Gibson Guitar Production Numbers: Shipping Totals (1948 to 1979)
- Les Paul Standard (1952-1961)
- Les Paul Custom (1955-1961)
- Les Paul Junior & TV Model
- Les Paul Special (1955-1961)
- Norlin Era Les Paul (1968-1979)
- SG Standard & Custom (1962-1978)
- SG Junior & Special (1962-1978)
- TV Yellow SG Special & Junior
- ES-335, 345 & 355 (1958-1969)
- L5ces, Super 400ces & L-7
- ES-175, 225, 295 & ES-5
- ES-300, 330, 350 & Byrdland
- Acoustic L-4, L-5, L-7 & S-400
- Firebird (1963-1969)
- Flying V, Explorer & Moderne
- Conclusion & Appraisals
Pinning down the market value of an instrument takes more than a quick look; it takes a read through the official shipping records that show how rare a model really is. If you are looking to sell your guitar or just want to document its history, our free appraisal service pairs these production totals with years of hands-on experience to give you an accurate valuation. Before you get into the production numbers below, visit our Gibson serial number guide to date your instrument and make sure you are referencing the correct era of Kalamazoo production.
Note: Please bear in mind that these shipping totals are not necessarily the exact production numbers. Gibson made other instruments that were not necessarily included in the shippping totals. Additionally, there are some slight inaccuracies reflected in the totals. For example, there is no mention of white SG Juniors, which we know exist in fairly large numbers. Still, these are the best indication we have of Gibson guitar production totals.
Les Paul Standard Shipping Totals (1952-1961)
The Gibson Les Paul Standard shipping totals between 1952 and 1961 are the first thing to check when you want to know how rare your guitar is. From the first 1952 “trapeze” tailpiece models to the 1959 “Holy Grail” Sunburst, these figures show how much Kalamazoo’s output shifted over the decade. Whether you are checking if your 1958 is one of the 187 Sunbursts shipped in 1958 or tracking the 1961 switch to the SG body style, these numbers matter for an accurate appraisal. For collectors looking to sell, the shipping totals give you something solid to point to.
| Model/Year | Goldtop | Sunburst |
|---|---|---|
| LP Std ’52 | 1,716 | --- |
| LP Std ’53 | 2,245 | --- |
| LP Std ’54 | 1,504 | --- |
| LP Std ’55 | 862 | --- |
| LP Std ’56 | 920 | --- |
| LP Std ’57 | 598 | --- |
| LP Std ’58 | 247 | 187 |
| LP Std ’59 | --- | 643 |
| LP Std ’60 | --- | 635 |
| LP Std ’61 | --- | 2 |
Les Paul Custom Shipping Totals (1955-1961)
If you are trying to verify the rarity of a 1950s “Black Beauty,” these Gibson Les Paul Custom shipping totals from 1955 to 1961 lay it out for collectors and sellers. While the Standard gets most of the attention, the Custom’s production numbers during the switch from the Alnico V/P-90 setup to the triple-PAF humbucker configuration show how scarce these high-trim guitars are. Knowing whether your 1957 Custom is one of the 283 shipped, or whether your 1961 SG-style Custom is part of that last Kalamazoo run, matters for an accurate appraisal. For sellers, these figures back up the value.
| Model/Year | Total Produced |
|---|---|
| LP Cust ’55 | 355 |
| LP Cust ’56 | 489 |
| LP Cust ’57 | 283 |
| LP Cust ’58 | 256 |
| LP Cust ’59 | 246 |
| LP Cust ’60 | 189 |
| LP Cust ’61 | 18 |
Les Paul Junior & “TV Model” Shipping Totals (1954-1961)
The shipping totals for the Gibson Les Paul Junior and TV Model from 1954 to 1961 cover a “student” line that turned into a rock and roll staple. These figures help collectors tell apart the rarity of a first-year 1954 “single-cut” Junior and the later double-cutaway versions. To keep these charts easy to read, they treat the “TV” designation as a finish category, even though it was listed as a separate model in the original Kalamazoo-era Gibson catalog.
Because the TV Model, known for its limed mahogany look, shipped in much lower numbers than the standard Sunburst Junior, these production values matter for an appraisal. The shipping numbers give you the data to back up market prices and confirm the scarcity of specific instruments in today’s vintage market.
| Model/Year | Sunburst | Cherry | TV Yel |
|---|---|---|---|
| LP Jr ’54 | 823 | --- | --- |
| LP Jr ’55 | 2,839 | --- | 219 |
| LP Jr ’56 | 3,129 | --- | 511 |
| LP Jr 3/4 ’56 | 18 | --- | --- |
| LP Jr ’57 | 2,959 | --- | 552 |
| LP Jr 3/4 ’57 | 222 | --- | --- |
| LP Jr ’58 | 365 | --- | 429 |
| LP Jr 3/4 ’58 | 23 | --- | --- |
| LP Jr 3/4 DC ’58 | --- | 158 | --- |
| LP Jr DC ’59 | --- | 2,043 | 543 |
| LP Jr 3/4 DC ’59 | --- | 199 | --- |
| LP Jr DC ’60 | --- | 4,364 | 419 |
| LP Jr 3/4 DC ’60 | --- | 96 | --- |
| LP Jr DC ’61 | --- | 2,513 | 29 |
| LP Jr 3/4 DC ’61 | --- | 71 | --- |
Les Paul Special Shipping Totals (1955-1961)
The shipping totals for the Gibson Les Paul Special from 1955 to 1961 trace the production history of the high-trim, dual-pickup sibling to the Junior. These figures are vital for collectors tracking the rarity of the mid-fifties “single-cut” Special compared to the double-cutaway transition that occurred in late 1958.
