1958 Gibson Double-Neck
"A Very Rare Bird"
This custom-built double-neck (conventional six-string neck in the lower position combined with a short scale six-string neck tuned an octave higher) weighs just 9.40 lbs. The conventional guitar neck has a nice, fat nut width of just over 1 11/16 inches and a standard Gibson scale length of 24 3/4 inches; the octave guitar neck has a nut width of just under 1 5/8 inches and a short scale length of 13 7/8 inches. Semi-hollow double Florentine (pointed) cutaway body, triple-bound on the top and back, with scalloped AAA grade handcarved fine-grained spruce top, one-piece maple back and side (2 inches deep at the edge and 2 1/2 inches deep at the body center), two handcarved one-piece mahogany necks, and bound rosewood fretboards. The conventional guitar neck with 20 original typical 1958 small frets and inlaid pearl split-parallelogram position markers; the octave guitar neck with 24 original typical 1958 small frets and inlaid pearl split-parallelogram position markers. Each headstock with inlaid pearl "Gibson" logo and two-layer (black on white) truss-rod cover. Individual single-line Kluson Deluxe tuners with single-ring tulip-shaped Keystone plastic buttons (with "2356766 PAT APPLD" and "D-169400 PATENT NO." stamped inside. No serial number -- due to the handmade design and rarity of this guitar, it was not stamped. Three PAF humbucker pickups (all with small rectangular black "Patent Applied For" labels on the underside and black plastic rings) and with outputs of 7.53k and 7.46k on the conventional guitar and an output of 7.70k on the octave guitar. Two five-layer (black/white/black/white/black) plastic pickguards with bevelled edges. Four controls (one volume and one tone on the treble bout of each guitar) plus a three-way pickup selector switch for the conventional guitar and a central three-way guitar selector switch. Gold plastic bell-shaped knobs with white markings. ABR-1 non-retainer Tune-O-Matic bridge with metal saddles on the conventional guitar, and round (bar) adjustable bridge on rosewood base on the octave guitar. Each guitar with the original screwed-on non-adjustable bar tailpiece (with three screws). The original strap buttons are positioned on the heel of the octave guitar and on the lower edge. All hardware nickel-plated. This guitar is in exceptionally fine (9.00) condition. Housed in the original Gibson brown rectangular hardshell case with pink plush lining (9.00).
According to Larry Meiners's Gibson Shipment Totals 1937-1979 (p. 20), only fifteen EMS-1235s (Octavo 6 + 6-String) were shipped in 1958, out of a total of forty-four EMS-1235s shipped between 1958 and 1961 (in 1962 it changed to an SG-style body and a further seventeen were shipped between 1962 and 1967).
"The first Gibson double necks were built in Spring 1957 and later in the year a Double 12 and a Double Mandolin were displayed at the July 1957 NAMM convention in Chicago. Both models featured a conventional 6-string neck in the lower position combined with a 12-string neck on the Double 12, and with a short scale 6-string neck tuned an octave higher on the so-called Double Mandolin (a real misnomer!). The enlarged body was of the double cutaway type with sharp Florentine horns and at a distance it could be mistaken for a solid body owing to the absence of f-holes. The early double necks are primarily characterized by their unique hollowed-out body construction featuring of a carved spruce top without f-holes. For additional weight saving, the body depth was kept to 1 7/8" at the rim and, regardless of other appointments, this feature qualifies them as thinlines. The interest generated at the show was sufficient to convince CMI and Gibson to include them in the line, albeit on a custom-order basis only and not as standard production items. The Double 12 (later known as the EDS-1275) and the Double Mandolin (known as the EMS-1235) were first described in the November 1957 issue of the Gazette and subsequently displayed in the 1958 catalog. At respectively $475.00 and $435.00 the two models were in the same price range as the ES-5 Switchmaster, but cost significantly less than a Super 400CES, a L-5CES or even a Byrdland. They were available in a choice of three finishes: sunburst, solid white and solid black" (A.R. Duchossoir, Gibson Electrics -- The Classic Years, p. 83).
“Double-Neck Electric Guitars from the 1950s may have seemed pretty novel at the time, but multiple-neck instruments had in fact already cropped up several times in guitar history. Introduced in 1958, Gibson double-necks were the first commercially made instruments of this type, and could be custom ordered with a twelve-string, bass, or even mandolin neck paired to a regular six string. More guitar means more weight, so the first double-necks were made hollow with a spruce top on a maple back and sides, the double pointed cutaway body presaging the SG shape that Gibson used when remodeling their Les Paul guitars in 1961. Few double-necks survive from the 1960s [and far fewer from the 1950s], but after Jimmy Page used one [a Double 12] for live performances of Led Zeppelin’s hit 'Stairway to Heaven,' sales of these onetime curiosities increased dramatically. Page was aiming for practicality more than novelty, as 'Stairway' calls for a quick switch between a twelve- and a six-string guitar. The effect of being seen with a twin-neck guitar onstage soon became so alluring that many players were willing to wrestle with this cumbersome behemoth whether or not they needed the instrument musically” (Darcy Kuronen, Dangerous Curves: The Art of the Guitar, p.145).
