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Here’s an informative explanation. https://blog.andertons.co.uk/learn/understanding-guitar-scale-length#:~:text=What Are The Most Common Guitar Scale Lengths%3F, 625 9 more rows QM aka “Jazzman” Jeff

Jinder-sorry to hear about your recent fall. Here’s to a recovery again and on your part and a full forthcoming recovery to you, too. QM aka “Jazzman” Jeff

Welcome to the forum! QM aka “”Jazzman” Jeff

One has to look at actual acoustic flat-top guitar history to put the whole Martin and Gibson thing in perspective and why one feels the way they do about one or the other or both. Historically, Martin was the originator of current hand crafted acoustic flat-top guitars. That being said, Gibson as well as any other hand crafted acoustic flat-top guitars are variation alternatives to the original design of hand crafted flat-top guitars. For example, Gibson, produced an alternative to Martin’s dreadnaught design by producing a round shouldered Jumbo that was similar to the original Martin design, but different in a way that made its sound and playability appealing. But, historically, the round shouldered Jumbo was in response to Martin’s Dreadnaught. Same thing with Gibson’s short scale neck. Martin had a long scale neck, in response, Gibson created a short scale neck. Then, the copy factor also figures in. And f Martin had a square shaped Dreadnaught, Gibson could create a square shaped model also to copy it but give it a slightly different sound by its braces or woods. (Likewise, if Martin and Gibson had a glued in dove-tail jointed neck, Taylor created an alternative with a bolt on neck that they could market as easier to have neck resets. Etc.) Likewise, Martin had natural finishes, Gibson had the alternative, a sunburst finish. But, it all started with Martin historically creating what still remains the standard of acoustic flat-too guitars. Everything else is a variation or a copy to make it have a nuance and appeal that makes Gibson have its own following or another manufacturer have its own following. But, none would exist without Martin blazing the trail. Fir that reason, I never criticize Martin because frankly, none of the other acoustic flat-top makers with their great alternatives would exist without their original trailblazing. That s why some prefer Martin. Some prefer Gibson (because Martin set the standard, that Gibson that changed to create an alternative to the standard, and some like both Martin and Gibson because they like the standard and the alternative. Note: this trailblazing by Martin refers as I handcrafted guitars. There is a whole other set of trailblazing (also still derived from Martin and handcrafted guitars) that ties to manufacturers trying to mass produce guitars that were handcrafted. Thus, we have the cheap Kay and Harmony copies of Martins, leading to today’s imported mass market copies of Martin’s and Gibsons that are now quite good. Interestingly, Martin in this race has fallen behind Gibson primarily due to Gibson’s Epiphone efforts and other overseas mass market manufacturers and is playing catch up with their trailblazing. As well as Martin now on occasion copies Gibson and Taylor alternative creations their own designs that now compete with them. ie. Martin still periodically tries to break into the sunburst finish field that Gibson spearheaded as an alternative to Martin’s natural finish. Gibson’s natural finishes has made better inroads into Martin’s realm than visa- versa. Etc. But, it all really started with Martin, their 14 frets, theirX bracing, their Dreadnaughts, their hand crafted workmanship, their tuners, etc. etc. So though I prefer the Gibson alternatives (and present Epiphone mass made copies), I have the utmost respect for Martins as they set the standard that all others have alternatives to. QM aka “Jazzman” Jeff

Really good informational post! QM aka "Jazzman" Jeff

More than likely the same guitar, except, the neck might be different and/or the pick guard shape. (Teardrop or batwing). Maybe the headstock lettering could differ. Although I have no idea if any of the three mentioned versions have any of the differences are based on historic models that differed. QM aka “Jazznan” Jeff

I found a 1999 Epiphone catalogue. It shows the following acoustic guitar models: Bell shaped/round shouldered AJ 28SE AJ 35S AJ 30 CE (cutaway) AJ-40TLC Cutaway AJ -45SE (sunburst) AJ-2812 -SE (12 string) AJ-185SCE AJ15E AJ-1512 (12 string) EJ-200CE (black) John Lennon EJ-160E Jeff “Skunk” Baxter PR-7E PR-5E PR-350CE Don Everly SQ-180 (black) Texan (Sunburst) Excellente Frontier (sunburst) Hummingbird (sunburst) Dove (sunburst) PR-350-12 (12 string) PR-200 PR-350S PR-100 PR-100C (cutaway) PR-100A PR-100M (Mahog) I can’t believe they offered so many acoustic flattops in 1999. Might be similar to 1998’s line up. If your old guitar was J-45 like, maybe it was the AJ-45SE. The catalog says it was a short scale neck and that it had a solid spruce top. Hope this helps. QM aka “ Jazzman” Jeff

