ES-135 vs ES-137?

Posted by Tony Corman on Fri, 02/06/04 - 13:28:50.

What are the important differences between these two Gibson guitars? They look pretty much identical to me!

Related Article:
Gibson named one of the Best Hollow-Body Guitar Brands

Comment viewing options

Select your preferred way to display the comments and click "Save settings" to activate your changes.

Re: ES-135 vs ES-137?

: What are the important differences between these two Gibson guitars? They look pretty much identical to me!

I don't know. But looking at this article below may help...
Gibson ES-137 Semi-Hollow Archtop Guitar

by John Gatski

In the early 1990s, Gibson introduced the ES-135 semi-hollow, laminated maple guitar. The guitar was basically a two-pickup version of the 1960s archtop ES-125 with Florentine cutaway and trapeze tail piece.

The standard pickups were noise-canceling versions of P-90s (and latter æ57 humbuckers), but the ES-135Æs biggest difference from the original ES-125 was the sustain center block under the bridge; it made the guitar more versatile, adding a solid-body sustain character.

The made-in-Memphis ES-137 reviewed here ($1,599 retail) is the next generation of the ES-135 guitar. Tested here is the ES-137 Classic with two humbucking pickups. There are two other models; this one is the middle sibling. The premium model offers æ57 Classic alnico II pickups and a varitone control. The lower-cost 137 has uncovered humbuckers and no binding.

The 137 series is still the same size as the 135 (the 2-inch thick and 16-inch width body). The body, however, has a new component in its three-ply construction; poplar now joins the two pieces of maple. Gone is the trapeze tail piece, replaced by a tune-oÆmatic bridge and stop tail piece. The center block is now mahogany instead of the softer balsa wood (chromyte) of the 135. This larger, harder block allows the use of the tune-oÆmatic bridge system.

The guitar comes in several colors; my test unit was a striking sunburst. The guitar measures 16-inches in width and sports the traditional Gibson f-holes. The neck is the tried-and-true 24.75-inch scale, and it has the Les Paul-shaped headstock. The model decal is situated between the keys, which are Grover Keystones.

The neck contains trapezoidal blocks and a crescent inlay at the 12th fret. Neck and body are bound in white, single-ply plastic. As with all Gibsons, the lacquer is the old-fashioned nitrocellulose. Fret height is medium.

Electronics include the top-bout mounted selector switch, a 498 bridge humbucker/ 490R neck humbucker pickup setup, and separate tone and volume controls for each pickup.

The audition

The ES-137 comes with .10-.046-inch strings, but I changed to a set of .11-.050-inch strings. For my tastes, larger strings vibrate the top better on laminate guitars.

Once the sting replacement was made, I tuned up and played the ES-137 Classic through several amps including a new Gibson GA-15RVT ù a class A, push-pull, EL 84-tube powered amp that looks like a throw back to the early 1950s Gibson amps. I also sampled the guitar through a 1971 silverface Princeton Reverb, æ66 Fender blackface Deluxe Reverb, a reissue Fender æ65 Twin Reverb, and the way-cool Groove Tubes Soul æO Single triode combo. Threw in a Radial Tonebone distortion pedal for the OD stuff.

With all the amps, the 137 sounded impressive; it has more sustain and snap to the dynamics than the 135. Gone is the 135Æs microphonic trapeze tail piece that drove me nuts. With its more focused character, the guitar is well suited for almost anything: jazz, funky rhythm, hard rocking overdrive tunes or Sun Record slap-back leads.

The flip-side is that the bigger sustain block and the poplar portion of the body ply moves the sound away from the ES-135Æs more hollowbody character and closer to the faster, leaner solid-body sound. But that is okay; it still sounds bigger than a 335. In my opinion, it is a cross between a Les Paul and the vintage Gibson thin hollow bodies.

By the way, the Gibson Keystones worked perfect with the Gibson bridge hardware; this guitar always stayed in tune. Even with low action, the buzz was nearly non-existent.

The only downside with the 137 was the 490R humbucker, which sounded somewhat muddy. I could not get as much treble out of it as I have heard the pickup output on other 137s. The pole-piece adjustments could only do so much for the high-end. I think it was that particular pickup.

The Gibson ES-137 electric, semi-hollow archtop guitar is a definite improvement over the ES-135. Its versatility has increased, and, at $1,599, it is a value leader for jazz, rock and country pickers, who want a vintage tone, yet with modern feel and sustain. Personally, I like it better than an ES-335.

I've owned a 135 P100 that I

I've owned a 135 P100 that I put some Seymour Duncan pickups in P90-1 and a P90-3 which was a massive improvement, a 135 with '57 classics and trapeze, a 135 with '57 classics with a mahogany centre block and stop tail with tune-o-matic and no f-holes, a 137P with 496r/500t pickups, and my current model in the range is a 137 classic.

In this article I agree with the trapeze being a pain, it always rings out with dissonant notes to the ones your are playing. It's a pain to restring at the strings fall out the bottom of it. The chromite (who are they kidding it's just another marketing name for balsa wood) makes it lighter and sounds more like a hollow body guitar. The mahogany centres let you use the stop tail which is better but it's also heavier and sounds much more like a Les Paul than an ES175.

The 137 classics can have a lovely flamed maple and binding on the neck and larger fret board inlays so they look noticeably higher class than any 135. The 137 custom is way over priced. It's really only got an extra knob and rotary switch with a couple of capacitors and that doesn't cost anything more than $20.

The good thing about the 137 classic is that it has a hotter bridge pickup so it's more useful for overdriven lead tones than the '57 classic, and on that note the 490R has a lot more harmonic content when overdriven than the '57 classic. They aren't any darker than the '57 but when paired with the 498t anything is going to sound dark as the 498t really lacks bass and is a very bright pickup. I have the same beef with many Les Pauls that use this pickup combination however, between the two pickups they cover a hell of a lot of sonic territory and you can simply roll the tone back on the bridge pickup to take away that brightness.

You're also dealing with different magnets, the A2 in the neck is going to sound softer, darker and more middy than an A5 magnet in the same pickup. So that also adds to the tonal distance between neck and bridge. The real solution is to use the neck for jazzy cleans and the bridge for searing rock tones.

A 137 classic is a much better guitar than an es335 which in my opinion is way overrated and way overpriced. Why is it better? It looks better, the classic has a classic Gibson shape that dates back to the 1940's where as the ES335 looks a bit daggy really. It's also a thicker body so there is more wood and unplugged they have a larger sound. A 335 is very nasal sounding and stiff. The 137 is much more open sounding and looser and has a lot more character to the sound.

I've owned a heap of es335's, es333's in fact about 50 Gibson guitars over the years.

The only Gibson I now have is the ES137 Classic.

Post new comment

The content of this field is kept private and will not be shown publicly.
This question is for testing whether you are a human visitor and to prevent automated spam submissions. Do not include any spaces in your answer.
Copy the characters (respecting upper/lower case) from the image.

Contact | Advertise | Contents | Privacy Policy

This site is published by Hitsquad Pty Ltd. Copyright © 1999 - 2015 , All Rights Reserved.