From the 1958 Catalogue: "A completely new and exciting instrument…the Double-12 combines the conventional six-string guitar neck with twelve-string neck—six-strings double strung which can be tuned either in thirds or an octave apart for reinforced resonance and unusual tonal effects. The Florentine double cutaway design provides easy access to the entire fret range of both necks. Arched top of choice fine-grained spruce, back and rims of select maple, mahogany necks with Gibson Adjustable Truss Rod, bound rosewood fingerboards with distincive pearloid inlays, laminated pickguards with attractive reveal edges, twin, humbucking pickups on each neck, located for contrasting treble an bass response, individually adjustable polepieces, separate tone and volume controls for each neck, toggle switch to activate eighter or both pickups, neck selector switch to activate either of the two necks, Tune-O-Matic bridge permits adjustment of string action and infividual string length for perfect intonation, especially designed tailpieces, nickel plated metal parts, enclosed individual machine heads with deluxe buttons. Custom-buillt to order only" (quoted in Larry Meiners, Gibson Shipment Totals, p. 20).
This guitar has a photocopy of a letter from Gibson executive (1955-1965) Ward Arbanas which states: "Your instrument was crafted by Bill Westman (DEAF) who used his fine sense of touch in carving the spruce top. As well, his hand work on the body and necks made the Double Neck EMS 1235 a very special instrument. By the way, Bill's Dad was also a Gibson Employee years back whose specialty was Violin, Cello, Bass, etc. Sincerely, Ward Arbanas."
In addition, there is a note by the former owner, Richard D. Jorgensen, which states: "The phone converation with Walter Carter on 12/12/96 reveiled [sic] just how valuable the information contained in this letter really is. Prior to this letter the designer of the EMS 1235 was unknown. Walter also told me that he knew Ward Arbanas. Ward had told Walter very little of the EMS project. Ward is dead now and it was just pure luck that I recieved [sic] this letter. Very little is known about the EMS 1235 and this letter adds another piece to the puzzle."
The EMS 1235 was first introduced in July of 1957. The unveiling took place at Chicago's NAMM show. The enthusiasm generated in Chicago was enough for Gibson to give the go ahead to make more, as the orders came rolling in. The EMS 1235 was offered on a custom order basis only. Gibson's custom shop has built an outstanding reputation for using only the top choice grade material available on the market. The highest honor for a Gibson luthier is to be appointed to the custom shop. The person assigned to head the EMS project was Bill Westman. Bill's father was also employed by Gibson several years ago as a violin and cello luthier. Even though Bill was deaf he used his incredibly fine sense of touch in hardcarving the spruce top. Bill also used his abilities to handcarve the one piece mahogany necks. His innovative genious to elaborate on the double florentine cutaway theme, is what makes the EMS 1235 a very special and unique guitar. A highly respected vingage guitar dealer and historian, George Gruhn, published an article in 1982 saying that the EMS 1235's construction was "unprecedented in Gibson's history and no other Gibson electric surpassed them in quality. Considering the superb accoustic [sic] and playing properties of these guitars, it is rather surprising no other single-neck body shape or design came out before or after their production." (This quote was taken from Guitar Player Magazine, Oct. 1982 -- George Gruhn's "Rare Bird" article.)
All information about Bill Westman was obtained in a letter received from the Gibson Guitar Co. in 1988. Ward Arbanas (author of the letter) worked on the EMS project. On Dec. 12, 1996 the information in this letter was verified over the phone by Walter Carter (Head Historian for the Gibson Guitar Co.). Walter said in this conversation that "Ward Arbanas would be the man that would know." The conversation was recorded on tape to insure authenticity.
We have an additional letter from Richard D. Jorgensen, the third owner of the guitar, which tells the full history of this wonderful instrument -- how the first owner in 1958 could not afford the payments and had to return the guitar to the dealer, and how the second owner, Donny Reeder, gave the guitar to Jorgensen in 1984 saying, "I'm getting old and I'm going to die one of these days. I want someone to have the guitar who will love and respect her. I know what kind of guy you are and how you were raised. I don't have any relatives that will take care of my 'beaut'. They would just sell it at some rumage sale. I want someone that will play her. Knowng that she's in good hands would make me happy."
