pohatu771

As others have said, it's a G-400 SG Standard Flame Maple. There are currently none for sale on Reverb, but recent sales have averaged about $300. There are no recent sales in the UK, so I don't know how that might impact the price.

Are you sure we're talking about the same guitar? The listing I was watching (and still have saved) was 71/500 with an Epiphone Montana label, Gibson serial number, and Made In USA stamp. I have a 1965 Gibson LG-0, and an early 60s FT-45 Cortez is at the top of my acoustic wishlist right now.

This is the most important thing. With a P-90 at the end of the fretboard, the J-160E is essentially a flat-top version of the ES-125. Other than the new humbucker-equipped J-45, the rest don't have electric guitar pickups. That said, one of my favorite electric guitar recordings was actually made with my Martin and an undersaddle pickup through multiple effects.

I almost bought a second Texan yesterday. One of the 1994 Bozeman models was on eBay. I was watching it for a week, and the eBay app didn't send me an alert near the end and I forgot. It sold for about $800; I would have bid $900 (plus almost $100 in shipping). It might not have been enough.

These are the first import, symmetrical, early 60s-style they've made. I'm not interested in the later versions (which they have made in past), but I like these. I was really hoping for a USA model at the same price point as the current Les Paul Special Tributes (or maybe a bit more), but I'm strongly considering a Wilshire or Crestwood.

It's really amazing; my J-45 and this Texan were made in the same factory with the same materials, but each sound different. They aren't completely different, but they are definitely distinct variations of the same voice.

There is some subtle silking in the top. If I am completely honest, the sunburst version I played might have sounded very slightly nicer, but the top on this one was much more striking and I weighed them against each other.

I was hoping to get lucky and find a transitional 1964 Casino with the Kalamazoo headstock but blank "bullet" truss rod cover, since that one is in production for the new Texan and (hopefully) Casino, but I only find it with the New York headstock. Either way, this is a great find and a good project. Pelham Casinos are a good look, especially if you switch to the chrome covers.

I put a deposit on this at the end of June and paid it off on Sunday. I suppose I could have just paid for it all at once, but it felt more responsible to spread it out. I've wanted a Texan since I first started playing, but I had just missed the Elitists (which I couldn't afford at the time anyway), and by the time the Inspired by 1964 Texan was released, I already owned a Gibson J-45 and didn't need to add a $400 copy to my collection. I then stopped paying attention to the market, until about a year ago, just in time for them to announce two new USA-made Epiphone models. The Texan has the body and neck that I like on my J-45, but it's sweeter, without the thudding bass that I've been frustrated by. I'm very pleased.

Well, I've had mine in-hand for a few days. Maybe it's the longer scale, maybe it's the combination of these specific pieces of wood, maybe it's that I spent $2500, but I'm beyond pleased with this one. In the past six months, I've played my own J-45, a few other J-45s, an Advanced Jumbo, a very vintage J-35, a J-29 Rosewood, and a half-dozen J-45-inspired copies by other companies, and this one has the best of them all. It's full, but it's sweeter than my J-45 without the "thud" bass that I've been frustrated with lately. I can't find a finish flaw on it (the sunburst I considered had a speck of finish on the nut, but nothing else I could see). The neck is microscopically bigger than my 2001 J-45. The only changes I would make (which would only reduce its vintage accuracy, which Gibson doesn't make any claims about) is to embed the Epiphone logo through pickguard rather than applying it to the surface. The inlays have great texture, with a lot of detail without adding non-white coloring. I'm even pleased with the serial number - stamped February 14, with an appropriate production number of 79. I've seen plenty of people complain about the price - questioning who would buy an Epiphone for the price of a Gibson, or insisting that Gibson should be able to make a guitar at Bozeman for the same price as an imported Epiphone (though in their defense, the G-45 Studio is only slightly more expensive than the Masterbilt Excellente). I don't regret this for an instant. The Japanese Texans sell for more than their original retail price now, and the 1994 USA model might as well be a myth, because I've never seen one for sale.

