Classic Gear
In the mid 1950s, prior to the release of the ES-330TD in 1959, Gibson began to experiment with the form of their electric archtop designs by slimming down body depth. These guitars are often referred to as ‘thinline’ and in 1954 a trickle of L-5 ‘special thin models’ appeared, followed in 1955 by the Byrdland, ES-350T and ES-225T models. Over the next couple of years, Gibson expanded its ‘ES’ (Electric Spanish), ‘T’ (Thinline) range to include the short scale ES-140¾T and the ES-125T. With dual pickup versions of the ES-125T and ES-225T becoming available soon thereafter, a ‘D’ was added to the model names accordingly. By 1959, however, both the ES-225T and ES-225TD guitars had ceased production as Gibson introduced a new fully hollow double cutaway body design to the range: the $275 ES-330TD (along with its lesser known single pickup counterpart, the ES-330T).
The dual P-90 equipped ES-330TD thinline electric archtop arrived somewhat in the shadow of the dual humbucker toting ES-335TD, ES-345TD and ES-355TD electric semi-acoustics. Although comparisons were inevitable (perhaps superficially based on body shape, controls and finish), there are some major differences that set the ES-330TD a world apart from these guitars. Although perhaps less susceptible to feedback at high volume than a full depth electric archtop, the ES-330TD was notably more prone to unwanted noise than a guitar with pickups mounted into a solid centre block – especially one fitted with the newly introduced noise cancelling PAF humbucker pickups. The ever increasing popularity of high volume electric blues and rock ‘n’ roll prompted a more practical solution for guitarists pointing towards semi-acoustic and solidbody guitars and so the ES-330TD took a back seat.
Much like Gibson’s semi-acoustic electrics of the time, the ES-330TD’s body is constructed from laminated maple with a single bound, pressed arched top sporting two f-holes, along with a single bound back. The 24¾-inch scale glued in mahogany neck joins the body lower down the bound rosewood fretboard than the ES-335/345/355TD guitars (up until 1968) and along with a fully hollow body and trapeze tailpiece this further sets it apart in terms of unplugged natural acoustics, with a deeper, rounder and louder tone.
The P-90 pickups, being relatively assertive in character with a fairly sharp attack and high output, effectively balance the sound with a pronounced midrange and tasteful grittiness, especially when driving the front end of the amplifier. There’s some fun to be had when pushing the volume up into the edge of feedback, which can produce some interesting tonal effects with blooming overtones and dynamic sustain.
The design of the Gibson ES-330TD was, more or less, replicated at Gibson’s Kalamazoo factory as part of the Epiphone brand range in the form of the Casino, released in 1961. Although it gained a great deal more publicity than the ES-330TD as a preferred guitar of The Beatles, there was little difference with regards to basic design features between the two instruments.
The ES-330TD was less susceptible to feedback at high volume than full depth archtops