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A beauty that's steeped in acoustic blues.
The Gibson Acoustic Icon '60s B-25 is a small-bodied acoustic guitar that delivers big bluesy sound. And just because it's smaller doesn't mean Gibson skimps in the B-25 guitar's construction. The neck is one-piece, solid Honduran mahogany, with a gently rounded profile for comfort. It's topped with a fingerboard of hand selected Indian rosewood. The 20-fret board has a 24.75" scale. Position markers are mother-of-pearl dots. The bridge is Indian rosewood, too. The saddle is adjustable, just as it was "back then."
Starting in the mid-'50s small body guitars saw a big resurgence of popularity. Some of this was brought on by used guitars from the 30's now being relatively inexpensive, and readily found. The real increase of growth in these small-body guitars was the popular growth of acoustic blues music. Small-bodied Gibson acoustic guitars have always been popular among acoustic blues guitarists, ever since Robert Johnson made a deal with you-know-who at that Mississippi crossroads.
By the '60s, blues artists like Johnny Shines and Furry Lewis among others were recording their music with Gibson B-25s. Why you may ask? The B-25's DNA goes right back to those guitars of the 30's. The B-25 guitar's small body (14.125" wide x 19.25" long x 4.5" deep) made it an easy guitar to travel with. This small body, composed of solid Honduran mahogany back and sides along with a top-grade solid Sitka spruce top, produced a warm, woody tone that lent itself well to blues and folk music. The internal bracing is scalloped by hand. Scalloping significantly reduces the weight and mass of the braces, without taking away strength. This allows better motion to the top, and greatly enhances the guitar's projection. The B-25 guitar sounds bigger than it is!
Back in the '60s, the red pigments used in the color coats were not stable. The original B-25 guitars were finished in a Heritage Cherry Sunburst color, that within a few years gently faded to a softer, warm honey color. The Acoustic Icon B-25 featured here is" pre-faded" to that warm color right from Gibson. Of course, the final finish is nitrocellulose lacquer, which is not only beautiful, but actually adds to the sound of the instrument by allowing the wood to "breathe" and "open up" over time.
Finally, Gibson includes a custom, form-fit hardshell case and a signed certificate of authenticity with the Acoustic Icon '60s B-25 guitar.
Not only can you not find this guitar anywhere else, it won't last long here! Call or click today to order.
Reviewed by 2 customers
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This is amazing! I bought my Gibson B-25 natural brand new in 1965 from Roxies Music in LaPorte Indiana for $125.00. I was 15 years old at the time and it was my first gutar. I have always loved this gutar. The action is amazing, but the sound, while great, did not project and was drowned out when I played with a group. If you serarch for history on this model, you will think that it never existed.
Gibson produced a ton of these small bodied acoustics back in the 60?s. Their light-weight and small bodied characteristics were great for convenience with just a little compromise on the volume and projection when compared to their jumbo siblings. The balance between treble and bass is also a great characteristic of this little guitar. Unfortunately Gibson apparently decided to cut corners on the color finish and despite claims of authentic reproduction of the original beauty of the cherry sunburst finish, Gibson has disappointingly placed a beautiful cherry sunburst top on a poorly matched heritage (not cherry!) back and sides finish. The other disappointment is their (authentic) reproduction of the ?adjustable bridge? from the 60?s. That was a poor design then and it is a poor design now; besides slightly compromising the tone and projection, it makes it impossible to place an under saddle pick-up for amplification. Sound hole amplification is the only option, and I found a good solution with a Rare Earth sound hole pick up on my 60?s vintage B25. To Gibson?s credit, they did not also reproduce the plastic bridge which was also a design flaw back then. In my opinion, had Gibson included the true vintage cherry finish on the back and sides, and done away with the poorly designed ?adjustable bridge? this guitar would be worth much more than the asking price. Even with these criticisms, this guitar has a unique character and personality, is easy to play and has that warm Gibson tone and chunk when you want it.