bobouz

Interesting thought, and it very well might happen at some point. But in my own experience, I rank the overall build quality of my one Chinese guitar, a 50th Anniversary '61 Casino, behind both of my Korean Epis (2004 Peerless Casino & 2010 Unsung Valensi Riviera). That said, the electronics on the '61 are very good.

Yes, I can confirm it. I've recently seen a natural-finish Chinese made Sheraton with a 5-piece neck.

It is easy in a thread like this to get the impression that there isn't much difference between an Epi and a Gibson. I've owned quite a few Epiphones including a number of Korean Dots & Sheratons, and currently have some fine Epis, but the only one I've run across (post Kalamazoo era) that holds up to a Gibson in every way is the AIUSA Sheraton (I'd imagine the AISUA Casino would be right there, too). Yes, the Elitists are close as well. But a Gibson semi or hollowbody (if you get a good one) is a different animal, and IMHO it is absolutely worth the extra pennies when factoring in the long term satisfaction it will bring. I would recommend that anyone with a strong interest in the world of hollowbodies should seek out & play as many Gibsons as possible for a point of reference to guide future purchases. There will be some dogs in the bunch, but when you find a gem, it will most likely never leave your mind.

Sounds very interesting. Have always liked the Epi H.R.

A low humidity environment can lead to checking, but this can vary from instrument to instrument, depending on the composition of the nitro itself. I might pass on a new guitar with checking & look for a cleaner example, but tone & playability would be more crucial to the purchase, and negotiations on the price might come into play as well. I certainly wouldn't pass on a desirable used or vintage piece solely based on checking.

It would be interesting to see a close up photo of the crack.

A microfiber cloth made exclusively for camera lenses will work extremely well.

Thanks for sharing the link. Some great photos in that thread. To have an original Kalamazoo Sheraton would be a real treat. But given the rarity & pricing, it seems unlikely. Of course, a few months back I never would have thought I'd land a mint AIUSA version, so who knows!

Totally agree. If you like the tone & it's structurally sound, leave it alone!

Haven't played one in person, but in the photos, the scarfed joint at the neck heel looks kinda lame. Add in the scarfed headstock, and that constitutes a bit of a disappointment for me. Granted they are selling this model pretty cheap, so I'm sure compromises had to be made.

You've probably made a solid choice going with Peerless. Consistently high build quality will only be attainable if the QC standards set by the company reflect that goal. Gibson's USA factories can be very hit & miss in the QC department, so it stands to reason that the expectations in their wholly owned Chinese factories would not be any higher. I'm sure some excellent '62 Sheratons will hit the market, but there will also be a fair number of clunkers.

I've been impressed with the 330L and still own it. But after having recently purchased a natural finish 330 VOS, I have to agree with the above comment. They are both excellent instruments, but for me, the 330 VOS would be the keeper if forced to choose. Regardless, after having the 330 become virtually extinct, how cool that Gibson chose to develop & release both models within the past few years!

I have a 330L & love the 30/60 neck. But I recently was fortunate enough to A-B three of the new 330 VOS instruments, and one had a smaller neck profile. It also had superior tone & overall playability, so I purchased it on the spot. The reduced size of the neck on this one was a real surprise. The profile is rounder than the 30/60, but it's just as easy to play.

Yup, I said that at #12, but #20 just arrived this week, and it's officially the last guitar I ever intend to buy! Edit > Traded one off & back down to a measly 19. For some reason, 19 seems perfectly restrained & reasonable.

I have a 330L in blue, and it's a wonderful guitar. The 30/60 neck is one of the most comfortable I've ever played, and the extra room up the fretboard is a significant bonus.

Okay, here's the scoop per my posts above regarding the historical use of "select" spruce in reference to solid topped instruments (based on my limited collection of catalogs): At least as far back as Gibson's catalog 'Q' from 1928, both the A and A-O model mandolins are described as having a "sounding board of select spruce." These were of course carved & arched solid spruce tops. A number of other descriptors are used for the spruce tops of guitars and mandolins in this catalog including "selected", "choice", and "finest". From a '50s catalog listing electrics, the solid topped CF-100e (cutaway flat top acoustic w/P90) has a "selected spruce top." From a mid 60s catalog, the majority of solid topped flat tops are listed as having a "selected spruce top." Most solid spruce archtop models are described as having a "hand-graduated carved top of selected spruce." From the 1968 catalog, the solid topped Heritage, Everly Brothers & B-25 models are described as having a "select spruce top." Descriptors for other acoustic models with solid spruce tops include "selected", "finest", "close grained", "fine grained", and (drum roll, please) "finest close-grain" for the J200. From the above, it is clear that the terms "select" and "selected" originally referred to solid spruce topped instruments. From the '70s and beyond, the industry began morphing this into a convenient catch-all phrase unrelated to the original definition. As for Gibson, they stuck to their guns through at least the 1980 catalog, where the solid topped J200, Dove, Heritage, and J55 are all described as having a "select fine grain spruce top."

