Review: Gibson’s J-45 50s Faded and Keb’ Mo’ “3.0” 12-Fret J-45 Are Two New Takes on the Classic Workhorse

Perhaps it’s that focused midrange punch and those thick low-mids. Along with a tamed treble side and even response across the strings, the Gibson J-45, that workhorse of a guitar, sits great in almost any mix and won’t step on the EQ turf typically reserved for vocals, keys, or bass. Vintage J-45s are legendary for delivering that velvety-to-barking blues and classic Americana core tone in the studio—that almost pre-compressed, “sounds like vinyl” timbre. It’s an enduring and well-loved sound.

What makes Gibson’s two latest J-45 models—the J-45 50s Faded and the Keb’ Mo’ “3.0” 12-fret J-45—interesting is the way they both stick to the strengths and depart from the script in terms of our preconceived ideas about the J-45 shape. Contrasting them may even offer insights into what the model’s hand-scalloped X-braced design and round-shouldered curves are capable of conjuring. 

J-45 50s Faded

As vintage J-45s continue to skyrocket in value, Gibson fills the demand with new models like the 50s Faded, which loses the usual glossy nitrocellulose lacquer finish in favor of the satin that is so popular these days. This finish capably evokes the sexy matte appeal of a nicely weathered vintage J-45, especially with this compelling reddish sunburst, along with that rad ’50s pickguard. The J-45 50s Faded is one serious looker.

For those seeking a traditional J-45, the new iteration deviates little from the scriptures. Slope-shoulder dreadnought shape, solid spruce top with traditional hand-scalloped X-bracing, mahogany back and sides, 24.75-inch scale length rosewood fretboard—it’s all there. As for the sound, the review model capably delivers the key J-45 characteristics, as well. The tone is noticeably mellow, with a rich contained bark when you whack it, and some very pleasing velvety detail when played fingerstyle. 

It’s easy to get your body around this comfortable guitar, and the rounded neck, while not especially slender, allows for a vintage style of playability, with a stout but familiar feel in your palm. In short, it’s a fairly textbook J-45, well executed, as one increasingly expects from the revitalized and energetic Gibson of the last half-decade. 

Keep this in mind, though: While the included L.R. Baggs VTC pickup system can make up for the 50s Faded’s somewhat limited tonal focus through a good acoustic amp, the guitar is not, as expected, especially dynamic, colorful, or loud on its own. It’s a close-quarters instrument, great on a mic, or in the hands of a songwriter as part of a live band, but it’s not exactly a room-filler. 

Keb’ Mo’ “3.0” 

Right on cue, the Keb’ Mo’ “3.0” 12-Fret J-45 shows up to upend all these notions of the colors you can coax from a J-45. Honestly, this guitar—the third signature Keb’ Mo’ ax, following the Grammy-winning bluesman’s two popular L-00 models—is a real revelation. 

Though its body shape is certainly slope/round-shouldered, it’s a bit narrower and leaner; it actually suggests a J-35, with its Advanced Jumbo dreadnought profile, which predates the later, more popular J shape. Unlike classic J-45s, it has no pickguard at all, which accentuates its sultry curves and the aesthetics of its thermally aged Sitka spruce top and mahogany back and sides. The open-back Grover tuners are a classy, cool touch, as well. 

But the guitar’s most notable feature is its 12th-fret neck joint. The bridge on a 12-fret guitar typically sits a bit further away from the internal bracing than on a 14-fretter, making the bridge’s vibrations through the body more pronounced, for more volume, but arguably leading to slightly less sustain, given that the bridge has slightly less rigidity by being further from the bracing. That theory plays out pretty accurately with the Keb’ Mo’, which displays an almost D-28 kind of volume, frequency range, and projection—all very unlike a typical J-45—maybe without quite as much sustain. 

That said, the Keb’ Mo’ has richer lows, and more golden, coppery highs than any J-45 I’ve encountered. To play it for five minutes is a treat; to play it for an hour is to break new ground in your playing. It is a wildly expressive guitar. Play it with the flesh of your picking-hand fingers and easily coax that classic, moody, and dark J-45 vibe. 

But play it with fingerpicks or a flatpick, and my goodness, there’s just loads of piano-like bass, manicured mids, and pleasing highs; in other words, a fabulously dynamic, expressive range, which one could easily argue merits the “workhorse” nickname more than a conventional J-45. The Keb’ Mo’ will likely sound good on literally everything—blues, folk, bluegrass, pop, British Isles, Americana, you name it. 

The Keb’ Mo’ also boasts a longer scale length (25 inches) and slightly wider nut (1.805 inches)—a big plus for fingerstyle players. I suspect that even guitarists used to the 1.725-inch nut width on most J-45s may well find themselves a bit addicted to the feel of the Keb’ Mo’ fretboard. And while the 12th-fret joint means you lose some playable territory in the higher positions, there’s a huge gain in connecting physically to the parts of the neck you’re going to use most often. 

Touring players are going to love this thing: comfortable, super cool–looking, and fairly rugged, the sonic image of the Keb’ Mo’ is capably and faithfully rendered by the L.R. Baggs VTC pickup that comes standard, should you choose to amplify, and it’s hard to imagine a reason to swap it out. Sure, this guitar is fairly expensive, but it’s well worth the price. 

The Wrap

These two new J-45 offerings ably demonstrate that the J-45 foundation is alive and well. While the 50s Faded J-45 will speak to those looking for the tried-and-true tones that made the model famous, the Keb’ Mo’ “3.0” 12-Fret J-45 will inspire those artists looking for a rich character and timbre that is both highly expressive and perhaps even more all-purpose. Which is the right workhorse for you? It all depends on what beast you want in your stable, and what you’ve got to trade for that horse.    

50s Faded J-45

BODY 14-fret slope-shoulder dreadnought; Sitka spruce top with traditional hand-scalloped X-bracing; mahogany back and sides; multi-ply top binding; rosewood bridge; satin nitrocellulose lacquer finish

NECK Mahogany; 24.75″ scale length; 1.725″ bone nut; rosewood fretboard; 12-inch radius; 20 frets; mother-of-pearl dot inlays; compound dovetail neck-to-body joint with hot hide glue construction; Gotoh tuners

OTHER L.R. Baggs VTC electronics; Gibson Coated Phosphor Bronze strings (.012–.053); hardshell case

MADE IN USA

PRICE $2,499

Keb’ Mo’ “3.0”12-Fret J-45

BODY 12-fret slope-shoulder dreadnought; thermally aged Sitka spruce top with traditional hand-scalloped X-bracing; multi-ply top binding; single-ply back binding; rosewood bridge; gloss nitrocellulose lacquer finish

NECK Mahogany; 25″ scale length; 1.805″ bone nut; rosewood fretboard; 12-inch radius; 19 frets; mother-of-pearl dot inlays; single-ply binding; compound dovetail neck-to-body joint with hot hide glue construction; open-back Grover tuners

OTHER L.R. Baggs VTC electronics; Gibson Coated Phosphor Bronze strings (.012–.053); hardshell case

MADE IN USA

PRICE $4,299

gibson.com

This article originally appeared in the July/August 2023 issue of Acoustic Guitar magazine.