The TV Yellow finish is the best-known look for this model, but production quantities moved around a lot across its run. These production values are a big part of an accurate appraisal, especially when telling apart the original 1950s body styles and the 1961 switch to the SG shape. Whether you are looking at an early 1955 model with the neck pickup set close to the joint or a late-run 1961 Special, these shipping numbers give you the evidence to back up scarcity and value.
| Model/Year | Cherry | White | TV Yel |
|---|---|---|---|
| LP Spec ’55 | --- | --- | 373 |
| LP Spec ’56 | --- | --- | 1,342 |
| LP Spec ’57 | --- | --- | 1,436 |
| LP Spec ’58 | 16 | --- | 328 |
| LP Spec DC ’58 | 212 | --- | 402 |
| LP Spec DC ’59 | 612 | --- | 1,209 |
| LP Spec DC ’60 | 322 | --- | 1,065 |
| LP Spec DC ’61 | --- | 4 | 412 |
Gibson Norlin Era Les Paul Shipping Totals (1968-1979)
The shipping totals for the Gibson Norlin Era from 1968 to 1979 cover a chapter in Kalamazoo’s production history that collectors still argue about. These years saw a big jump in factory output, so the shipping figures help when you are trying to pin down the rarity of specific “pancake” body Deluxes or the first official reintroductions of the Les Paul Standard.
Because this era brought big structural changes, including the move to volutes, large headstocks, and multi-piece necks, precise production values matter for an appraisal. From the 1968 “Goldtop” re-issue to late-seventies Customs in rare finishes, these shipping numbers give you the data to back up market prices and understand how scarce an instrument really is.
| Model & Year | Total Shipped |
|---|---|
| ’68 LP Stand. | 1,224 |
| ’69 LP Stand. | 2,751 |
| ’71 LP Stand. -58 | 25 |
| ’72 LP Stand. -58 | 1,046 |
| ’73 LP Stand. -58 | 4 |
| ’74 LP Stand. -58 | 2,219 |
| ’76 LP Stand. | 24 |
| ’77 LP Stand. | 586 |
| ’78 LP Stand. | 1,640 |
| ’79 LP Stand. | 679 |
| ’70 LP Dlx. | 2,587 |
| ’71 LP Dlx. | 4,403 |
| ’72 LP Dlx. | 5,082 |
| ’73 LP Dlx. | 10,244 |
| ’74 LP Dlx. | 7,229 |
| ’75 LP Dlx. | 2,020 |
| ’76 LP Dlx. | 34 |
| ’77 LP Dlx. | 225 |
| ’78 LP Dlx. | 4,289 |
| ’79 LP Dlx. | 252 |
| ’76 LP Pro | 2 |
| ’77 LP Pro | 331 |
| ’78 LP Pro | 293 |
| ’79 LP Pro | 224 |
| ’68 LP Cust. | 433 |
| ’69 LP Cust. | 2,353 |
| ’70 LP Cust. | 2,612 |
| ’71 LP Cust. | 3,152 |
| ’72 LP Cust. | 3,934 |
| ’73 LP Cust. | 7,091 |
| ’74 LP Cust. | 7,465 |
| ’75 LP Cust. | 6,229 |
| ’76 LP Cust. | 4,013 |
| ’77 LP Cust. | 1,431 |
| ’78 LP Cust. | 10,171 |
| ’79 LP Cust. | 1,219 |
| ’76 LP Art. | 2 |
| ’77 LP Art. | 1,496 |
| ’78 LP Art. | 641 |
| ’79 LP Art. | 338 |
Gibson SG Standard & Custom Shipping Totals (1962-1978)
If you are trying to track down the Gibson SG Standard and Custom shipping totals between 1962 and 1978, you are looking at the guitar that took over when the Les Paul shape was retired for a while. These figures help any collector or dealer verify the rarity of an early “small pickguard” Standard against the higher-volume runs of the late sixties. Since the Custom models, fitted with three pickups and gold hardware, were made in much smaller numbers than the Standard, these shipping numbers are the basis for an appraisal. Whether you are looking at a 1964 “Maestro” vibrola-equipped model or a mid-seventies SG with a harmonium bridge, having the Kalamazoo output on hand lets you confirm the scarcity of your guitar and set a realistic price when you’re ready to sell.
