jonnyg

The serial number dates it to 1964.

That's not an S-Series guitar it's an EM1 Rebel. They were made from the early to late 90s and were quite high quality. Alder body, maple neck with rosewood fingerboard. Unusual switching system with pretty much any combination of humbucker/single coil tones. Quite a rarity to see one.

It's a FAT210 made between 1999 and 2004. They were pretty much the same spec as a similar low to mid range Squier Strat. They were preceeded by the S-210 1996-98 which was exactly the same guitar except for having a single coil in the bridge position. The FAT-210 was just one of a whole range of S-xxx type guitars from the S-200 up to the S-900 made between approx 1986 to 2004. Most had the droopy/pointy headstocks so popular in their day. There was also a T-xxx range which were obviously based on the Telecaster.

And you do it very well. That tune of yours 'Then You' (is it yours?) has a really great feel to it. It's crying out for a great lyric.

Looks like a mid 60s Crestwood Deluxe with the 'wrong' headstock and a varitone. Does nothing for me, particularly in white. I'm still waiting for the dog ear P90 Coronet that was rumoured to be in the pipeline as long ago as 2008. Given that the body and neck were identical to the '66 Wilshire reissue (a great guitar that I bought immediately) I'm surprised the Coronet never turned up. Epiphone released a picture of one but that was as far as it got.

Not only seen, Jeffery, but actually once owned. The guitar was a MIJ Telecaster with a 'Photo Flame' finish and very good it looked too. Looked good, played good and sounded like ****. Worst Telecaster I ever owned, and I only owned it because a friend needed cash in a hurry. I'm not a wood snob but I think they were made of basswood. I haven't had good experiences with basswood as it seems to be lacking in high end frequency, has little sustain and dents even if you look at it hard. Other opinions are available of course, and I expect there are various qualities of basswood, but I avoid it where possible. But looks wise, stunning and easily repeatable because they only ever have to find one piece of stunning flamed wood to photograph.

Like I said initially, it's just my opinion. What you say is fair comment with the exception that I thought the original idea of neck binding was to cover the end of the frets and eliminate any sharp ends. If people are happy with the way things are done now then it's their choice, their decision and their money. My own preference is for guitars with less time and money spent on decoration and more time and money put into the frets, nut, components and general setup. However, if we all liked the same thing it would be a very boring world.

Just my opinion, but I don't see the point of bound necks the way it's done on low to middle range guitars these days. I could see the point when the binding covered the fret ends like Gibson etc still do, and as my early 80's Riviera and an old Antoria ES175 have, but the way it's done now with the frets over the binding just seems pointless. Other than for decoration I don't see that it serves any purpose.

They're also (currently) available at Andertons in Guildford. From their site they have in stock - 6 natural, 5 sunburst, 5 cherry without trem and 6 cherry with trem. All the non trem models are £599.00 and the trem model is £629.00. No sign of the Sorrento that I'm waiting for unfortunately.

I use the low end Live Intro for some things. I like the quick and easy clips method for making up some drum or bass tracks and it is very stable. However, I did find the mixing process less than satisfactory which is why I switched to Reaper as my main DAW. There's room for both Reaper and Live in my setup though as the strengths of one makes up for the weakness of the other.

I don't know if the OP resolved the hum but part of the reason was probably the total junk electronics fitted. I have the older (almost identical) model that was just called the "Chet Atkins" and I ripped all of the pre amp etc out and replaced it with something that worked. It sounds better and there's no hum. The models with the shoulder mount pots/knobs seem to be the worst of the bunch but they are mostly fitted with passive under saddle pickups which work fine without a pre amp. It's a shame the electrics were so poor because it's a good looking, well playing guitar. As for sizes, mine measures Lower Bout = 14 1/4" Upper Bout = 10 1/4" (across the cutaway) Body Length = 19 3/4"

Hey FredD I started out on a Ferrograph too, although I started in the early 70's with the stereo, Dolby equipped 702D. Great machine, built like a tank compared to a Revox and weighed about as much as a tank too. Cost me 20 full weeks wages but worth every penny. I've still got some old cassette mixdowns from that machine and they sound much livlier than the digital recordings I do now.

BentonC tells you no lie there spacealf. There's so much free stuff out there that you probably couldn't try it all in a lifetime. It's definitely worth trying some of the reverbs, EQ's and compressors. A lot of them are as good or better than the paid for versions. Obviously virtual instruments are going to require some keyboard or MIDI programming skills but FX is just knob twiddling. Then there are the drum plugins. I've yet to hear a standalone drum machine at ten times the price that comes close to the $30.00 (currently) BFD Eco, and there are even ways of getting a comparable, multi-sample/multi-velocity kit for free. I'm still running XP 32Bit and there's no problem at all. If you ever get interested, KVR Audio, although far from the only place, is a good place to start looking > http://www.kvraudio.com/q.php or just Google best free reverb/EQ/compressor vst (whatever you're looking for). It's a slippery slope though, and you do have to keep in mind that you're there to make music not audition plugins.

You shouldn't have any more noise problems with a cardioid pattern condenser than you do with an SM58, especially if you team it up with a noise gate plug-in. Not that there's anything wrong with using the '58. I often prefer to use one if I want a slightly thicker, "shouty" or different lead vocal or for backing vocals etc and some of my friends wouldn't use anything else. Just saying a condenser shouldn't be a problem.