This custom-built double-neck (conventional six-string neck in the lower position combined with a short scale six-string neck tuned an octave higher) weighs just 9.40 lbs. The conventional guitar neck has a nice, fat nut width of just over 1 11/16 inches and a standard Gibson scale length of 24 3/4 inches; the octave guitar neck has a nut width of just under 1 5/8 inches and a short scale length of 13 7/8 inches. Semi-hollow double Florentine (pointed) cutaway body, triple-bound on the top and back, with scalloped AAA grade handcarved fine-grained spruce top, one-piece maple back and side (2 inches deep at the edge and 2 1/2 inches deep at the body center), two handcarved one-piece mahogany necks, and bound rosewood fretboards. The conventional guitar neck with 20 original typical 1958 small frets and inlaid pearl split-parallelogram position markers; the octave guitar neck with 24 original typical 1958 small frets and inlaid pearl split-parallelogram position markers. Each headstock with inlaid pearl "Gibson" logo and two-layer (black on white) truss-rod cover. Individual single-line Kluson Deluxe tuners with single-ring tulip-shaped Keystone plastic buttons (with "2356766 PAT APPLD" and "D-169400 PATENT NO." stamped inside. No serial number -- due to the handmade design and rarity of this guitar, it was not stamped. Three PAF humbucker pickups (all with small rectangular black "Patent Applied For" labels on the underside and black plastic rings) and with outputs of 7.53k and 7.46k on the conventional guitar and an output of 7.70k on the octave guitar. Two five-layer (black/white/black/white/black) plastic pickguards with bevelled edges. Four controls (one volume and one tone on the treble bout of each guitar) plus a three-way pickup selector switch for the conventional guitar and a central three-way guitar selector switch. Gold plastic bell-shaped knobs with white markings. ABR-1 non-retainer Tune-O-Matic bridge with metal saddles on the conventional guitar, and round (bar) adjustable bridge on rosewood base on the octave guitar. Each guitar with the original screwed-on non-adjustable bar tailpiece (with three screws). The original strap buttons are positioned on the heel of the octave guitar and on the lower edge. All hardware nickel-plated. This guitar is in exceptionally fine (9.00) condition. Housed in the original Gibson brown rectangular hardshell case with pink plush lining (9.00).
According to Larry Meiners's Gibson Shipment Totals 1937-1979 (p. 20), only fifteen EMS-1235s (Octavo 6 + 6-String) were shipped in 1958, out of a total of forty-four EMS-1235s shipped between 1958 and 1961 (in 1962 it changed to an SG-style body and a further seventeen were shipped between 1962 and 1967).
"The first Gibson double necks were built in Spring 1957 and later in the year a Double 12 and a Double Mandolin were displayed at the July 1957 NAMM convention in Chicago. Both models featured a conventional 6-string neck in the lower position combined with a 12-string neck on the Double 12, and with a short scale 6-string neck tuned an octave higher on the so-called Double Mandolin (a real misnomer!). The enlarged body was of the double cutaway type with sharp Florentine horns and at a distance it could be mistaken for a solid body owing to the absence of f-holes. The early double necks are primarily characterized by their unique hollowed-out body construction featuring of a carved spruce top without f-holes. For additional weight saving, the body depth was kept to 1 7/8" at the rim and, regardless of other appointments, this feature qualifies them as thinlines. The interest generated at the show was sufficient to convince CMI and Gibson to include them in the line, albeit on a custom-order basis only and not as standard production items. The Double 12 (later known as the EDS-1275) and the Double Mandolin (known as the EMS-1235) were first described in the November 1957 issue of the Gazette and subsequently displayed in the 1958 catalog. At respectively $475.00 and $435.00 the two models were in the same price range as the ES-5 Switchmaster, but cost significantly less than a Super 400CES, a L-5CES or even a Byrdland. They were available in a choice of three finishes: sunburst, solid white and solid black" (A.R. Duchossoir, Gibson Electrics -- The Classic Years, p. 83).
“Double-Neck Electric Guitars from the 1950s may have seemed pretty novel at the time, but multiple-neck instruments had in fact already cropped up several times in guitar history. Introduced in 1958, Gibson double-necks were the first commercially made instruments of this type, and could be custom ordered with a twelve-string, bass, or even mandolin neck paired to a regular six string. More guitar means more weight, so the first double-necks were made hollow with a spruce top on a maple back and sides, the double pointed cutaway body presaging the SG shape that Gibson used when remodeling their Les Paul guitars in 1961. Few double-necks survive from the 1960s [and far fewer from the 1950s], but after Jimmy Page used one [a Double 12] for live performances of Led Zeppelin’s hit 'Stairway to Heaven,' sales of these onetime curiosities increased dramatically. Page was aiming for practicality more than novelty, as 'Stairway' calls for a quick switch between a twelve- and a six-string guitar. The effect of being seen with a twin-neck guitar onstage soon became so alluring that many players were willing to wrestle with this cumbersome behemoth whether or not they needed the instrument musically” (Darcy Kuronen, Dangerous Curves: The Art of the Guitar, p.145).