RTH - Yes, the terminology may vary a bit in the old Gibson catalogs. The term "select" or "selected" spruce top was attempting to highlight the quality grade of the bookmatched solid top. I have a few Gibson catalog reprints, and out of curiosity will check to see what other variations turn up. Indeed, the Japanese manufacturers and/or their stateside distributors lifted the phrase to utilize it themselves in '70s catalogs, but for their own specific window-dressing purposes in applying it to laminated wood instruments.

Note that the term "Select Spruce Top" was used in Gibson catalogs historically & through the '60s for instruments that had SOLID tops. Some of these instruments may have had solid or laminated back & sides, but only the type of wood used would be mentioned. Eventually, marketers realized that denoting woods as "solid" had become a major selling point. The term "select" has now devolved into meaning anything the manufacturer wants it to mean. To try to hazard any guess as to the quality of a "select" laminated wood is folly. It is simply a marketing term with no clear definition.

Funny this thread should pop up. I just took possession this past afternoon of a 1966 Epiphone FT-45n Cortez with the plastic bridge. I recently posted in another thread that I had one of these many years ago, as well as the Gibson B25n clone which got played for approx 20 years. They both had a wonderful sound, but the Gibson was structurally compromised behind the plastic bridge, so I replaced it with ebony. The result was virtually no change, other than it being somewhat more weighted towards the treble side sonically. I had high expectations of an improvement in tone before the switch, but now, even though Gibson's original idea was goofy as heck, I'm firmly inclined to leave the plastic bridge on unless there's a structural reason to replace it. As for the Cortez that just landed in my lap - the tone is sweet & ranks right up there with the others I've owned. After 46 years, the plastic bridge is still in great shape & intonation is right on the money, so the bridge will remain. Btw, an earlier post reported the production lifespan of the plastic bridge incorrectly. They showed up on various models during a time frame of five years, from '62 - '66.

On the original Gospel, the peghead had a standard Gibson logo along with a little dove in flight. Always thought that little bird looked cool, but typically the guitar didn't sound very good!

Well, like I said, the overall price would be a major consideration, but there are other factors that can end up as part of the equation, such as the overall build quality, historic connection, a unique tone, etc. Vintage Epiphone Texans made by Gibson with laminated sides command serious dollars. Vintage J160s with laminated tops, as well as reissue John Lennon models, are rather spendy beasts (yes, it's supposed to be plugged in). Occasional reissues as have been mentioned above, Guilds and a few Gibsons with laminated arched backs, Django's jazz boxes as noted above by Jerry, and more. Martin has had many laminated models (pre-Mexico models such as the DM), built in the USA, with the same high build quality as their solid wood counterparts - costing significantly more than a $300 Epi, and generally well worth it. All of that said, would I be interested in a used reissue Gospel? Nope, but a used reissue B-25? Just maybe.

Very interesting. My understanding is that the B-25 of the mid '60s had a solid back & laminated sides (which I confirmed on the sides of the '65 B25n I owned, as someone had drilled a jack hole in an LP position). The B25 lasted into the early '70s, and I'd guesss that at some point the specs changed to both the back and sides being laminated.

For me it would all depend on the price of course, along with the tone, playability, and other characteristics of the instrument. I would not out-of-hand dismiss an acoustic based on partial laminate construction. Guess we all have our own criteria, and where I draw the line is that the top must be solid.

Yes, the J200 Studio is now the entry level jumbo.

Mine is also a maple 2000 & similarly very light, with a natural top & dark back & sides (slight sunburst on sides). Beautiful tone that I haven't found elsewhere, especially on the bass end. Previously owned a mahogany '96 which was also very good, but the neck was a bit too clubby. Regardless, these can be stellar guitars in any of it's various forms.