| Model/Year | Cherry | Wh/Wal |
|---|---|---|
| SG Stand ’62 | 1,449 | --- |
| SG Stand ’63 | 1,445 | --- |
| SG Stand ’64 | 1,375 | --- |
| SG Stand ’65 | 1,731 | --- |
| SG Stand ’66 | 1,046 | --- |
| SG Stand ’67 | 1,154 | --- |
| SG Stand ’68 | 1,340 | --- |
| SG Stand ’69 | 3,354 | --- |
| SG Stand ’70 | 5,048 | --- |
| SG Stand ’72 | 1,009 | --- |
| SG Stand ’73 | 3,009 | --- |
| SG Stand ’74 | 2,295 | --- |
| SG Stand ’75 | 2,042 | --- |
| SG Stand ’76 | 2,834 | --- |
| SG Stand ’77 | 2,618 | --- |
| SG Stand ’78 | 2,503 | --- |
| SG Cust ’62 | --- | 298 |
| SG Cust ’63 | --- | 264 |
| SG Cust ’64 | --- | 130 |
| SG Cust ’65 | --- | 236 |
| SG Cust ’66 | --- | 125 |
| SG Cust ’67 | --- | 43 |
| SG Cust ’68 | --- | 264 |
| SG Cust ’69 | --- | 451 |
| SG Cust ’70 | --- | 317 |
| SG Cust ’71 | --- | 395 |
| SG Cust ’72 | --- | 400 |
| SG Cust ’73 | --- | 775 |
| SG Cust ’74 | --- | 939 |
| SG Cust ’75 | --- | 149 |
| SG Cust ’76 | --- | 376 |
| SG Cust ’77 | --- | 279 |
| SG Cust ’78 | --- | 217 |
Gibson SG Junior & SG Special Shipment Totals (1962-1978)
Shipment totals for the Gibson SG Junior and SG Special between 1962 and 1978 give a clear look at how these “workhorse” models were produced. This data helps collectors and owners work out the scarcity of specific versions, such as the early “small pickguard” 1964 Specials compared to the “large guard” versions that came later in the decade.
The Junior started out as an entry-level instrument, while the dual-pickup Special sat a step above it. Both models saw their production numbers move around during the switch into the Norlin era. Because of that, the official shipping numbers are the basis for an appraisal. Accurate data matters most when you are checking transitional features, such as the narrower nut widths found in 1965 or the “harmonica” bridges used in the mid-seventies.
| Model/Year | Cherry | White |
|---|---|---|
| SG Spec ’62 | 959 | 377 |
| SG Spec ’63 | 1,017 | 374 |
| SG Spec ’64 | 1,704 | 318 |
| SG Spec ’65 | 2,099 | 519 |
| SG Spec ’66 | 1,841 | 29 |
| SG Spec ’67 | 1,517 | 147 |
| SG Spec ’68 | 1,269 | 192 |
| SG Spec ’69 | 2,378 | --- |
| SG Spec ’70 | 2,862 | --- |
| SG Spec ’71 | 1,571 | --- |
| SG Spec ’72 | 749 | --- |
| SG Spec ’73 | 3,534 | --- |
| SG Spec ’74 | 2,183 | --- |
| SG Spec ’75 | 593 | --- |
| SG Spec ’76 | 549 | --- |
| SG Spec ’77 | 232 | --- |
| SG Spec ’78 | 2 | --- |
| SG Jr ’62 | 2,395 | --- |
| SG Jr ’63 | 2,318 | --- |
| SG Jr ’64 | 3,364 | --- |
| SG Jr ’65 | 3,570 | --- |
| SG Jr ’66 | 1,928 | --- |
| SG Jr ’67 | 1,021 | --- |
| SG Jr ’68 | 561 | --- |
| SG Jr ’69 | 751 | --- |
| SG Jr ’70 | 938 | --- |
Gibson TV Yellow SG Special & Junior (1962-1968)
When you are tracking down the Gibson TV Yellow SG Special and Junior shipment totals between 1962 and 1968, you are looking at some of the hardest-to-find versions of the SG body style. Cherry was the standard finish for the era, but these “TV” models, meant to show up well on black-and-white television, were made in very small batches, which is why collectors chase them. These production numbers matter for an accurate appraisal, especially since many sellers mistake refinished instruments for original “limed” finishes. Because the TV Yellow finish was often a custom order or limited run during the mid-sixties, the Kalamazoo shipping data is the best way to confirm how rare your instrument is. Whether you have a 1963 “small guard” Special or a 1965 Junior in this color, these figures back up a higher price when you are ready to sell.
Note: Gibson records do not differentiate between the SG Special & the SG Junior in TV Yellow finishes. These numbers include BOTH Juniors and Specials
| Model/Year | TV Yellow |
|---|---|
| SG TV ’62 | 457 |
| SG TV ’63 | 379 |
| SG TV ’64 | 528 |
| SG TV ’65 | 716 |
| SG TV ’66 | 548 |
| SG TV ’67 | 123 |
| SG TV ’68 | 54 |
Gibson ES-335,ES-345 & ES-355 Shipping Totals (1958-1969)
The 1958 to 1969 shipment totals for the ES-335, ES-345, and ES-355 cover the peak production years of Gibson’s semi-hollow body guitars. These figures help collectors tell a rare first-year “dot neck” 335 apart from the high-volume output of the late 1960s.
Historical Data Note: Original Kalamazoo ledgers for the ES-355 typically consolidated all units into the “Cherry” column. While most were indeed Cherry, rare Sunburst and Natural examples exist that the factory records simply did not specify.