From the 1958 Catalogue: "A completely new and exciting instrument…the Double-12 combines the conventional six-string guitar neck with twelve-string neck—six-strings double strung which can be tuned either in thirds or an octave apart for reinforced resonance and unusual tonal effects. The Florentine double cutaway design provides easy access to the entire fret range of both necks. Arched top of choice fine-grained spruce, back and rims of select maple, mahogany necks with Gibson Adjustable Truss Rod, bound rosewood fingerboards with distincive pearloid inlays, laminated pickguards with attractive reveal edges, twin, humbucking pickups on each neck, located for contrasting treble an bass response, individually adjustable polepieces, separate tone and volume controls for each neck, toggle switch to activate eighter or both pickups, neck selector switch to activate either of the two necks, Tune-O-Matic bridge permits adjustment of string action and infividual string length for perfect intonation, especially designed tailpieces, nickel plated metal parts, enclosed individual machine heads with deluxe buttons. Custom-buillt to order only" (quoted in Larry Meiners, Gibson Shipment Totals, p. 20).
This guitar has a photocopy of a letter from Gibson executive (1955-1965) Ward Arbanas which states: "Your instrument was crafted by Bill Westman (DEAF) who used his fine sense of touch in carving the spruce top. As well, his hand work on the body and necks made the Double Neck EMS 1235 a very special instrument. By the way, Bill's Dad was also a Gibson Employee years back whose specialty was Violin, Cello, Bass, etc. Sincerely, Ward Arbanas."
In addition, there is a note by the former owner, Richard D. Jorgensen, which states: "The phone converation with Walter Carter on 12/12/96 reveiled [sic] just how valuable the information contained in this letter really is. Prior to this letter the designer of the EMS 1235 was unknown. Walter also told me that he knew Ward Arbanas. Ward had told Walter very little of the EMS project. Ward is dead now and it was just pure luck that I recieved [sic] this letter. Very little is known about the EMS 1235 and this letter adds another piece to the puzzle."
The EMS 1235 was first introduced in July of 1957. The unveiling took place at Chicago's NAMM show. The enthusiasm generated in Chicago was enough for Gibson to give the go ahead to make more, as the orders came rolling in. The EMS 1235 was offered on a custom order basis only. Gibson's custom shop has built an outstanding reputation for using only the top choice grade material available on the market. The highest honor for a Gibson luthier is to be appointed to the custom shop. The person assigned to head the EMS project was Bill Westman. Bill's father was also employed by Gibson several years ago as a violin and cello luthier. Even though Bill was deaf he used his incredibly fine sense of touch in hardcarving the spruce top. Bill also used his abilities to handcarve the one piece mahogany necks. His innovative genious to elaborate on the double florentine cutaway theme, is what makes the EMS 1235 a very special and unique guitar. A highly respected vingage guitar dealer and historian, George Gruhn, published an article in 1982 saying that the EMS 1235's construction was "unprecedented in Gibson's history and no other Gibson electric surpassed them in quality. Considering the superb accoustic [sic] and playing properties of these guitars, it is rather surprising no other single-neck body shape or design came out before or after their production." (This quote was taken from Guitar Player Magazine, Oct. 1982 -- George Gruhn's "Rare Bird" article.)
All information about Bill Westman was obtained in a letter received from the Gibson Guitar Co. in 1988. Ward Arbanas (author of the letter) worked on the EMS project. On Dec. 12, 1996 the information in this letter was verified over the phone by Walter Carter (Head Historian for the Gibson Guitar Co.). Walter said in this conversation that "Ward Arbanas would be the man that would know." The conversation was recorded on tape to insure authenticity.
We have an additional letter from Richard D. Jorgensen, the third owner of the guitar, which tells the full history of this wonderful instrument -- how the first owner in 1958 could not afford the payments and had to return the guitar to the dealer, and how the second owner, Donny Reeder, gave the guitar to Jorgensen in 1984 saying, "I'm getting old and I'm going to die one of these days. I want someone to have the guitar who will love and respect her. I know what kind of guy you are and how you were raised. I don't have any relatives that will take care of my 'beaut'. They would just sell it at some rumage sale. I want someone that will play her. Knowng that she's in good hands would make me happy."
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