guitar Center and another at Mars, just wasn't the same. Nice guitars, but they have lost something throught the years. I wouldn't buy a "new" one, but if I ever wander across an "original" I'll sure be tempted to buy it and jump on a tour bus.......old musicians never die.....

Normal 1999 Bozeman built Hummingbird.
A beautiful instrument obviously built with care and attention. This guitar beckoned to me when I first saw it and once I had picked it up and played it I had to have it. I liked the broadness of the fretboard and the slight curve suited my hand.

To start with it had a good sound. Had light strings (Gibson I suppose)as it was brand new. After some drawn out hassles I will describe below I now have Martin Darco lights on it and it sounds really nice. This guitar will respond to whatever style you want to play on it. I play a lot of Eagles and Cat Stevens stuff, and a range of music that covers pretty well everything. I havent, and wont, put a pick up on it.

To start with the action was fine - then after a couple of months of fairly constant use it got a bit high. I arranged through the importer to have it altered. When it came back the action was lower and the strings had been replaced with Gibson ultra lights. I found it a bit quiet - and then it developed string buzz on the d and g strings, as well as the big E string would slap against the fret wire disconcertingly. I decided to take matters into my own hands and took the guitar to NZ's most respected luthier. He said that the nut grooves on the middle strings had been cut too deep and that it had probably happened when I had it altered. So he removed the nut (YEEK!) and replaced it with a new one made of whale bone. He restrung it with Martin lights and set it up just how I liked it. To my relief the retailer I had bought it off agreed to pay for the repair. (Phew!) Now I am very happy with the guitar - it is everything you could wish for. I go to quite a few social occasions where friends and family gather for a good old sing-up. When I pull out the guitar it turns heads and attracts a lot of envy from other players. Guys playing with us have a Martin Sigma, a Yamaha FG and a Crafter and these guitars really compliment one another on a lot of songs. (Later in the evenings as the liqour flows more freely I put away the Gibson and bash away on the Yamaha FG180)

Not really assessed as yet. Stays in tune well

I dealt with Gibson USA by e-mail and found them very helpful. But my experience in NZ was very anxious.

I love this guitar and would go after anyone that stole or damaged it.
It is very versatile, looks tremendous and sounds as good as any guitar I have ever heard. There is no doubt they cost too much - but I am obviously foolish enough to spend the money and I dont regret it for one second

Bought in April 2000, my guess by the number of 0's in the serial number that it is a 2000 model. American made in Bozeman, Montana.
Solid spruce top, solid mahogany back and sides. 20 frets with rosewood fingerboard and mother of pearl(?) split parellogram inlays.
Grover tuners (mucg better than Gibson tuners). Medium wide neck with a thin radius (kinda feels like an SG) Hardshell case included. How many features does one look for in an acoustic guitar anyway. No electronics, but that is a plus, so I give it a ten.

Oh my God, I have never heard a sweet rich tone like this before. Big and loud, yet warm and mellow. I play rock, country, folk, blues...basically I go for a oldtime American style of music. While this is not a bluegrass instument, It covers everything else just fine. I have played other Gibsons, Martins, Taylors, and nothing even comes close to the tone of this guitar.

This would be the only area of complaint. Action was fairy high, after a set up, plays like a dream. The binding isn't perfectly even and the joint where the end pin is is not perfectly matched. There is a slight gap where the two sides meet. No hole, mind you, but you can feel it. Otherwise the guitar is perfect. The top matches perfectly and the finish is flawless.

Seems like a solid guitar, although I baby it. I live in fear of bumping the headstock and cracking it. The paint on the pickgaurd wore off rather quickly, but that is no biggie. Very dependable and would have no reason to need a backup.

Limited life-time warranty (whatever that means) otherwise, haven't needed to call customer support.

I have been playing for about 15 years. Also own a '94 Gibson SJ-200, and a Gibson ES-335. Am currently shopping for an amp (probably a Fender Bassman), as well as a Dobro, mandolin and a banjo. I may trade my SJ-200 for one of those. Absolutely no regrets with the Hummingbird. I would replace it in a second if it was lost or stolen. I also tried out a J-45 Hank Williams Jr. limited edition model and and nice as it was I went with the Hummingbird. I highly recommend trying one out, and if can afford the steep price do yourself a favor and get yuorself one of these honeys.

A 1980 guitar, 14 frets clear, solid spruce top... if you're reading this you probably already know this anyway. Nice looking guitar in general.