Because high-trim models like the 345 and 355, with VariTone circuits and gold hardware, shipped in much lower numbers than the standard 335, these totals are the basis for an appraisal. Whether you are looking at a 1959 “long guard” or a 1964 “block neck” with a factory Bigsby, the production data is the most reliable way to back up scarcity and current value.
| Model/Year | Sunburst | Cherry | Natural |
|---|---|---|---|
| ES-335 ’58 | 267 | --- | 50 |
| ES-335 ’59 | 521 | --- | 71 |
| ES-335 ’60 | 405 | 21 | 88 |
| ES-335 ’61 | 466 | 420 | --- |
| ES-335 ’62 | 266 | 610 | --- |
| ES-335 ’63 | 349 | 807 | --- |
| ES-335 ’64 | 349 | 892 | --- |
| ES-335 ’65 | 712 | 1,038 | --- |
| ES-335 ’66 | 1,468 | 1,056 | --- |
| ES-335 ’67 | 2,596 | 3,122 | --- |
| ES-335 ’68 | 2,294 | 1,466 | --- |
| ES-335 ’69 | 1,055 | 1,142 | --- |
| ES-345 ’59 | 446 | --- | 32 |
| ES-345 ’60 | 251 | 252 | 18 |
| ES-345 ’61 | 174 | 223 | --- |
| ES-345 ’62 | 102 | 204 | --- |
| ES-345 ’63 | 117 | 161 | --- |
| ES-345 ’64 | 218 | 193 | --- |
| ES-345 ’65 | 272 | 216 | --- |
| ES-345 ’66 | 278 | 186 | --- |
| ES-345 ’67 | 501 | 643 | --- |
| ES-345 ’68 | 560 | 378 | --- |
| ES-345 ’69 | 201 | 213 | --- |
| ES-355 ’58 | --- | 10 | --- |
| ES-355 ’59 | --- | 300 | --- |
| ES-355 ’60 | --- | 317 | --- |
| ES-355 ’61 | --- | 291 | --- |
| ES-355 ’62 | --- | 220 | --- |
| ES-355 ’63 | --- | 163 | --- |
| ES-355 ’64 | --- | 252 | --- |
| ES-355 ’65 | --- | 257 | --- |
| ES-355 ’66 | --- | 269 | --- |
| ES-355 ’67 | --- | 405 | --- |
| ES-355 ’68 | --- | 318 | --- |
| ES-355 ’69 | --- | 214 | --- |
Gibson L5ces, Super 400ces & L-7 McCarty (1948-1969)
The 1948 to 1969 shipping totals for the L-5CES, Super 400CES, and L-7 McCarty cover Gibson’s top-of-the-line archtops. Because these were the most expensive models in the catalog, production stayed very low, so the data matters to collectors. Whether you are tracking a rare L-7 McCarty assembly or a 1950s “non-cutaway” example, these Kalamazoo ledger totals are the basis for an appraisal and the proof of scarcity that backs up premium prices.
Note: “L-7e” refers to Gibson L-7 guitars that shipped with a “McCarty” electric pickguard.
| Model/Year | Sunburst | Natural |
|---|---|---|
| L5-CES ’51 | 31 | 8 |
| L5-CES ’52 | 29 | 17 |
| L5-CES ’53 | 25 | 18 |
| L5-CES ’54 | 30 | 20 |
| L5-CES ’55 | 19 | 31 |
| L5-CES ’56 | 23 | 32 |
| L5-CES ’57 | 22 | 15 |
| L5-CES ’58 | 21 | 27 |
| L5-CES ’59 | 26 | 12 |
| L5-CES ’60 | 45 | 17 |
| L5-CES ’61 | 22 | 13 |
| L5-CES ’62 | 30 | 11 |
| L5-CES ’63 | 51 | 21 |
| L5-CES ’64 | 42 | 10 |
| L5-CES ’65 | 34 | 10 |
| L5-CES ’66 | 23 | 1 |
| L5-CES ’67 | 102 | 5 |
| L5-CES ’68 | 189 | 11 |
| L5-CES ’69 | 170 | 55 |
| S-400ces ’51 | 2 | --- |
| S-400ces ’52 | 7 | 11 |
| S-400ces ’53 | 16 | 11 |
| S-400ces ’54 | 17 | 6 |
| S-400ces ’55 | 5 | 16 |
| S-400ces ’56 | 20 | 19 |
| S-400ces ’57 | 24 | 15 |
| S-400ces ’58 | 15 | 15 |
| S-400ces ’59 | 22 | 8 |
| S-400ces ’60 | 24 | 7 |
| S-400ces ’61 | 30 | 15 |
| S-400ces ’62 | 24 | 16 |
| S-400ces ’63 | 29 | 14 |
| S-400ces ’64 | 29 | 13 |
| S-400ces ’65 | 31 | 1 |
| S-400ces ’66 | 24 | 4 |
| S-400ces ’67 | 28 | 22 |
| S-400ces ’68 | 52 | 11 |
| S-400ces ’69 | 120 | 45 |
| L-7e ’48 | 126 | --- |
| L-7e ’49 | 224 | --- |
| L-7e ’50 | 138 | 18 |
| L-7e ’51 | 138 | 26 |
| L-7e ’52 | 109 | 33 |
| L-7e ’53 | --- | --- |
| L-7e ’54 | 1 | 8 |
Gibson ES-175, ES-225, ES-295 & ES-5 Shipping Totals (1949-1979)
When you are researching the Gibson ES-175, ES-225, ES-295, and ES-5 shipping totals between 1949 and 1979, you are looking at the core of the “Electric Spanish” archtop line. These figures help collectors verify the rarity of a first-year P-90 equipped ES-175 against the triple-pickup setup of a 1950s ES-5. Because the gold-finished ES-295 and the thinline ES-225 were made in short runs compared to the decades-long run of the 175, these shipment numbers are a big part of an appraisal. Whether you are looking at a 1953 “all gold” model or a late-seventies ES-175 with humbuckers, the official Kalamazoo ledger data is the most reliable way to confirm the scarcity and value of your instrument.