I have a square neck Regal resonator (in black) in my collection. It’s a great resonator guitar. Mine was made in 1996 and the first two digits in its seven digit serial number are 96. The square neck has what’s known as a spider resonator, which differs from the resonator in the one you’ve pictured. I also have a round neck all metal Regal resonator (silver colored metal) in my collection. That one was was made in 2001 and 2001 are the first four digits in its nine digit serial number. That one has a duolian resonator, like the one shown in your photo. It too is a great resonator instrument. If the one pictured starts with 2000, it’s a 2000. The Regal name is owned by Saga Musical Instruments who imported them from Korea. I assume like many others, they may now be from China. The original Regal name instruments were made in Chicago and they often made instruments for the original Dobros and Nationals on an outsourced basis, circa the 1930s/40s. At some point since they made the instruments for them, they started making instruments, basically the same ones, under their own Regal name that sold for less. As Dobros and National resonator guitar sales decreased and went defunct, so did Regal, although they may have continued making generic outsourced instruments for some other companies for awhile. When Saga bought the Regal name and started reissuing historically inspired Dobro, National, and Regal resonators under the Regal name that were imported from Korea, it set the vintage resonator guitar collectors into a frenzy as their once rare vintage resonator guitars that sold for thousands, were suddenly replicated as new imported Regals for only hundreds. (Keep in mind, metal doesn’t age like wood.) The fear was the vintage ones would plummet in price. That didn’t happen as feared as the new Regals though good resonator guitars still were identifiable from the vintage ones, so the vintage market place stayed intact. But, what did happen was Regal resonator guitars became readily available in the market place for a reasonable price, just like originally in the 30s when resonator guitars were inexpensive. As we know somewhere after the new Regals made resonator guitars commonplace, Gibson bought the Dobro name and started reissuing Dobros, eventually transferring the Dobro name to their Epiphone imported line to basically compete with the new Regals. (I have no clue if the they are still in Epiphone’s line.) In conclusion, Saga Regals have a good reputation in the modern resonator guitar world. Inexpensive, well made, based in the originals, with some modern day improvements built into them. They sound and play like resonator guitars. They also weigh a ton, like most resonator guitars, except aluminum ones. With modern day Regals being a mass market player in the resonator guitar world, a number of high end specialty manufacturers have sprung up. Jerry Douglas has certainly helped that world, but he’s also helped all things resonator. (I met JD once and we spoke square neck resonator guitars for about 20 minutes. My playing improved from that talk.) All original 1930s/40s resonators all used inexpensive woods, which mixed with the metal in or on them made the resonator sound. The raunchier the better. The mentioned newer high end resonator guitars often use good woods, refining the original sound. I personally still like the traditional raunchier sounding and playing ones. (When amped I’m not sure ever if it’s the instrument or the pickup making the sound on resonator guitars.) Note: Square neck resonator guitars are played with a bar slide. Only the slide touches the strings and it serves as fretting. Round neck resonators can be played and fretted like any guitar or it can be played with a round slide. Resonator guitars are generally quite loud as resonators originally were a way to increase volume on a guitar without electricity. Electric instruments, upon becoming widely available, made resonator guitars more of a specialty instrument. Buying resonator guitars gave me a different sound and helped my overall guitar playing. Although, somewhere along the way I began transferring all my resonator guitar slide skills to regular flat top guitars and playing slide in my flat to acoustic guitars so I didn’t need to bring the heavier resonator along to gigs. As a lot of the resonator guitars sound is actually from the slide being used, although, of course, not all of it. Hope this helps. Let us know what happens with the pictured Regal. QM aka “Jazznan” Jeff

I suspect, as it appears you do, that some type of some kind of buyers remorse issue is present here. I know if I sold one of my guitars to someone, I’d want them to be happy with it, and not have the transaction be some kind of it’s all about only me transaction. If the person contacted me and, after I tried to work through it a bit with them, and they still wanted to return it to me in good condition, all within a reasonable period of buyer’s remorse time with buyer’s remorse symptoms, I think I’d agree to just go ahead and refund their monies upon receiving the instrument back. And, then I’d just try selling it, again. It’s not enabling behavior, it’s accommodating a remorseful buyer where a win-win seller/buyer situation didn’t occur in my book. QM aka “Jazzman” Jeff