Well, it's braced pretty heavy so it's deader sounding than some of the Martins. However it does have a nice, round tone to it. It's great for blues and country/rock, but just doesn't have the sound for bluegrass.

I'm giving this a 5 because I'm different than everyone else on the subjet. The action is higher than normal for a dreadnought of this quality, but I love it. Not to mention that I put medium guage strings (13 through 57) on it religiously. People hate to play this thing. Of course, I also put 12's on my 12 string. The heavy strings sound better, I think.

I've beat the crap out of hit and it hasn't budged a bit.

Never had problems.

Best guitar I'll probably ever have, but I want a Martin for the bluegrass playing. Anyone have a nice Gibson banjo willing to sell relatively cheap? Adkinsnc@cs.com.

Bought this beautiful Hummingbird back in the early "80s. Thought it was going to be the best deal of my life....paid big bucks too. Had to have the neck repositioned and stabilized shortly after purchasing it. The action was so high my fingers couldn't even think about reaching the fretboard. Haven't played it very much because I travel with a music group quite a lot and only took it to one or two gigs. . I usually play a Washburn at most of the gigs and that will be the last possession this old female will ever get rid of. Would love to sell the Hummingbird. It is quite beautiful...but who needs 5 guitars? Made in the USA..Beautiful Sunburst color

It is a beautiful instrument...and I feel so elated when people come up to me after a performance and just want to take a closer look. Has a deep rich mellow sound...especially with new Martin Marque strings!

nothing really wrong with this instrument except the action was too high....had that corrected along with having the neck stabilized.

Would play this guitar on any stage ...anywhere....the finish is really beautiful....sunburst. strap buttons solid.....would use it without backup.

havent dealt with the manufacturer...Have my own personal instrument repairman...the best anywhere...

HAVE BEEN PLAYING MANY YEARS. COUNTRY MUSIC...GEAR??? 5 guitars..5 fiddles....4 dulcimers.....1 autoharp....and the list goes on...1 dobro. Wish I had asked "Do you have any Washburns". Wouldn't repurchase....I love the deep resonate sound....It is a fine guitar except it isn't as easy to play as the Washburn...I have delicate female fingers! Did not compare it to any other guitar before purchasing....I already had some off brand guitars....always heard that Gibson was the best.....??????????

1974 Hummingbird. Bought new from Navy Exchange for $350 with OHSC.
This is a follow up from an earlier review (see below - Ed Harp review of two Hummingbirds together)
My son has this guitar now in college and he's enjoying it very much. His buddies are very envious. The 1964 'bird stay's in case detuned at home. That one will never leave my sight.

The sound when compared to a Gibson/Bozeman, Mt guitar isn't even in the same realm. In fact I just bought an Epiphone PR 350 SR with HSC for $399. If you can still by one get one now! Solid Spruce top, Solid Rosewood back and sides. Bought exclusively at Mars Music. Two sites in Minnesota - 3-4 left at Bloominton, MN and 1 left at Roseville, MN. There may be afew left at remaining stores. The reason I'm discussing this guitar, is what it is for the price. Korean made, with a big sound. The 1974 Hummingbird with its double-X bracing sounds very muted. like putting your hand on the top behind the bridge while stumming. My other Gibsons from Bozeman, Mt sound authentically pre-60's Gibson.

Now, here's the reason for this review. The neck pulled on the '74 'bird. Dove tail joined, still pulled. So I glued it with some wood glue. And now it seems very solid. Before I glued, however, I thought I'd check with Gibson first and then learned that all Gibson guitars made before 1987 were dropped from warranty coverage. However, in response to the Alan K. McCall review, Thanks Alan... His comment about bleeding bracing patterns has only been characteristic of double-x braced Norlin era guitars. Any Gibson acoustic made from 1969 to 1984 may display this problem. This has not been a problem with pre-Norlin guitars (pre-'69), nor Bozeman, Mt. If fact the Bozeman guitars are in many ways the most superior Gibson acoustic guitars ever made. There may be some exceptions, such as the Pre-War AJ's, jumbos, and J-35, J-45, etc.

This guitar has been a great, reliable guitar when I had nothing to compare it to from 1974 to 1980 when I inherited my Dad's '64 Hummingbird (read my review below). But now that I have two Bozeman Guitars, and the Epiphone PR350SR, We're talking in another league.

Warranty Expired. Great conversationalists in Bozeman.

If you like muted, punchy sound, not the sweet mellow tone of the early-mid '60s - Go out and buy one of these. You find them on Ebay everynow and then for around $600-$800, including the Dove, Heritage, Blue Ridge, etc.

