Unveiling the Unique 1960s Gibson Double-Necks: A Journey Beyond Stairway to Heaven
The striking Polaris White model is a 1961 EMS-1235,featuring a standard six-string neck alongside an octave six-string neck. What sets this guitar apart is its distinctive Bigsby tremolo on the octave side, a rarity among its peers.
Gibson produced these guitars with both Venetian and Florentine cutaways; this particular piece showcases the Venetian style. It boasts a hollow body crafted from a carved spruce top and a flat back, equipped with three [Patent Applied For] pickups. The guitar is elegantly adorned with a single layer of white celluloid binding on the back and a white/black/white pattern around the top.
Both necks are constructed from mahogany and feature Brazilian rosewood fretboards with parallelogram inlays, yet they offer distinctly different playing experiences. The standard neck is notably thick,providing a pleasant grip for players. In contrast, the octave neck is quite narrow, making it challenging for those with larger hands, although it feels natural for players accustomed to mandolins and octave guitars due to its mandolin-style frets.
The heel of the neck begins at the 12th fret, allowing for playability up the neck, but it becomes cumbersome beyond the 15th fret. This particular guitar shows some fret wear and minor divots on the fretboard, indicating it has been played, especially on the regular neck, which features larger ‘burst-gauge’ wire.
when tested through a Dumble amplifier, the guitar produced a rich, dynamic sound as the volume controls were adjusted, with the octave neck contributing sympathetic overtones. The three-way neck switch allows for individual or simultaneous activation of the necks, while a second three-way pickup selector controls the regular neck.
Due to the presence of the Bigsby, Gibson altered the typical volume control layout, opting for a master volume and tone control on the six-string side.
The Bigsby tremolo is of the ’horseshoe’ variety, necessitating a solid center block beneath the top for support, along with the pickups and bridge. This design is mirrored on the regular side, were Gibson also incorporated braces for added stability.
The 1966 EMS-1235 presents a stark contrast with its full-scale four-string tenor neck and an eight-string mandolin neck.Interestingly, Gibson fitted full-sized humbuckers but left out the outer slugs and screws, using pearl dots to cover the holes instead.
Another unique aspect is the custom placement of the neck switcher on a plate near the lower bout, while the tenor’s pickup switch is positioned by the cutaway. The gold hardware adds a striking touch to the cherry finish, giving it a nearly pristine appearance.
This guitar appears to have been seldom played, evidenced by the fine and uniform east-west lacquer checking on the finish. The fretboards are crafted from ebony and feature mother-of-pearl blocks. Doubleneck headstocks typically have ’custom’ truss rod covers, but this model also showcases L-5-style ‘flowerpot’ inlays and binding.
Despite being a one-piece solid body, it weighs just over 9 lbs, only slightly heavier than the white model. The two cut-down ABR-1 bridges are equipped with four saddles instead of the usual six.
Gibson utilized two thumbwheels at each end of the bridges, with the lower wheel adjusting the height and the upper one securing the bridges in place. This design choice may have been made to counteract insufficient string pressure, preventing any rattling.
This particular model is likely a one-of-a-kind creation, as I have yet to encounter another like it. Some may be relieved that Gibson only produced one,as it seems like an instrument that might have been ordered and later regretted. Though, considering the era of folk and psychedelia, this guitar could very well be featured on some obscure master tape, its unique sound untraceable.
Surprisingly, there exists a niche audience for such instruments, particularly within the southern country music scene, where showcasing an unusual guitar can captivate an audience. Musicians enjoy the attention that comes with playing something distinctive, making these guitars not just instruments, but conversation starters.
- David Davidson, a vintage guitar expert, owns well Strung Guitars in Farmingdale, New York. Contact: [email protected] / 001 (516) 221-0563
- This article originally appeared in Guitarist. Subscribe for more insights!
