Vintage Burns GB66 Semi Acoustic Without Electrics For Restoration

Burns GB65 missing its electrics. Fully restored is worth well over £1000 

Please view the pictures to see where this beauty needs work . The wear at the top of the head stock is cosmetic and can be sorted. There are other minor scratches etc consistent with its age. 

All in this beauty radiates quality and deserves to have it electrics fully reinstated.  Reminder for those of you outside Europe to check with me for a shipping price before bidding

(Outside of Europe if eBay does not display a shipping price please request one before bidding. )

Here is some information from ai on this model

Strip away the electronics, and the Burns GB66 reveals itself as a fascinating mix of traditional archtop craftsmanship and 1960s "Space Age" industrial design.

Here is the breakdown of the body and headstock architecture.

1. The Body: "Controlled Resonance"

The GB66 body was Jim Burns' attempt to build a "modern" semi-acoustic that felt sleeker than a thick jazz box but more substantial than a solid body.

• Construction: It features a laminated maple (sycamore) top with mahoga

•  back and sides. The top is often "highly figured" or flamed, giving it a premium look under the sunburst finish.

• The Shape: It is a double-cutaway thinline. The horns are unique: they aren't rounded like a Gibson; they have a "squarish" and slightly "hooked" profile that makes the guitar look like it’s leaning forward.

• The Soundholes: Instead of traditional f-holes, the GB66 features stylized teardrop cutouts (sometimes called "Gaudi-esque" due to their fluid, melting appearance). On the Deluxe models, these are often bound with plastic.

• Dimensions: * Width: Approximately 16 ½ inches at the lower bout (closer to a jumbo or ES-335 size).

  • Depth: Roughly 1 ½ to 1 ¾ inches deep at the rim—very thin and comfortable against the body.

• The Finish: Most were finished in a thick polyester lacquer. Over decades, this finish is famous for "checking"—developing a web of fine cracks that many vintage enthusiasts find desirable.

2. The Headstock: From Art to Utility

The headstock is the easiest way to date a GB66, as it changed significantly during the transition to Baldwin ownership.

• The "Scroll" Headstock (Early/Burns Era): This is the holy grail. It features a hand-carved, 3-dimensional scroll at the top (inspired by a violin). It’s an incredibly ornate, labor-intensive piece of woodworking that Jim Burns insisted on for his high-end models.

• The "Flattened Scroll" (Late/Baldwin Era): Once Baldwin took over in late 1965, they realized the hand-carved scroll was too expensive to mass-produce. They "flattened" the design into a simpler, 2D silhouette that resembled a lump or a wave at the top.

• Hardware: You’ll typically find Van Ghent tuners (Dutch-made). These are high-quality, closed-back machines often with metal or pearloid buttons.

• The Zero Fret: At the base of the headstock, you won’t just see a nut; you’ll see a zero fret. This allows the open strings to have the same tone as fretted ones and keeps the "action" (string height) very low and consistent.

3. The Bridge and Tailpiece

The hardware on the body is purely functional and reflects the "parts bin" nature of 60s British manufacturing:

• Bridge: A simple metal floating bridge. It isn't anchored into the wood, meaning it's held down by string pressure. This allows you to nudge it for perfect intonation.

• Tailpiece: A double-trapeze design. It’s a long, chrome-plated unit that anchors to the bottom strap button