My Hummingbird is a 1970 custom or "natural" top, it has grover nickel tuners, rectangular inlays up the neck, and is stained a deep cherry red on the sides and back. I bought it new. I have played it ever day of my life and gigged with it many, many times. The sound just grows better and better as the wood dries and mellows. I believe I paid about $350 for it new which was the same as a year's tuition at the state college I attended.

The Hummingbird has a "big" sound and very mellow. Unlike Martins and Taylors, which tend to have more "attack," the timbre of the Hummingbird is much more rich, smooth and "harp-like." It has plenty of bass and the highs are very creamy. I think it is very versatile and have played it in Rock bands with a pick-up, as well as miked as a solo. It plays all styles of music and sounds great as a rock accompanyment, country-western, folk or even jazz. I am always discovering something about this instrument I never knew it could do before.

When new, the guitar was set up perfectly. Action has always been fast until the neck began to bow a few years ago. See below. The custom top has always been subject to bleeding in by the cherry stain around the sides. Also, the glue from the bracing below the top has seeped through and you can see the bracing patterns as a result. I sent the guitar back to Gibson many years ago. The top was replaced and the guitar completely refinished for free under the "lifetime warranty." Though not as bad, the same things have gradually developed. I think I know why Gibson likes the cherry burst style of top which tends to hide these cosmetic flaws. I'll bet they do lots less warranty work on those tops than on the natural tops. Hopefully, Gibson's new models have eliminated this characteristic but I am betting against it. Love to hear what others have to say about it.

Otherwise, everything else about the guitar has been fine.

My guitar has worked hard nearly every day of its life but has been pampered, as well. Always lives in its case in a humidified room, with a controlled temperature, always wiped down and cleaned afer use, etc. It has really held up well except for the cosmetic issues (see above and below).

I have a big bone to pick with Gibson about this. A few years ago I complained about the stain bleeding into the top (again) and the glue bracing seeping through, Gibson asked me how old the guitar was. When I told them it was about 30 years old, their response was that it was too old to repair under the "lifetime warranty." I told them that I was the original owner and I was still living, that didn't change the response. I then asked how come they failed to inform me of this limitation in the lifetime warranty when I bought it so I would know to either buy something else or make sure I got all the warranty work done on time? They got a little irritated. I assured them that if Gibson wouldn't disclose the term limitation on the lifetime warranty, then I would. That's why I decided to write this review. So, folks, if you own a Gibson, get the warranty work done right away before the lifetime warranty expires or you do whichever comes first.

I then asked about warranty repair on my bowed neck and they gave me the same response - guitar is too old. Lifetime warranty has run out.

I then took the guitar to a well respected guitar mechanic who reset the neck for me and place two screws under the 14th and 15th frets into the neck block to stabilize it. After assuring me the neck would never bow again as a result of this repair, I asked why Gibson didn't make them this way to begin with and he merely shrugged his shoulders. The point is to show that this is a flaw in the design which has existed from day one and yet it didn't appear until about 28 years after I bought it. The whole reason for writing this review is to make the point that a lifetime warranty lasts only as long as the manufacturer will honor it and, at Gibson, that is less than a normal lifetime.

I have been playing guitar since 1963. I have owned many guitars over my lifetime, both accoustic and electric, bases, twelve strings, you name it. I have owned high end Martins and off-brand low end guitars. I am not impressed by brand name or price paid, just quality or value for the money. I like what feels and sounds good regardless of who makes it or where (even oriental manufactured - Take that Ed Roman!)

I have never considered selling the Hummingbird, despite the flaws, because it reminds me of all the places we've been and all the places we've played together. But aside from the sentimental value, and despite the few flaws which I have either had fixed on my own or just have learned to live with, it has been so good to me for so long. I thought about retiring it and using one of my other guitars as a primary instrument but I cannot find anything that seems to sound as good to my ear and I always go back to the Gibson. I am hoping to pass it along to my grandson but not before he pries it out of my cold, dead hands.