The Peter Green configuration of Fleetwood Mac was indeed a different band. Same name. Some same band members, but, a different band. There’s the Peter Green FM and the LB/SN FM. Each different, though the same name. An interesting history for sure with fans of each version of FM. I like them both, but, the LB/SN version is my favorite, but it’s not an either/or thing to me. More of a resiliency band thing to me in view of Peter Green’s tragic health issues. (Although it was great to see him resurface again during the last stage of his life.) QM aka “ Jazzman” Jeff

ps. There are two versions of the Walter Carter Epiphone book. The first/older version stopped at about 1993/4. The second/later version version stopped in the early 2010s. If you look for the book, look for the later version (published circa 2013) not the earlier version of the book. QM aka "Jazzman" Jeff

Also. There is a book by Walter Carter that covers the history of Epiphone guitars into the modern era (circa into the first decade of the 2000s.). It had a lot of photos in it and guitar listings from catalogs. Might be a good book to locate on e-bay or maybe Amazon if it’s still in print. QM aka “Jazzman” Jeff

There was an AJ10 and an AJ15 around that period. Round shouldered guitars with a teardrop shaped pick guard. Dots on the fretboard. Had a nice J-45 type vibe to it, except they were king scale not short scale like a Gibson J-45. The AJ10 may have had a laminated top, the AJ15 a solid top. Not sure. But, I recall they had a gloss finish, not a satin finish. Try doing an internet search of those and see if they are what you had. Just what comes to mind. QM aka “ Jazzman” Jeff

Depends on the crack. Things like humidity cracks usually do not impact the structure of the guitar and a good repair amounts to a luthier shoring the crack up a bit underneath so it can’t spread. That’s the main thing. Such repairs are not usually costly. If you start getting into cosmetically repairing the crack like it was never there, that can get to be more expensive. But, it all depends on the type of the crack and whether it effects the guitar’s structural integrity or not...as should any decision to buy or not purchase it. (And, of course if it’ll drive you crazy because of the crack, I suggest passing.) Naturally a guitar is no longer mint if it has a crack, so the price should be reduced. It, of course, also depends on if it’s an actual collectible vintage guitar or a used (utility) guitar. In the collectible vintage guitar world, there is a difference. QM aka “Jazzman” Jeff

Sounds like you’re in a bit of a “fight or flight” mode on the topic. My suggestion is to pull back and figure out if you like and enjoy the guitar that you now have as well as if it’s time to expand your guitar collection, as well as if you can afford an expansion...and, if so, what would be a good addition to your collection to switch off to from what you presently have in your collection. (As well as still go back to for variety.). Most guitar owners know that variety is one of the spices of guitar owning and owning different nuanced guitars helps one explore the music the instruments help one to produce. Marketing and pricing of guitars is the stuff stores deal with. Musicians deal with the music they can produce on a said instrument. That’s my perspective. Having said that, I hope this is thought provoking to any decision you make on this topic. QM aka “Jazzman” Jeff

My suggestion is to try reverb.com and search under Epiphone Masterbuilt. They have a number of used Epiphone Masterbuilt acoustic guitars on there. Reverb.com has a good reputation as an online dealer of used guitars. QM aka “Jazzman” Jeff

Some Gibsons throughout the years have also had laminated/select sides and backs. "Select" is another way of calling it laminated, as it's not calling it solid. It is a marketing ploy for sure. But, frankly, as Cougar indicates, a solid wood top is what makes a significant difference on a guitar and not whether the sides and back are solid or not. (I have a 1994 Gibson Gospel Reissue that has a laminated back and sides with a solid top and it sounds fantastic.) Plus, two of my Epi Pros have solid wood tops and laminated backs and sides and they too sound great. Is a solid wood back and solid wood sides guitar worth more than a laminated back and sides guitar? Yes. But, it also costs more. Does it sound better because of the solid wood back or solid wood sides, I can't say for certain...as each guitar has its own sound and its pretty much known that the back and side woods are secondary to the top's wood, where an acoustic guitar's sound vibration comes from. The game-changer/showstopper for me for a flat-top guitar is that the top is solid wood. A solid wood top on a flat-top acoustic guitar makes the big difference in terms of sound spectrum and is the trigger that the guitar's sound will improve with age. I can understand your shock with the sides and back, but using laminates for back and sides has become a standard cost cutting thang, without substantially diminishing the guitar's sound. Plus, today's laminating processes are much improved over some laminating processes of years gone by. And, again its the top's solid wood that makes a significant difference on an acoustic flat-top guitar. As you'd said, your guitar sounds great. QM aka "Jazzman" Jeff