| Model/Year | Goldtop | Sunburst | Natural | Cherry |
|---|---|---|---|---|
| ES-225 ’55 | --- | 468 | 2 | --- |
| ES-225 ’56 | --- | 1,648 | 157 | --- |
| ES-225 ’57 | --- | 1,753 | 229 | --- |
| ES-225 ’58 | --- | 1,291 | 326 | --- |
| ES-225 ’59 | --- | 1,395 | 248 | --- |
| ES-175 ’49 | --- | 129 | 13 | --- |
| ES-175 ’50 | --- | 503 | 30 | --- |
| ES-175 ’51 | --- | 559 | 105 | --- |
| ES-175 ’52 | --- | 818 | 192 | --- |
| ES-175 ’53 | --- | 829 | 181 | --- |
| ES-175 ’54 | --- | 599 | 141 | --- |
| ES-175 ’55 | --- | 485 | 115 | --- |
| ES-175 ’56 | --- | 560 | 146 | --- |
| ES-175 ’57 | --- | 353 | 92 | --- |
| ES-175 ’58 | --- | 211 | 66 | --- |
| ES-175 ’59 | --- | 301 | --- | --- |
| ES-175 ’60 | --- | 226 | 5 | --- |
| ES-175 ’61 | --- | 160 | --- | --- |
| ES-175 ’62 | --- | 133 | --- | --- |
| ES-175 ’63 | --- | 156 | --- | --- |
| ES-175 ’64 | --- | 149 | --- | --- |
| ES-175 ’65 | --- | 182 | --- | --- |
| ES-175 ’66 | --- | 163 | --- | --- |
| ES-175 ’67 | --- | 194 | --- | --- |
| ES-175 ’68 | --- | 127 | --- | --- |
| ES-175 ’69 | --- | 84 | --- | --- |
| ES-175 ’70 | --- | 44 | --- | --- |
| ES-175D ’53 | --- | 182 | 86 | --- |
| ES-175D ’54 | --- | 275 | 129 | --- |
| ES-175D ’55 | --- | 308 | 143 | 2 |
| ES-175D ’56 | --- | 320 | 247 | 3 |
| ES-175D ’57 | --- | 271 | 175 | --- |
| ES-175D ’58 | --- | 285 | 114 | 2 |
| ES-175D ’59 | --- | 324 | 129 | --- |
| ES-175D ’60 | --- | 345 | 111 | --- |
| ES-175D ’61 | --- | 406 | 81 | --- |
| ES-175D ’62 | --- | 373 | 68 | --- |
| ES-175D ’63 | --- | 483 | 74 | --- |
| ES-175D ’64 | --- | 437 | 46 | --- |
| ES-175D ’65 | --- | 505 | 57 | --- |
| ES-175D ’66 | --- | 382 | 55 | --- |
| ES-175D ’67 | --- | 840 | 26 | --- |
| ES-175D ’68 | --- | 949 | 45 | --- |
| ES-175D ’69 | --- | 559 | 110 | --- |
| ES-175D ’70 | --- | 298 | 54 | --- |
| ES-175D ’71 | --- | 439 | 66 | --- |
| ES-175D ’72 | --- | 480 | 121 | --- |
| ES-175D ’73 | --- | 816 | 191 | --- |
| ES-175D ’74 | --- | 578 | 193 | --- |
| ES-175D ’75 | --- | 284 | 117 | --- |
| ES-175D ’76 | --- | 1,530 | 113 | --- |
| ES-175D ’77 | --- | 894 | --- | --- |
| ES-175D ’78 | --- | 475 | --- | --- |
| ES-175D ’79 | --- | 1,269 | --- | --- |
| ES-295 ’52 | 297 | --- | --- | --- |
| ES-295 ’53 | 637 | --- | --- | --- |
| ES-295 ’54 | 357 | --- | --- | --- |
| ES-295 ’55 | 166 | --- | --- | --- |
| ES-295 ’56 | 193 | --- | --- | --- |
| ES-295 ’57 | 71 | --- | --- | --- |
| ES-295 ’58 | 49 | --- | --- | --- |
| ES-5 ’49 | --- | 66 | 22 | --- |
| ES-5 ’50 | --- | 111 | 52 | --- |
| ES-5 ’51 | --- | --- | 77 | --- |
| ES-5 ’52 | --- | 126 | 93 | --- |
| ES-5 ’53 | --- | 72 | 53 | --- |
| ES-5 ’54 | --- | 65 | 23 | --- |
| ES-5 ’55 | --- | 45 | 11 | --- |
| ES-5 ’56 | --- | 4 | --- | --- |
| ES-5 Swm ’55 | --- | 7 | --- | --- |
| ES-5 Swm ’56 | --- | 59 | 39 | --- |
| ES-5 Swm ’57 | --- | 56 | 30 | --- |
| ES-5 Swm ’58 | --- | 55 | 34 | --- |
| ES-5 Swm ’59 | --- | 70 | 33 | --- |
| ES-5 Swm ’60 | --- | 46 | 20 | --- |
| ES-5 Swm ’61 | --- | 41 | 11 | --- |
Gibson ES-300, ES-330, ES-350 & Byrdland Shipping Totals (1948-1979)
The shipping totals for the Gibson ES-300, ES-330, ES-350, and Byrdland (1948 to 1979) are a record of the more specialized thinline and archtop models made in Kalamazoo. This data helps collectors tell a rare first-year 1959 “long neck” ES-330 apart from the high-volume output of the mid-1960s. Because the Byrdland and ES-350T were built with short-scale, thin-depth bodies for jazz players, their production numbers stayed well below standard models, which makes these figures a big part of an appraisal. Whether you are verifying a late-1940s ES-300 with a slanted pickup or a 1970s Byrdland with humbuckers, the shipping totals are the most effective way to show scarcity and back up current value.