I'm doing this because I learned a few things today about this one I bought used, it's an '82 I think. I've had it about 2 years now maybe. Metal button tuners. It of course has the block inlay neck markers, not the very cool double parallelogram ones like the originals had. Why, how could they(Norlin) change something so beautiful? What I learned today was this axe also has a double X top bracing that is not like the originals and generally regarded as detrimental to the tone.(Norlin again) Very stiff. I came here to check out other reviews and see what else is up. Sure enough the review directly below(Ed Harp) which is very knowledgeable (and appreciated)has got the same story on the Norlin reissues. Thanks Ed. Check it out for a more thorough explanation. The guy even has a real one besides his Norlin era '74 to compare and expound apon. Great, interesting info. Anyway, my excellent repairman clued me into the bracing thing and also did not hesitate to say this axe was not one of his favorites. He even said sell it and get something else! Bless his heart. Well, despite all this undesireable stuff, I happen to love this guitar and bought it because it turned me on instantly. It was also way more affordable than a 'proper' Hummingbird of any vintage. It had a pickup installed in the bridge, was a bit funky on the finish in some areas, and consequently had a decent (for me) price. It is still an absolutely gorgeous looking and I think, great sounding guitar. I wouldn't dream of letting it go. The second thing I learned, which also goes hand in hand with Ed's review(since his '74 is his main player), is this: it doesn't matter what is 'supposed' to be good or bad. If it works, you like it and it sounds good, IT IS GOOD.

I think I've played one '60 something Hummingbird that was tagged at 2,200 bucks or something, all original. It wasn't playing very good though, needed some setup attention. I've also played a newer, reissue that was just fabulous. So I'm not real informed on how these should sound or compare. But I have played other Gibson acoustics trying to get a feel for them generally. You know, they're not Martins, they're Gibsons. I really dig mine, it does great for all the styles I play, which is anything. It's got that strummy, chopping, chunk kind of Gibson thing that everybody talks about, I love it. But it also works fine for fingerstyle or straightahead flatpicking. It has a really nice, bright single string lead tone, even on the high notes. It speaks. My repairman and I could not identify the under saddle transducer that someone put in there, but it doesn't ring my bells. It sounds, well, like a bridge piezo(never have completely liked them) but mainly I can't get any bass happening without the thing just woofing out. So my man is going to undo the bridge thing and set me up with a jack I can connect my Duncan soundhole Tube to, which works way better for my purposes.

Being used, I'm not real picky about all this stuff. Not immaculate, but the thing is well intact, looks stunning and plays pretty good. It's action and frets are a bit low and limits it's ability to take the heat. While at the shop, I decided on a refret. I'd been thinking about it all along and i'm sure it will scream when he gets done with it. They all do for me with better frets.

Seems as though it has held up well. Aside from possible unfortunate accidents, it should always be fine.

I'd rather my expert repairman take care of this thing. Gibson is, well, Gibson.

I've been playing for 29 years. The thing just looks to good not to play it. Wish it had the parallelograms. Norlin dumbasses.

This is a review of 2 natural top Gibson Hummingbirds that I have owned and still do. I own a 1974 and a 1964 Hummingbird.
The '74 was purchased new with OHSC ordered through the Navy Exchange in 1974. The 1974 model is called "Hummingbird Custom" was made at Kalamazo, MI. The fretboard is rosewood & has MOP block inlays from 1st through 16th fret. It has chrome Grover tuners, I have also learned and confirmed, the last time I changed the strings, that it has double-X top bracing. The bracing is much heavier and was used during the Gibson/Norlin Era 1969-1984 in order to make more guitars to make more money, the new Norlin company was strictly business minded and thought more about profit than quality. The light 1964 model is the single X top bracing and has incredible sustain and tone. The double X design dullens the tone, sustain, and minimizes top vibration. The single X design of the 1964 is built much lighter due to smaller scalloped braces. Both models are built with solid spruce tops and solid mahogany sides and back. The 74 on the back has attractive bookmatched mahogany with a center strip of a beautiful wood inlay. With new strings the 74 'bird is a great sounding guitar when compared to a low end laminated guitar. Now the 1964 model!

In 1960 Gibson wanted to make an attractive guitar for the Country/Western market with a mellow, full range sound built for singing accompanyment. They made the Hummingbird. Usually in Cherry Sunburst, mine is a natural top. These great 24 3/4" scale (from nut to saddle) guitars were made from 1960-1968. From 1969-1984 you can expect the bulky double X design. Gibson Montana (Bozeman, MT) has reissued these guitars from the early 60s design. They have in some ways surpassed the guitars of the early 60s. To assure that is correct, it will take 20 years + to see how these Montana guitars build sustain and mellow out. The only draw back with my 1964 'bird is that it has a plastic bridge! A WHAT??? You got it! Plastic! My ear doesn't hear the difference, though, I've been told to put another bridge on it will stiffen the sound for a while until it vibrates enough with the body to mellow out. Otherwise, I'll just keep it on until it pulls - It has lasted 36 years so far! I'm voting 8 on the 1974 and 10 for the 1964 = average 9

The 1974 has a punchy deep tone but lacks the sustain and full range of the '64 Hummingbird. The '64 definately has the sweetest tone of any guitar I've ever played. I've played for over 35 years and own 6 Gibsons 3 flattops and 3 solid bodies, a Fender US Strat, Washburn RR150, etc. My best sounding flattop, however, is a Gibson J-150, which is a J-200 without the white binding aroung the neck and headstock. See my review on that guitar.