A cracked/repaired headstock generally decreases a guitar’s value by 1/2. That’s provided it has now been properly repaired by a competent luthier. Properly repaired would mean it has no chance of ever breaking, again under normal use. When I had an authorized Gibson repair person repair a broken headstock on one of my guitars (that I dropped), he explained to me that the glue he fixed it with made that particular spot stronger than if it had never been dropped. The crack was still present cosmetically none the less. That was 16 years ago. The guitar is still going strong. But, that is not the story you are telling us you heard from the seller. Nor, is he giving you evidence it was repaired by an authorized Gibson/Epiphone repair person. The guitar’s neck is obviously damaged. Whether it is a surface crack or a deep crack is not evident or documented. The neck crack automatically, in my opinion, severely lowers the re-saleability of the guitar and thus its potential purchase price. Since it’s damage is undocumented by a reputable luthier, and the seller is trying to sell it with limited documented info about the crack, I’d say keep away from it. You could end up buying a guitar that fell and weakened its neck so that one day it will further crack or crack off. Then, you’d have to have to have a luthier try to put back together if it can be. And, you’d have a guitar whose neck snapped because you bought it with a cracked neck...with you paying to have it repaired (if it can be) to boot. There is no sense in trying to buy the guitar cheap and then taking it to a luthier to try to have it properly repaired. I doubt you’ll find a good luthier willing to break the neck at the crack to then try to properly fix it. Nor, will they be able to assess its actual damage without fully breaking it and repairing it to do so. Pass on this guitar. There’s plenty of other guitar’s out there to buy without this baggage. You asked. I hope my answer is helpful. QM aka “Jazzman” Jeff

On my Indonesia-made flat top Epiphones I’ve swapped in a much tighter fitting, more dense, and better angle saddle. Course I’ve also done the same on my Gibsons, but, the Indonesia-made Epiphones seem to response more so to a tighter fitting, more dense, and better angle saddle. Whether it be bone or an expensive tusq saddle. I’ve used both, although presently I favor the expensive tusq saddle. Haven’t changed the nuts. But, I use a Fishman Humbucker Soundhole pickup rather than the built in pickup in mine. Although, I’ve left the factory piezo in place as a back to the soundhole pickup as a backup in case I forget to change the battery in the sound hole pickup when I’m gigging. The sole reason I left the factory one in. Not too impressed with the built in pickup, they had to cut corners somewhere so guess, and the less dense saddle and pickup seems to be it. But, those as you know are easy things to shore up. BTW, I find gigging with my Epiphones to be a good experience. It’s amazing how many other real people players have these things and I don’t need to worry about it’s safekeeping or if I travel on an airplane with it, like with my Gibsons. Or, if people only like my high priced guitar when I’m gigging. Traveling with it is great, too. It’s like a feeling that the music I produce has to stand on its own merits bot what guitar I’m playing. Provided I like the instrument I’m playing, of course. And, of course, 99.5% of audience members don’t really know the difference of what guitar brand I am playing at gigs....realistically., so it really is whatever instrument works for me. A nice feeling....after being brand conscious for way too long., but I guess I had to be until modern times. Pre-pandemic when my bi-monthly jam use to take place, I began to notice a number of players buying more and more Indonesia-made Epiphones and proudly playing then. A number of them also owned Gibsons and Martins. And, I noticed younger players proudly playing the Epiphones and sounding darn good on them. Made me realize a number of them were happy players with what they had, too. It felt good to relate to them as an older player. Realistically. I now consider myself a Gibson and Epiphone player. I like both brands! They are not equal brands, but both are great to play in their own way, in my book. Let us know how the changes you mention affect the instrument. QM aka “Jazzman” Jeff

Quite enjoyable music! Which guitar is that? QM aka “Jazzman” Jeff

That’s some good pickin’! QM aka “ Jazzman” Jeff

. Sounds great! To me, these recent Indonesian-made Epiphones are the result of the long and winding journey that Gibson started in 1970...to at last be building a really decent acoustic guitar overseas at a great price, that stands on their own, in their own right, as great playing, sounding, and responsive guitars with a good vibe.and a cool Gibson feel/influence...that an experienced player can be proud of and enjoy playing. These things have come a longggg way! Thanks for sharing your demo. It speaks for itself in my book. QM aka “Jazzman” Jeff

Sounds really good! Both you and the L-00. I like your arrangement! Hope you post more on the forum, again! QM aka “ Jazzman” Jeff

We were talking about Lindsey Buckingham being replaced when Fleetwood Mac last toured, pre-pandemic. Not an album track review. Did you like his replacements on the last tour? (Not even going to bring up the casual fans who didn’t notice Liddy Buck was missing.) QM aka “Jazzman” Jeff

You mean “they try to have you replaced with 2 guitarists.” To me it wasn’t Fleetwood Mac without Lindsey Buckingham. QM aka “Jazzman” Jeff