The Birth of the ES-330
Introduced in 1959, the Gibson ES-330 was part of the expanding ES (Electric Spanish) series that blended acoustic archtop tradition with the practicality of electric amplification. The ES-330 was a thinline, fully hollow, double-cutaway guitar with P-90 pickups, designed for versatility and comfort.
It was, at first glance, quite similar in appearance to the semi-hollow ES-335, which had launched just a year prior. But while the 335 featured a solid maple center block for feedback resistance and sustain, the ES-330 was completely hollow, giving it a more open, airy, and woody tone.
Originally, the neck joined the body at the 16th fret (later changed to the 19th fret in 1968), and it was equipped with two dog-ear P-90 pickups, a trapeze tailpiece, and the classic Gibson control layout.
Gibson ES-330 vs. Epiphone Casino
The Epiphone Casino, introduced in 1961 (following Gibson’s 1957 acquisition of Epiphone), shares many design similarities with the ES-330, and is often considered its sibling or counterpart:
|
Feature |
Gibson ES-330 |
Epiphone Casino |
|---|---|---|
|
Body |
Fully hollow, laminated maple |
Fully hollow, laminated maple |
|
Pickups |
Two dog-ear P-90s |
Two dog-ear P-90s |
|
Neck Joint (early) |
16th fret (pre-1968) |
16th fret |
|
Neck Joint (later) |
19th fret (post-1968) |
16th fret |
|
Headstock |
Gibson open-book |
Epiphone |
|
Branding/Price |
Gibson premium pricing |
Epiphone mid-range pricing |
Despite their similarities, the Casino gained fame largely due to The Beatles, while the ES-330 remained more niche and jazz/blues-oriented. The Casino’s lighter price tag and British Invasion cachet made it more visible in pop/rock circles.
Famous ES-330 Players
Though often overshadowed by the 335 and Les Paul, the ES-330 has a loyal following and has been used by a number of influential players across genres:
-
Grant Green – The soul-jazz legend is perhaps the most iconic ES-330 player. His stripped-down tone—plugged straight into a clean amp—showcased the natural, articulate voice of the P-90s and hollowbody resonance.
-
B.B. King – Before “Lucille” became synonymous with the ES-355, King was often seen with a Gibson ES-330 during his early career.
-
Emily Remler – The jazz guitarist used an ES-330 as one of her main instruments, helping to define her smooth, lyrical tone.
-
Gary Clark Jr. – While he’s known for using a variety of Gibsons, including the ES-335, he’s also been spotted using an ES-330 live, appreciating its gritty, expressive character.
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Brian Henneman of The Bottle Rockets – Known for raw Americana tones, Henneman is a modern advocate of the ES-330’s unique feel and feedback-friendly nature.
Why the ES-330 Still Matters
In recent years, the ES-330 has enjoyed a resurgence of interest, particularly among players who want the vintage tone and lightweight feel that a fully hollow P-90 guitar can deliver. While it lacks the high-gain feedback resistance of semi-hollows or solidbodies, it rewards subtlety and dynamics—offering chimey cleans, warm jazz tones, and expressive overdrive when pushed.
Modern reissues and custom shop models from Gibson have made the ES-330 more available, and vintage models remain highly prized for their natural resonance and character.
Final Thoughts
The Gibson ES-330 might not be as famous as the Les Paul or as ubiquitous as the ES-335, but for discerning players who value tonal nuance and vintage mojo, it’s a hidden gem. Whether you’re chasing jazz textures, blues bite, or psychedelic jangle, the ES-330 delivers with timeless elegance.