Both guitar necks have held up over the years with all sorts of humidity variations. I live in North Iowa where the Winters are extreemly dry and the Summer very humid. But these guitars show no signs of warpage. The '64 'bird is the sweetest feeling neck and and the action is fairly low and picks & chords great up around the 12th fret etc. The '74 action is slightly higher but still can be picked and chorded up the neck effortlessly. The 74 neck is in great shape from 1st fret to body but has a very slight, almost undetectable dip into the body.

I owned and played the 1974 since I bought it new. It's been my main guitar from 1974 to 1980. That's when I got the my dad's '64 Hummingbird due to his death. The 1964 is priceless. I wouldn't take $10,000 for it!!!
Both guitars are still very solid and the neck joint is unblemished w/o any cracks in the finish. Both show normal wear and the '64 shows some of the finish wore off where my dad strummed above and below the pickguard. I have a Fishman Rare Earth Hummbucking pickup installed in the 1974. A sound hole pickup with a jack out the end pin.

I've called Gibson before and they are very courteous over the phone and stand by wanting to answer my questions and chat. I've never had a warranty claim with 6 Gibson guitars. I take that as a high rating.

I highly recommend anyone buying one. Go to a store play one, play several guitars and expect to spend about $1700 to $1900 for a new one today. But also expect to keep it for many years and enjoy the playing and its mellowing with its age. It'll grow on you!

Gibson Hummingbird, manufactured in 2000 by Gibson Montana, in Bozeman. 20 frets total, 14 frets clear of the body. Gibson calls this a "square shoulder" acoustic. It is actually close in size and shape to the Martin Dreadnought acoustic, but the Hummingbird is slightly bigger in most body dimensions. Solid spruce top, solid mahogany sides and back. Solid mahogany neck, rosewood fingerboard, fingerboard position markers are mother-of-pearl parallelograms. Finish is gloss lacquer for everything: body, neck, headstock.

Gibson Hummingbirds from the Bozeman, Montana factory for the past several years have been (and continue to be) finished in "Heritage Cherry Sunburst". For me, the "HCS" finish doesn't look good compared to the way Hummingbirds were finished originally, which was a rich cherry red sunburst soundboard shading to yellow in the center of the top. The "HCS" finish is a distinct orange color on the rim of the guitar's top, shading to a more faded yellow in the center. The exact shade of orange is like Campbell's tomato soup. When I called Gibson Montana and asked if I could order the original finish through a dealer, they said no problem, and explained that they finish the guitars in the "HCS" finish now because original Hummingbirds (1960 - 1968) are fairly collectable, and most collectors examples have sunburst tops that have faded through the years.

The guitar has multiple body bindings on top and back, and the fingerboard is also bound. Probably the most distinctive visual feature of the Hummingbird is its engraved pickguard, which is oversized, dark tortoise colored plastic engraved with a hovering Hummingbird, vines, flowers and a butterfly. I think it's beautiful, but my mind boggles at the thought of a (for example) classical guitarist with an instrument decorated as gaudily as this. I really believe that when Gibson brought out the Hummingbird in 1960, they expected to sell a LOT of them to country and western players.

Other features: the bridge is solid rosewood, top belly design, decorated with two mother-of-pearl dots, one on each side of the bridge pins. The bridge saddle is bone, but the nut is plastic (more on that later.) The strap button at the bottom is nickel plated, or maybe stainless steel.

This is a "short scale" acoustic guitar: scale length is 24 3/4 inches, and the neck is fairly slim. It plays fast, and doesn't get in your way. The bound fingerboard and the capped frets (a Gibson tradition) help the Hummingbird's playability also.

The guitar came with a very well fitted arched top hardshell case, a humidifier to fit in the soundhole and good instructions on how to use it (and when), a good owner's manual, the lifetime warranty card, and a neat pick made from the same tortoise shell plastic as the pickguard with the Gibson Montana logo in goldleaf.