| Model/Year | Sunburst | Natural | Cherry |
|---|---|---|---|
| Byrd ’55 | 1 | 2 | --- |
| Byrd ’56 | 31 | 25 | --- |
| Byrd ’57 | 78 | 52 | --- |
| Byrd ’58 | 38 | 23 | --- |
| Byrd ’59 | 40 | 34 | --- |
| Byrd ’60 | 71 | 39 | --- |
| Byrd ’61 | 77 | 20 | --- |
| Byrd ’62 | 59 | 17 | --- |
| Byrd ’63 | 102 | 32 | --- |
| Byrd ’64 | 93 | 15 | --- |
| Byrd ’65 | 66 | 11 | --- |
| Byrd ’66 | 45 | 3 | --- |
| Byrd ’67 | 92 | 7 | --- |
| Byrd ’68 | 194 | 24 | --- |
| Byrd ’69 | 160 | 60 | --- |
| Byrd ’70 | 36 | 21 | --- |
| Byrd ’71 | 65 | 27 | --- |
| Byrd ’72 | 80 | 48 | --- |
| Byrd ’73 | 99 | 20 | --- |
| Byrd ’74 | 85 | 6 | --- |
| Byrd ’75 | 195 | 11 | --- |
| Byrd ’76 | 115 | 93 | --- |
| Byrd ’77 | 56 | 42 | --- |
| Byrd ’78 | 86 | 25 | --- |
| Byrd ’79 | 41 | 2 | --- |
| ES-350T ’55 | 1 | 1 | --- |
| ES-350T ’56 | 156 | 62 | --- |
| ES-350T ’57 | 150 | 74 | --- |
| ES-350T ’58 | 104 | 43 | --- |
| ES-350T ’59 | 90 | 57 | --- |
| ES-350T ’60 | 71 | 15 | --- |
| ES-350T ’61 | 61 | 21 | --- |
| ES-350T ’62 | 59 | 18 | --- |
| ES-350T ’63 | 35 | 23 | --- |
| ES-330D ’59 | 270 | 79 | --- |
| ES-330D ’60 | 1,198 | 215 | 98 |
| ES-330D ’61 | 542 | --- | 645 |
| ES-330D ’62 | 496 | --- | 734 |
| ES-330D ’63 | 521 | --- | 652 |
| ES-330D ’64 | 1,231 | --- | 693 |
| ES-330D ’65 | 1,318 | --- | 1,067 |
| ES-330D ’66 | 2,000 | --- | 1,151 |
| ES-330D ’67 | 2,335 | --- | 2,563 |
| ES-330D ’68 | 1,223 | --- | 643 |
| ES-330D ’69 | 518 | --- | 515 |
| ES-330 ’59 | 349 | 82 | --- |
| ES-330 ’60 | 772 | 88 | 37 |
| ES-330 ’61 | 267 | --- | 214 |
| ES-330 ’62 | 224 | --- | 179 |
| ES-330 ’63 | 151 | --- | 152 |
| ES-300 ’48 | 190 | 83 | --- |
| ES-300 ’49 | 76 | 48 | --- |
| ES-300 ’50 | 116 | 41 | --- |
| ES-300 ’51 | 114 | 47 | --- |
| ES-300 ’52 | 79 | 27 | --- |
| ES-300 ’53 | 4 | --- | --- |
| ES-350 ’48 | 87 | 55 | --- |
| ES-350 ’49 | 76 | 89 | --- |
| ES-350 ’50 | 54 | 46 | --- |
| ES-350 ’51 | 70 | 57 | --- |
| ES-350 ’52 | 122 | 67 | --- |
| ES-350 ’53 | 87 | 50 | --- |
| ES-350 ’54 | 58 | 31 | --- |
| ES-350 ’55 | 44 | 14 | --- |
| ES-350 ’56 | 45 | 4 | --- |
Gibson Acoustic L-4, L-5, L-7 & Super 400 Shipment Totals (1948-1979)
When you get into the Gibson Acoustic L-4, L-5, L-7, and Super 400 shipment totals from 1948 to 1979, you are looking at the carved-top instruments at the top of Gibson’s line in Kalamazoo. These records help any owner document the scarcity of a pure “acoustic” Super 400 or L-5, which were often made in even smaller numbers than their electric versions. Because these archtops sat at the top of Gibson’s price list, production was always limited, which puts them at the center of a high-end appraisal. Whether you are holding a 1950s L-7 with its “parallel” bracing or a late-sixties L-4C with a Venetian cutaway, these official shipping ledgers are the most effective way to confirm the rarity and value of your instrument.