The first result is for the Masterbilt line. In the US, those sell for about 700 USD, and the 16,400,00 VND price converts to about 711 USD. Not much of a difference. The Dove Pro at the end of the page is 9,100,00 VND, or roughly 395 USD, and that model sells for 370 USD. A bigger difference (in dollars and percent), but not drastic. The other brands I'm familiar with (Cordoba and Martin, especially) also seem to be in line with the US prices. The guitars that are much less expensive don't seem to have a brand name that I can recognize, and it makes sense they would be much cheaper.

Gibson applied for a trademark for "Coronet" on June 3 (88945982). As far as I can tell, that is the only guitar-related trademark to that name on file. They were granted the Wilshire trademark in 2011, but Crestwood is actually held by LaPlaya, the distributor for Aria and Danelectro.

Both pickups are grounded to their respective volume pots with the braid, then to the switch with the yellow wires. The jack is grounded to both tone pots through the braid, and then to the bridge volume, which links it with the switch and other pot. The bridge itself is grounded to the neck tone.

The Epiphone headstock makes a big difference. I just had my LG-0 repaired, but if the repair was much more than it ended up being I had a pristine Caballero lined up to replace it - and it might not have fit my case, it turns out. I'm on the lookout for a Cortez (I missed a few earlier in the spring), so that's something for me to remember.

I actually put a 30%-ish deposit on one the other day. Store had two (a natural and a sunburst) and I claimed the natural. It will be a nice complement to my J-45. They actually sounded quite different from each other, and both had their factory strings and had barely been touched, sitting in the display case for about three months while the store was closed. The natural was brighter, while the sunburst sounded more like my J-45. The necks were slightly thicker than my 2001 "not-a-standard" J-45, but not thick enough to disqualify the purchase. I actually prefer the New York-style Epiphone headstock to the Kalamazoo version. For the price, I was considering vintage examples, but all would require shipping and not being able to try it, or investment in a road trip through one or more states with different pandemic restrictions for a guitar I might not like. A not-insignificant decision was getting a Gibson warranty. I've just put quite a bit of money into repairs on three other Gibsons and would like to avoid that in the future if possible. I'm not terribly concerned about resale value since I've only sold one guitar in my history, and it's easier to find a vintage Texan for sale than any of the vintage-inspired Elitist, McCartney, or USA versions of the past 25 years.

Interesting that you see so much difference. My classical (Manuel Rodriguez) and my LG-0 are about 1/2" different from the end block to the tip of the headstock, with the classical actually being slightly longer. My WolfPak soft case has about an inch left with the classical, and the hardshell has maybe two.

Since everyone ignored your question, you are looking for a case marketed for a traditional classical guitar. The bodies are the same size. I have a Wolfpak soft-side case and a classic plywood case and swap my LG-0 and classical between them as I feel like it.

My local store got two in stock back in February (one of each finish) and I played them both then. After almost three months of being closed, they are both still in stock, and I intend to buy whichever one I like better in the near future. I hope it's the natural, but I'll buy whichever one sounds best. I'll need someone to hand them to me with my eyes closed. The other description is right. This is less bassy than my J-45, which has bothered me more lately. Visually, I love that they went more for the early Texan, with the New York headstock, than the famous Paul McCartney version.

Epiphone's own product page says to use their 940-E339 case (or EpiLite 940-E339HG hardwire gig bag). Anyone who says this won't fit in a 339-size case is wrong - like the Amazon customer answer that doesn't seem to know that Casino Coupe is a smaller model.

Sharing photos would go a long way. A maple back with stripe should be a 1991. Does the USED stamp obscure a serial number, or is there none at all? There should be a label in the sound hole, also. A white label would cover the original serial number with a new serial number that may not follow the usual conventions to allow it to be dated.

This is the first cell phone I've had with an actual phone-ringing sound, so I use that.

Time for a stupid question... what model is it that has the old script logo on the headstock? I thought it was the Classic Antique, but no one else seems to be posting one. I'd like to find one of those someday when I finally decide I should have a Les Paul... every time I do, I don't have the money for it (like right now), and when I have the money I want something else.

Guitar Dater Project won't tell you if it's real, or not, just when and where it was made... in most cases. There are some things it can't handle.