The Hummingbird sound (or why I bought this guitar). One of the other Hummingbird reviews here states that the buyer wanted a guitar to exactly reproduce the acoustic rock sound of some Rolling Stones' songs such as "Sister Morphine", and that the Hummingbird he bought (a 1996 model) did that perfectly, but had very short sustain. I started looking for a high-end acoustic to play mostly folk and folk rock stuff on, and I did not begin by looking at Gibsons.

But...after going in and out of a fair number of guitar stores and superstores, and picking up a Hummingbird or two and playing them in the store, I discovered that this guitar, made the way Gibson Montana makes them now, is something special. The Hummingbirds that I've played have all had a sweet, round, chime-like tone that people can distinguish from other acoustics. (Literally, they can. I've had friends of mine who are not musicians or anything other than casual listeners come with me to check out some guitars, and I've done an experiment several times, with the same results. I'll ask them to turn their backs to me and just listen, without judging the guitar's sound by how it looks. My friends can usually tell the difference between, say, a rosewood Martin and a Taylor, but every time I've played different guitars for them and asked them which one "sounded the best", the Hummingbird won - no exceptions.)

The Hummingbird sound is pretty versatile, too. It rings like crazy when played hard with a flatpick, sounds very good on solos played up the neck, and turns rich and extra warm for fingerstyle playing.

On the "sustain" issue raised in another review: I'm in a moderately quiet room, with a/c blowing and a computer humming away in the background. I just hit a variety of chords in succession, G, C, D, E and let each chord ring until I could not hear it anymore. My watch tells me that the average sustain until the chord can't be heard over average background noise is about 10 seconds. I did the same thing with a Martin SWD, and the time was pretty much identical. I don't know how to account for the difference, except to say that acoustics do show a fair amount of variation in tone and playability from one to the next, even in the same model.

In every respect except the action and strings, the Hummingbird was close to flawless right out of the box. The finish was beautifully done, the "custom" color I ordered (really just the original cherry sunburst) was exactly as I wanted, almost everything was as it should have been. Gibson ships Hummingbirds (along with most, but not all, of their acoustics) with Gibson light-guage phosphor bronze strings, and when I took the guitar out of the case and first played it, the G string was pretty close to dead - the others were okay. I also noticed that the guitar's action was not as low and playable as most of the Hummingbirds I had played in the stores locally. After a couple of trys, I found a local luthier who was Gibson certified, and he adjusted the action perfectly after installing a set of medium-guage Gore Elixers. He commented to me that the guitar was one of the most beautiful he had seen from Gibson (as well as the first Gibson Montana acoustic actually built in 2000), but he told me that the plastic nut had not been cut properly for best playability, and he had to do some filing to get it right. After his work, the guitar played extremely well, and I am very happy with it.

I think this guitar would withstand live playing - after all, the Hummingbird is talked about as being probably the best acoustic guitar for rock bands to come out of the 60's. Is it super durable? In a word, NO! It's an all solid wood acoustic, and if you let it dry out and don't keep it properly humidified, it will give you problems. Also, as a whole bunch of previous reviewers have stated, acoustic guitars are just not as durable as solid body electrics. The guitar's hardware is quite good in terms of lasting quality. The tuners are sealed Grovers, the tuning knobs are nickel, and the bottom strap button is nickel or stainless steel, good and solid. The adjustable truss rod means you can keep the neck straight, and the guitar will be durable if you don't abuse it. The finish is great, nitrocellulose lacquer, multiple coats, and would withstand quite a bit of playing before being scratched, unless you are really careless. Would I use it on a solo gig without a backup? Yeah, almost certainly, but if you've got a job to do, it's probably wiser to have a backup, just in case. Not a reflection on this particular guitar, just the certainty that Murphy's Law rules, no question.

Gibson gets REALLY high marks here. I called Gibson Montana several times, and was always able to get my questions answered either right away, or with a callback not more than a day or two after I called them. The factory people are VERY knowledgeable, they know what they're building and what kind of history stands behind the guitars they make today. The gentleman I talked to about the "custom" color immediately knew what I was after, and didn't hesitate to tell me why they changed to the "tomato soup" sunburst (that's what HE called it). He told me about the $200.00 upcharge for a custom color, and encouraged me to shop some of their dealers to get a discount on the upcharge. I have not had any reason to have the Hummingbird repaired under warranty (which is for the life of the original owner), but I strongly suspect that Gibson Montana would be just as helpful with warranty problems as they were in giving me the information I needed to get the guitar I wanted.

Based on some other reviews in Harmony Central, I orderd the guitar through E.M. Shorts Guitars, a division of Wichita Band Instrument Co. Their Website address is http://www.wichitaband.com, and the guy I dealt with, Jon Ray, was very helpful. Their prices were considerably below the Mars Music and Guitar Center prices for the Hummingbird, and I would not hesitate to recommend them for anybody looking to purchase a good guitar or bass.