| Model/Year | Sunburst | Natural |
|---|---|---|
| L-4 Series | ||
| L-4 ’48 | 125 | 28 |
| L-4 ’49 | 118 | 69 |
| L-4 ’50 | 85 | 53 |
| L-4 ’51 | 163 | 75 |
| L-4 ’52 | 87 | 36 |
| L-4 ’53 | 87 | 38 |
| L-4 ’54 | 41 | 7 |
| L-4 ’55 | 20 | 1 |
| L-4 ’56 | 2 | --- |
| L-4c ’49 | 140 | --- |
| L-4c ’50 | 157 | 42 |
| L-4c ’51 | 201 | 49 |
| L-4c ’52 | 88 | 41 |
| L-4c ’53 | 12 | 44 |
| L-4c ’54 | 66 | 34 |
| L-4c ’55 | 68 | 28 |
| L-4c ’56 | 66 | 30 |
| L-4c ’57 | 73 | 26 |
| L-4c ’58 | 56 | 34 |
| L-4c ’59 | 66 | 23 |
| L-4c ’60 | 71 | 11 |
| L-4c ’61 | 52 | 19 |
| L-4c ’62 | 60 | 19 |
| L-4c ’63 | 70 | 16 |
| L-4c ’64 | 38 | 11 |
| L-4c ’65 | 61 | 12 |
| L-4c ’66 | 41 | 17 |
| L-4c ’67 | 22 | 3 |
| L-4c ’68 | 61 | 2 |
| L-4c ’69 | 63 | 20 |
| L-4c ’70 | 18 | 8 |
| L-5 Series | ||
| L-5 ’48 | 49 | 38 |
| L-5 ’49 | 29 | 17 |
| L-5 ’50 | 17 | 4 |
| L-5 ’51 | 29 | 11 |
| L-5 ’52 | 20 | 7 |
| L-5 ’53 | 15 | 1 |
| L-5 ’54 | 12 | 3 |
| L-5 ’55 | 5 | 8 |
| L-5 ’56 | 7 | --- |
| L-5 ’57 | 7 | 4 |
| L-5 ’58 | 3 | 2 |
| L-5c ’48 | 23 | 21 |
| L-5c ’49 | 23 | 22 |
| L-5c ’50 | 18 | 23 |
| L-5c ’51 | 17 | 9 |
| L-5c ’52 | 17 | 15 |
| L-5c ’53 | 19 | 4 |
| L-5c ’54 | 26 | 13 |
| L-5c ’55 | 11 | 25 |
| L-5c ’56 | 9 | 11 |
| L-5c ’57 | 16 | 16 |
| L-5c ’58 | 15 | 3 |
| L-5c ’59 | 33 | 22 |
| L-5c ’60 | 26 | 13 |
| L-5c ’61 | 19 | 13 |
| L-5c ’62 | 21 | 11 |
| L-5c ’63 | 41 | 21 |
| L-5c ’64 | 23 | 10 |
| L-5c ’65 | 15 | 10 |
| L-5c ’66 | 25 | 1 |
| L-5c ’67 | 10 | 5 |
| L-5c ’68 | 36 | 11 |
| L-5c ’69 | 70 | 55 |
| L-5c ’70 | 13 | 24 |
| L-5c ’71 | 10 | 2 |
| L-5c ’72 | 6 | 6 |
| L-5c ’73 | 2 | 1 |
| L-5c ’75 | 40 | 4 |
| L-5c ’76 | 34 | 29 |
| L-5c ’77 | 39 | 23 |
| L-5c ’78 | 13 | 19 |
| L-5c ’79 | 14 | 4 |
| L-7 Series | ||
| L-7 ’48 | 266 | --- |
| L-7 ’49 | 153 | --- |
| L-7 ’50 | 158 | --- |
| L-7 ’51 | 116 | --- |
| L-7 ’52 | 56 | --- |
| L-7 ’53 | 77 | --- |
| L-7 ’54 | 23 | --- |
| L-7 ’55 | 27 | --- |
| L-7 ’56 | 1 | --- |
| L-7c ’48 | 39 | --- |
| L-7c ’49 | 97 | 33 |
| L-7c ’50 | 115 | 28 |
| L-7c ’51 | 99 | 53 |
| L-7c ’52 | 70 | 28 |
| L-7c ’53 | 172 | 63 |
| L-7c ’54 | 62 | 33 |
| L-7c ’55 | 52 | 41 |
| L-7c ’56 | 56 | 31 |
| L-7c ’57 | 49 | 21 |
| L-7c ’58 | 34 | 14 |
| L-7c ’59 | 89 | --- |
| L-7c ’60 | 81 | --- |
| L-7c ’61 | 79 | --- |
| L-7c ’62 | 66 | --- |
| L-7c ’63 | 140 | --- |
| L-7c ’64 | 119 | --- |
| L-7c ’65 | 49 | --- |
| L-7c ’66 | 31 | --- |
| L-7c ’67 | 34 | --- |
| L-7c ’68 | 95 | --- |
| L-7c ’69 | 58 | --- |
| L-7c ’70 | 21 | --- |
| L-7c ’71 | 6 | --- |
| L-7c ’72 | 13 | --- |
| Super 400 Series | ||
| Super 400 ’48 | 64 | 27 |
| Super 400 ’49 | 31 | 13 |
| Super 400 ’50 | 12 | 13 |
| Super 400 ’51 | 10 | 8 |
| Super 400 ’52 | 19 | 11 |
| Super 400 ’53 | 10 | 1 |
| Super 400 ’54 | 6 | 6 |
| Super 400 ’55 | 2 | 1 |
| Super 400c ’50 | 14 | 7 |
| Super 400c ’51 | 5 | 17 |
| Super 400c ’52 | 10 | 7 |
| Super 400c ’53 | 5 | --- |
| Super 400c ’54 | 17 | 7 |
| Super 400c ’55 | 6 | 6 |
| Super 400c ’56 | 11 | 3 |
| Super 400c ’57 | 11 | 14 |
| Super 400c ’58 | 11 | 9 |
| Super 400c ’59 | 16 | --- |
| Super 400c ’60 | 10 | 9 |
| Super 400c ’61 | 13 | 6 |
| Super 400c ’62 | 16 | 5 |
| Super 400c ’63 | 14 | 9 |
| Super 400c ’64 | 12 | 2 |
| Super 400c ’65 | 16 | 4 |
| Super 400c ’66 | 3 | 2 |
| Super 400c ’67 | 25 | 3 |
| Super 400c ’68 | 24 | 3 |
| Super 400c ’69 | 33 | 22 |
| Super 400c ’70 | 9 | 4 |
| Super 400c ’71 | 4 | 5 |
| Super 400 ’72 | 5 | 10 |
| Super 400 ’73 | 3 | --- |
| Super 400 ’74 | 2 | --- |
| Super 400 ’75 | 14 | 8 |
| Super 400 ’76 | 15 | 13 |
