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A couple of quick Custom questions


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The inlays are what are generally referred to as "mother-of-toilet-seat." Marbled plastic basically.

 

I don't know about the neck profile on the customs, but the bodies can be made of 1-6 pieces of wood (depending on where and when it was made). I'd guess the transparent finishes will probably use fewer pieces since they would be more visible based on the 2 LPs I own ('03 Korean made transamber is 1 solid piece...doubt it's mahogany - maybe alder? And an '07 Chinese honeyburst which is 2 pieces - 1 large piece that makes up 90% of the body with 1 smaller piece where the jackplate mounts).

 

Painted finishes - who knows what's under there. Some of the lower priced Juniors are literally nothing more than plywood.

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My Custom from Saein has the neck profile which is somewhere between the 50's and 60's style.

It's still more like the 60's profile, I'd say.

 

I'm so used to it I was almost disappointed when I last tried a couple of Gibson Standards with different necks.

 

Don't tell anyone, but that day I honestly mistook a Gibson LP for an Epiphone! =D>

 

I examined a couple of very nice EE Epiphone LPs (must have been trans amber / cherryburst / honeyburst plus tops) and grabbed the next LP in line that looked like just another Epiphone. After a minute I started to wonder why the neck felt so different and what's that "60's neck" sticker doing there on the headstock. That lead to a Gibson 50's/60's tryout, summa summarum I somehow like the neck profiles on my Epiphone Custom (~ 60's) and '57 Junior (~ 50's) more.

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The wide variance in wood specs is one of the most significant aspects of modern Epi production. Perceived quality is not always a reliable guide to performance...but it's still disturbing.

We have a seven year old Unsung built Standard at home which has a really nice centre joined two piece true mahogany body . Weighs in at about 8.25lbs and with a pair Wilkinson "Seth" pickups it plays and sings as well as you would expect any decent Les Paul to do. We also had until very recently a ZW, which was quite evidently a three piece spread of Indonesian "mahogany". [finish sinking revealed the joins]. Thanks to the excellent EMG HZ pickups [which I prefer to the actives !] it sounded fine...but never had that woody and flute like voice which the Standard has. [it was there even with the stock pups]

What would be interesting to know is to what extent the tonewood employed has varied with finish. The guitar industry has always [and quite naturally] selected the nicest spreads of timber for trans finishes and I wouldn't expect Epiphone production to be any different in that respect. However, now that veneered multi piece spreads have become the norm, will that still apply ?

 

[BTW . The ZW has been replaced in the arsenal by a Music Man Axis of all things ! Never though I'd hear "tone" from a guitar with a Floyd Rose...but there's a first time for everything I suppose =D> ]

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The neck is usually somewhere inbetween 50's and 60's from what I hear, but more leaning toward the 60's slimmer neck.

 

The inlays I think are pearloid, which is fake plastic that looks like pearl, or some other plastic, but I'm not sure.

 

The body of a transparent les paul for what I've read in the past is usually 1-3, plus the "maple" (mahogany or alder) cap which may be 1 or 2 pieces. The top is usually covered by a very thin piece of maple called a veneer just to make it look nice. I have no idea on the neck but I'd guess 1 or 2.

 

This is mostly everything I've heard in the old forum, I haven't experienced seeing or noticing any of this myself.

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