I've been playing string bass, electric bass and guitar since 1965. Currently, I own a Martin SWD, Yamaha RBX260 electric bass and the Hummingbird of this review. I checked out the Hummingbird and other Gibson acoustics pretty thoroughly before making this buy, so I'm pretty confident that I asked the right questions. If this Hummingbird were stolen or lost, I would definitely buy another one, also with the original cherry sunburst finish. The two things I love about this guitar are (1) its unique appearance, and (2) its great, warm sound. When you pull the guitar out of its case in a crowd of players who are mostly doing Martins and Taylors, the Hummingbird is a serious attention getter. I think my favorite feature of the guitar is its versatility. It's not just for bluegrass, it's not just for unplugged rock, it's loud enough to be heard in a crowd, and it can be very soft and very sweet or it can ring out with the best of them. I compared the Hummingbird mostly to the Gibson Dove and some of the rosewood Martins (HD-35, HD-28, etc.) I chose the Hummingbird because it sounded the best, and looked great to me. There is nothing else I can think of that I wish this guitar had. Gibson may never sell a boatload of Montana acoustics (they are pretty pricey, after all), but with the Hummingbird, the Dove, the J-200 and several others, they make world-class guitars that you don't see everybody playing.

If you're reading the review section in Harmony Central and are interested in a great acoustic six-string, check out the Hummingbird if you can find one. The ones coming out of Bozeman are truly great guitars.

Aside from being very nice on the eyes, with the sunburst finish, the neck has mother of pearl square inlays. The case was such a gorgeous, rich color purple, that it definitely contributed to the sale. The outside is brown and it has a small key lock. The tuners are those old fashioned cream colored pegs, and they feel like they will have to be replaced in the coming years--not too sturdy, but pretty. It is a 1996. Another annoying point. I finally got the pickguard to look pretty nice after I scraped all the excess paint from the lines that it is suppose to be shot into. It was tacky looking at first. I am on my second pickguard because the paint rubs off in no time in the area where the strum lines are. I have never seen a degradation in any of the old hummingbird pickguards. But these newer thin ones to me are kind of an insult to somebody who drops $1300 on a guitar.

I bought this guitar because I love the guitar sound on the Rollings Stones, Angie and Sister Morphine. And it exactly reproduces that sound. But I believe I will finally be selling this guitar. Ever since I have had it I have been obsessed with the fact that it has a very short sustain. The guitar has incredible power and boom, but to get that and sustain I have to replace the strings weekly. I just bought a Martin Hd-35 which has both. Not as much boom, but sweet sustain. I was a bit hasty when I bought the Hummingbird. Simply, it does not fit my guitar playing style which is summed up in the Stephen Stills song Black Queen on his first solo album. The Hummingbird sounds excellent for strumming down near the nut, but you loose sustain as you go up the neck. So I will give it a good grade for sound, just not the sound I want.

The guitar came with pretty high action. I had a complete setup done on it by John Eaton in Boulder, Colorado, replacing the nut and saddle. Both are now bone. The setup helped quite a bit for playablility, but that is another complaint. I could not play too many bar chords on this guitar without ache setting in. I have been playing for 15 years so it isn't my hands. I am not quite sure what is different about this guitar's action that makes it a bit of a struggle. It is low enough and I use .12 John Pierce strings. On the the HD-35 I got there are twelves on it and I can play bar chords with complete ease. The finish was excellent and the red on the back and sides is a beautiful candy apple. No complaints there.

This guitar seems pretty durable to me. The tuners are an exception, but I think they use the chrome ones now. The finish seems to have held up fine.

I got the place I bough it at to get me another pickguard for free, but that is all. The warranty if for life.

This guitar has never felt completely right to me-- almost turning to obsession at points. This was my first expensive guitar and I was planning to keep it forever. Not so. I made the mistake of playing Hummingbirds around town and then buying the one that has the best price. I think this was a mistake. I always thought maybe I hastly picked one that was a runt in the litter, but I just think that the sound doesn't agree with me. In compairing it now to the the HD-35. I must admit that it had some things that the Marting doesn't. Very big sound and loudness. But you have to play it harder too. Also, It seemed like the Hummingbird's sound changed too drastically under different environmental conditions. On a rainy day that guitar would sound like it was made of Wonderbread.