| Super 400 ’77 | 21 | 13 |
| Super 400 ’78 | 12 | 5 |
| Super 400 ’79 | 5 | --- |
Gibson Firebird Shipping Totals. (1963-1969)
The Gibson Firebird shipping totals from 1963 to 1969 show the rocky production history of one of Kalamazoo’s most unusual designs. These figures help collectors tell apart the “Reverse” body models and the “Non-Reverse” versions that took over in mid-1965. Because production for certain high-trim variations, like the Firebird VII, dropped into the single digits in the late sixties, the shipment data is a big part of an appraisal. Whether you are looking at a 1964 Firebird III with its original “banjo” tuners or a rare 1967 non-reverse model, these numbers give you the evidence to back up the scarcity and value of your instrument.
| Model | Year | Production Total |
|---|---|---|
| Firebird I | 1963 | 80 |
| Firebird I | 1964 | 497 |
| Firebird I | 1965 | 800 |
| Firebird I | 1966 | 1,164 |
| Firebird I | 1967 | 200 |
| Firebird I | 1968 | 192 |
| Firebird I | 1969 | 34 |
| Firebird III | 1963 | 272 |
| Firebird III | 1964 | 1,254 |
| Firebird III | 1965 | 1,020 |
| Firebird III | 1966 | 935 |
| Firebird III | 1967 | 463 |
| Firebird III | 1968 | 10 |
| Firebird III | 1969 | 27 |
| Firebird V | 1963 | 62 |
| Firebird V | 1964 | 510 |
| Firebird V | 1965 | 353 |
| Firebird V | 1966 | 342 |
| Firebird V | 1967 | 83 |
| Firebird V | 1968 | 50 |
| Firebird V | 1969 | 17 |
| Firebird VII | 1963 | 20 |
| Firebird VII | 1964 | 173 |
| Firebird VII | 1965 | 110 |
| Firebird VII | 1966 | 46 |
| Firebird VII | 1967 | 9 |
| Firebird VII | 1968 | 19 |
| Firebird VII | 1969 | 5 |
| Firebird XII 12-string | 1966 | 248 |
| Firebird XII 12-string | 1967 | 24 |
Gibson Flying V, Explorer & Moderne Shipping Totals (1959-1979)
The Gibson Flying V, Explorer, and Moderne shipping totals from 1958 to 1979 are some of the hardest-to-find production data in the Kalamazoo archives. For a collector, these figures are the benchmark for telling original “Korina” era pieces apart from the limited reissues and second-wave batches of the late seventies. Since the 1958 and 1959 output for these models was very low, and the Moderne stayed a prototype myth for years, the ledger data is the only reliable way to do a real appraisal on these “Holy Grail” instruments. These shipping numbers let you confirm the rarity of a “Medallion” V or a first-run 1976 Explorer, which is the proof you need to back up a top-tier value.
| Model & Year | Production Total |
|---|---|
| ’58 V | 81 |
| ’59 V | 17 |
| ’66 V | 2 |
| ’67 V | 111 |
| ’69 V | 15 |
| ’70 V | 47 |
| ’71 V Med. | 350 |
| ’73 V | 2 |
| ’74 V | 1 |
| ’75 V | 1872 |
| ’76 V | 423 |
| ’77 V | 110 |
| ’78 V | 313 |
| ’79 V | 505 |
| ’79 V II | 157 |
| ’76 Exp. | 2006 |
| ’77 Exp. | 1087 |
| ’78 Exp. | 274 |
| ’79 Exp. | 287 |
| ’79 Exp. II | 586 |
| ’58 Mod. | 19 |
| ’59 Mod. | 3 |
Conclusion: Leveraging Data for Accurate Appraisals
Going to the official Kalamazoo shipping records is the best way to stop guessing and pin down how rare a vintage instrument really is. These Gibson production total charts show how spec changes, finish options, and shifting market demand affected the scarcity of every model from the “Golden Era” through the Norlin years. Whether you are a collector documenting a “Holy Grail” Sunburst or a seller checking a rare “TV” finish, these figures let you work the market with confidence. At Joe’s Vintage Guitars, we use this data to give you the most accurate appraisal we can, so the history of your guitar is recognized and valued.
