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The ES-339 top is laminate maple and poplar which is pressed and lightly arched

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Celebrating its 50th birthday in 2008, Gibson's ES-335 is rightly considered an electric guitar icon. Unlike the Les Paul, which went through numerous changes before the Standard was born in 1958, the ES-335 was perfectly conceived from the off.

Yet that hasn't stopped Gibson tinkering with the design over the years. And if there is a criticism of the ES-335, it's that it's just too big for many players.

Most recently Gibson addressed the dilemma with the ES-336 (which became the still available CS-336) launched, ironically in terms of the UK market, in 1996 at the height of Britpop when sales of the original-style ES-335 and Epiphone semis were at a high point.

The ES-346 followed a year later (technically still available in the form of the Paul Jackson Jr signature). Both are downsized semis but, unlike the ES-335's maple laminate construction, the back is channelled out from solid mahogany and the top from solid maple.

"You'd better get in the queue behind us before, in terms of price, someone at Gibson realises they've made a terrible mistake. It really is that good."

Move on to 2007 and out pops the ES-339 from Gibson's Memphis Custom Shop, similar in size to the 336/346 but made from maple-faced laminate top, back and sides with a maple centre block – a mini version of an ES-335.

Measuring 362mm (14.25-inches) wide and 425mm (16.75-inches) long, the ES-339 is smaller than the 406mm (16-inch) x 483mm (19-inch) ES-335. Rim depth is virtually identical at just under 44mm (1.75 inches).

It's made in almost exactly the same way: the pressed, lightly arched laminate top and back glued to laminate sides, the gluing area increased by tidily kerfed linings. The ES-335's masterstroke, its centre block, is retained here too: mainly maple with spruce 'cushions' between the arched top and back.

It's all tidily done and clearly visible through the f-holes, which are unbound, but have the edges – and the otherwise visible laminate layers – nicely disguised with a matt black paint.

Finishing can be very variable on modern Gibson guitars. The company still uses nitro-cellulose for all but its start-up models but here, not only is the old-style sunburst perfectly coloured (black to deep brown to a golden yellow centre, the single strip edge binding a beautiful nicotine coloured vintage hue) but also highly glossed, if not technically as mirror-flat as we've come to expect from other USA brands.

A problem? Not at all. The one-piece quartersawn mahogany neck is left 'natural' (probably coloured a deeper brown by the grain filler) once the 'bursting over the tidy heel fades away; the head is back-angled 17 degrees and faced in jet black with the classic pearl inlaid, and slightly yellowed, brand logo and crown motif.

The tuners suit the vintage vibe: Gibson Deluxe logo'd Kluson-style with slightly too dark and opaque 'tulip' buttons.