1998 GIBSON Byrdland Jazz guitar Wine red

Priced in Aud.

Made in USA

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I’m pleased to be able to offer this wonderful 1998 GIBSON Byrdland Custom Jazz guitar in transparent Wine red finish.
Spruce top with figured maple back, sides and neck.
It has been played but not for many years as it has been stored.
Carved solid Spruce top
17” wide
2 ¼” deep body
1+11⁄16 in [4.3 cm] Standard Gibson nut width
Figured Maple back and sides
Multi-ply binding
Bound Ebony fingerboard with the Pearl block inlays
3 piece figured Maple neck
ABR-1 tune-o-matic bridge with a floating Ebony base
Triple loop Byrdland trapeze tailpiece
’57 Classic bridge and neck pickups
Hardshell case

Although in great well looked after condition, the guitar shows typical fading/wearing of the gold hardware, mainly the tailpiece and pickup covers. Tuners and bridge are still very golden. It plays beautifully and will suit the Jazz player, the guitar collector of finer high end guitars or even someone wanting the classic twin humbucker, 3 way pickup selector and 2 x vol 2 x tone controls but with a slightly shorter scale and slightly smaller nut width.
Please see detailed specs written below.
Note: There is a line on the lower rear of the headstock, this is NOT a fracture or break. The Byrdland has not only a pegface overlay on the front of the headstock,. There is also an overlay on the rear of the headstock. This line as pictured is actually the lower edge of that overlay in the glue line where typically Gibson finishes to occasionally show. There is also a similar effect to small areas on the rear centre line of the book-matched flame maple.
Another point to be noted, as shown in one of the photos is located in the top waist area, bass side near the edge, a line in the spruce top, approx. 4cm long, NOT A CRACK, This is only a lacquer checking line. Last point worthy of mention is the previous owner moved the strap button from the heel-cap to the underside of the neck heel.

A lovely quality guitar that will be setup to the buyers requirements, string preference and negotiated freight choice.

If you would like to know more, you can email either via the contact page or directly at M.Skehan@greatguitars.com.au

Feel free to also phone on +61 412 438 478 or 0412 438 478

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Categories: , Product ID: 3781


The Byrdland is the first of Gibson’s Thinline series. Many guitarists did not desire the bulk of a traditional archtop guitar such as Gibson’s L-5, one of Gibson’s top models. The Byrdland, with its overall depth of 2+1⁄4 in (5.7 cm), is thinner than the L-5’s 3+3⁄8 in (8.6 cm) depth. Gibson’s president, Ted McCarty, sought opinions and ideas about new products. The suggestions from Byrd and Garland led to the development of the Byrdland. The Byrdland, first made in 1955, is essentially a custom-built, thinner, L-5CES (Cutaway-Electric-Spanish). Later, the two specified a shorter scale and narrower-than-standard neck. Guitarists who had an opportunity to play Gibson samples liked the Byrdland’s short scale neck (23+1⁄2 in [60 cm]), which facilitated intricate single-note patterns and unusual stretched chord voicings. The Byrdland then became a regular production instrument. One thing which hampered the instrument’s popularity in the ensuing years was the narrow neck width (1+5⁄8 in [4.1 cm] at the nut, as opposed to Gibson’s standard nut width of 1+11⁄16 in [4.3 cm]). Gibson developed the ES-350T from the Byrdland using less-costly hardware and detailing, and offered it as a less expensive model. While that model was also designed with jazz guitarists in mind, it became synonymous with Rock ‘n Roll star Chuck Berry through the late 1950s.

From 1955 to 1960, Gibson made the Byrdland with a rounded Venetian cutaway. (The illustration shows the Venetian style.) From 1961 to 1968, it used the sharp-edged Florentine cutaway, returning to the Venetian in 1969. The model was in production from 1955 through early 1969 with the narrow nut width. In 1969, the nut width was changed to the standard 1+11⁄16 in (4.3 cm), although some 1970s examples were produced with the narrower width.

In the mid-1960s, guitarist Ted Nugent began using a Byrdland, an unusual choice considering Nugent’s high-volume style of music. The hollow-bodied design of the guitar caused feedback at higher levels of gain and volume, which would normally make it impractical for hard rock and similar styles, but Nugent controlled this feedback and incorporated it into his playing.

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