This one was made in '73 I believe, in USA of course. Dreadnought style, 20 frets. I don't know wood well enough to tell you for certain what the materials are, but I suspect the top is spruce and the back and sides are mahogany. Truss-rod type neck...neck perhaps maple? Fretboard definitely rosewood, and the bridge piece looks to be rosewood too. Big rectangular inlays on neck (mother of pearl I suppose), and neck is average girth, very typical for this style guitar. Finish overall is rather glossy, and the top color scheme is cherry sunburst while the rest of the body is medium-to-dark brown. Headstock face is black with presumed mother-of pearl inlay design and Gibson logotype. Off-white binding on edges of body and neck. Wonderful color artwork cut into brownish plastic pickguard, featuring hummingbird and trumpet vine (that's Campsis radicans to you horticulturalists) blossoms/foliage. Cool, subtle little linear inlay pattern along the seam in the middle of the back. Tuning pegs are silver Grovers. It came with a very durable hardshell case. A remarkably gorgeous guitar in all respects.

I would characterize my favorite playing style as early/middle-period Jethro Tull. This guitar suits that perfectly--great tonal range overall but especially bright and ringy in higher notes. VERY sweet and powerful--sounds great at full volume. Also, really fun to play with capo up a few frets once in a while. Verbal descriptions of sound quality leave a lot to the imagination--so perhaps it's a better tactic to say that the sound of this guitar is very much like Ian Anderson's Martin as heard on Thick as a Brick (and other Tull songs from that era). By the way, I have played various Martins and they sound wonderful--but are nowhere near as pretty!

Action was set-up just fine when my late mother, God bless her, bought me this guitar for me 25 years ago (I am original owner). It was a demo, so had a few little nicks, but always played like a dream. One weirdness is that after I'd owned it 2 or so years the top distorted (became slightly unflat) in a small area just below the pickguard and to the right of the bridge--I took it to the shop and they found that some interior wooden strut had cracked--(no, it was not dropped) they were able to fix it and it stabilized--has never gotten worse or affected playability in any way. You have to hold the guitar at just the right angle to see it.
And then, in 1981, tragedy. My (now ex-) clumsy wife bumped into it carelessly one day, knocking it off its stand onto the living room floor, and the whole headstock cracked right off just above the nut. The closest I have ever come to homicide (would any jury have convicted me?) So I took it to a shop and they were able to glue it back together pretty cleanly, using a couple of wooden pegs or dowels for additional strength. You can see the break clearly, but you have to be close.
The good news is that while in the shop, the luthier recommended a re-fret job, plus he recut a new nut and did some adjusting to the bridge--so that now it actually plays even better than it originally did. Despite the injury, it is still an excellent guitar in terms of playability and workmanship. Compared to other acoustics I have played, the action is very good; tuners are solid and don't slip.

After the early problem with the internal strut and the ex-wife's blunder 18 years ago, nothing has gone wrong. The guitar has mellowed slightly with age visually speaking, as the binding has turned creamy-yellow, which I find attractive--kind of a patina that gives it character.
I play this guitar at home frequently but I have not gigged with it, so it hasn't been treated roughly, but there is nothing about it that suggests it wouldn't withstand hard use. Just keep stupid, clumsy, oafish, heedless people away from it when it's sitting on a stand! Strap button seems very solid, though I haven't used a strap very often.
This guitar has admittedly led a somewhat sheltered life, but the fact that it is in such great condition after a quarter-century speaks volumes for the quality of its design, materials and construction.

It was not (as far as I know) under warranty when it was damaged, and I have had no contact with Gibson in the 25 years I have owned it.

I've been playing about 30 years. My only other guitar is a Gibson M-III, which I just recently bought. Since my Hummingbird was a gift, it wasn't a choice I made--so thank heaven for Mom's good taste or for the good advice given to her back in '74. If it were stolen or lost, I would be heartbroken, and yes I would buy another one (though I must admit I have always secretly lusted after a Gibson J-200--but in addition to, not as a replacement for, the Hummingbird).
What I love about the Hummingbird, beyond its considerable sentimental value, is simply that it is a gorgeous instrument that plays beautifully. I'm still in love with it after 25 years. I still marvel at how wondrously beautiful it is. I don't hate anything about it except the fact that my ex-wife broke it long ago.
I've heard guitars described as metaphors for dicks and as metaphors for women--this one is definitely female. I love it so much because it's like the perfect woman--incredibly, agelessly gorgeous, but sweet and giving too. I've often thought that if my house ever catches on fire and I got my wife and kids out safely, this is the only possession for which I would risk my life to save from the flames.