It surprised me that Studio One didn't get a bigger user base when it was released since it came from the freebie Kristal which a lot of people used, including me for a while. I went from Kristal to Samplitude initially but most of my friends either moved to Cubase or Sonar/Cakewalk without considering Studio One. A couple still use Kristal. At the end of the day once you find something that works for you there's little point in changing. Loads of guys are happy to use Audacity because it gets the job done for them. As Benton C said in another thread, one of the best things about music these days is you do have choices.

That's very true. I know a lot of DAW fanboyz who dismiss Pro Tools out of hand for whatever they perceive as faults, but things don't become industry standards for no reason. I've never used Pro Tools but I've seen it working in studios and it can be quite impressive.

I'm with you on Reaper brother sinovic even though you left out a few things like, The small footprint 6Mb download. Just one version - no starter SE packs here with upgrade paths to part you from more of your cash. Want to work on your project at a friends PC/Mac? Install Reaper on a USB pen drive and carry it with you. That's allowed. No web authorisations here. Don't like it - just delete it. It hasn't filled up your registry. No uninstallers necessary. Don't like the look of it - change it with other themes or make your own. No bloatware - doesn't come with a load of VSTi instruments, samples and trial versions you'll never use. Reaper VST FX are as good as many commercial offerings costing $$$$$$. Regularly updated if bugs are found - the developers actually read the forum and do something about it.. The forum - is THE BEST. You'll probably get an answer to any problems the same day. The cost - Reaper, full printed manual and tuition videos can be had for around $120.00. The PDF of the manual is free and the guy who writes it is an active forum member. Plus it sounds great, as sinovic said, and it's easy to get started with and/or as deep as you want to go. I still also use Ableton Live 8 for the nice and easy MIDI and audio looping but Ableton works differently to other DAW's anyway. Previously used Samplitude but I wouldn't give up Reaper to go back to that. (You were slightly wrong on the licence though. If you buy Reaper v4 now (actually v4.02 at the moment) it's valid until v5.99. That could be around 4 years worth of updates judging by how long v3.x was around.)

I asked this same question back in 2009. One answer was that they were Gibson strings that weren't shrink wrapped. I don't know if that was a definitive answer but they are marked "Made In USA" on the packs. On the basis that they were around £1.30 UK($2.00)a pack cheaper than Ernie Ball strings I bought a couple of dozen sets and I've been using them ever since. I've used them on my Riviera, Wilshire, Telecasters and Strat and they've been fine, no problem. Link to my original thread http://forum.gibson.com/index.php?/topic/49278-anyone-bought-epiphone-guitar-strings/

Absolutely. Unfortunately the other side of that coin is that Epiphone rarely make models that appeal to me nowdays so they lose those sales. I have absolutely no interest in their range of standard, single cut Les Pauls or current model Semi's, although I do own an early 80's Riviera, but I bought the Wilshire because it offered something different. I'd like a Rivoli type bass, and I'd buy one if Epiphone re-issued it again, but if another brand comes out with a reasonable quality, similar bass I'd buy that. It doesn't matter to me if it says Epiphone on the headstock or not. So if Epiphone continue to just re-issue Gibson's heritage they can kiss goodbye to my money.

The '62 Newport is nice but if they went for the 65/66 model then they could just use the current Wilshire body. Having said that, the Wilshire's been out around 3-4 years now (in various guises) and we've yet to see re-issue Coronet's or Crestwood's even though altering a Wilshire to one of those would be pretty simple IMO. It would be nice to see the Rivoli bass again plus other guitar models like the Sorrento. Seems to me that, with the exception of the semi's, Epiphone is more interested in re-issuing Gibson's heritage that its own.

Hi According to the guitar dater project your guitar was made in 2000 but factory is unknown. It looks from your avatar that your guitar has three single coils so I can't help with the model. There were two very similar guitars to yours which had humbuckers in the bridge position and they were the Fat-210 and Fat-310. With regard to whether a Strat neck will fit, the answer is possibly. It's going to depend on how close the measurements of your neck/neck pocket match up. It's quite possible you'd have to do a bit of work on the neck pocket. Try WD Music or one of the other on line guitar suppliers for measurements of their replacement necks. Remember though that they're not going to be cheap and may still require some minor fret levelling and maybe a nut fitted. Can't help with the trem to hardtail conversion. Strat type pickups can, I believe, be wired to be hum cancelling in positions 2 & 4 but they don't have to be. There are loads of Strat wiring diagrams on the web just check out a few against your own wiring. Go to this link for how to upload pix to this forum: http://forums.epiphone.com/default.aspx?g=posts&t=8886 Finally I would say that unless you're really into doing the mods for fun you'd probably be better off getting another guitar closer to what you want. Necks ain't cheap and I should imagine that making a trem equipped guitar into a hardtail ain't gonna be a walk in the park for a beginner. Good luck anyway if you decide to go ahead. JG

Yeah, but it's well cheap and it is almost Christmas.

Hi Can't help you with the label but to be honest if you're looking to buy an Epiphone semi you'd be better off to buy a new model rather than one of the 70's models. The 70's Epiphones were pretty poor examples, with bolt on necks and very average pickups. I know some people love them but I think the general concensus is that they really aren't up to the Korean or Chinese made models. JG