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Viktorija Arsic

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About Viktorija Arsic

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  • Birthday 07/03/1994

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  1. Thanks so much for checking out my post! I’m really glad you have nothing but positive things to say, especially as someone who also owns a Gibson J45. There really is something about this guitar’s short scale length and tone woods that brings out the very best for singer songwriters. I’ve noticed that it complements my voice wonderfully when I play it, and it resonates so well too without being overpowering. It’s just perfect. I appreciate all your well wishes! I’m having the time of my life playing this guitar 🎶
  2. A while ago, I mentioned on these forums that I was looking into getting an Epiphone AJ45. After the resounding support, my interest was definitely piqued. Now I’m in awe of my new AJ45! I think my beloved Texan is going to be sitting in its case for a while as the AJ45 has become my go-to acoustic. It’s simply an incredible guitar! I record with it, I do (virtual) gigs with it, and I somehow feel like an elevated singer-songwriter with it... There’s so many reasons why the AJ45 is amazing! All Solid Wood I was considering this guitar, a Sigma JM-SG45 and a Guild DS 240 Memoir. Sure, the Sigma and Guild certainly looked almost identical to the Gibson J45. And they sounded really nice. But the Sigma and the Guild didn’t have all solid woods–despite being comparable in price to the Epiphone. That‘s the crucial advantage for the Epiphone. And it was the deciding factor for me. I wanted an all-solid wood slope shouldered dreadnaught that I could actually afford. The AJ45 is just unbeatable value. I’m impressed with everything about the construction. It's flawless. The attention to detail is impeccable. Playability I’ve been playing Epiphone acoustics (and electrics) for long enough that I’m used to the comfort of their neck profile. As a result the AJ45 immediately feels familiar to me. At the same time, due to the shorter scale length it’s distinct enough than my Texan in a refreshing way; for example strumming and picking are more accessible. The Aj45 is all around more comfortable. The fact that this guitar came Plek’d has also made quite a difference. I was surprised in terms of how smooth and easy it is to play as a result. There’s no fret buzz whatsoever. The action, which was already great, feels even better now that it's been set up. The AJ45 is perfect for my singer-songwriter type music, including acoustic blues, country, and even pop. I strum pretty hard. I use a capo a lot. I do fingerpicking sometimes. I play arpeggios all over the neck and I’m a light flat picker. I absolutely keep coming back to playing this guitar because of how good it feels and sounds. The Sound This is what I’ve always wanted an acoustic guitar to sound like. And honestly, the AJ45 is the exact sound I imagine in my head when I think of what an acoustic guitar “should” sound like. Deep resonating bass; perfectly balanced mids and highs. As a result the entire warm tone is lively, responsive, and projects wonderfully. It’s especially full and rich when strummed. Massive tone. Not to mention that the sustain seems to go on forever. Like I did with my Texan, I’ve changed the AJ45’s Shadow Nanoflex pickup to an L.R. Baggs Anthem. No question. A guitar that sounds as superb as this deserves a magnificent pick up system. Aesthetic Appeal The AJ45 is a beautiful guitar. I personally love the satin finish; it almost seems like it's a semi-gloss from some angles. There’s something immensely pleasing when the sunlight hits it just right. Kind of like it melts into a whiskey sunset. All warm, worn-in already, and yet this guitar has an understated elegance with just enough eye catching colour to stand out. I really like the original 1930s Epiphone headstock as well because I feel it complements the guitar’s character. Interestingly, my AJ45 came without a pickguard. I'm going to be adding one in the future for sure. I’ve noticed that most AJ45 owners obviously stylize theirs after the Gibson J45. However, I thought that the AJ45 looks far more like the Gibson Southern Jumbo. So that’s the guitar I modelled the aesthetic of my AJ45 after and I think it looks even more fantastic this way! Many, many thanks to all the amazing people at Long & McQuade for always taking such good care of all my guitars. This one is no exception and it brings me so much joy when I play it. Without a doubt this is the best purchase I’ve made for an acoustic guitar. I couldn’t be happier and I’m enjoying every moment I spend playing my AJ45. Thanks folks!
  3. Thanks for taking the time to read my post and to share your thoughts! It’s wonderful that you appreciate Epiphone, with quite a collection yourself. And I totally understand where you’re coming from. But I stand behind my opinion. In fact, you’ve proved the point of my post: there’s always going to be someone who insists that Gibson is better–no matter how Epiphone manages to impress again and again, proving that thousands of dollars does not make a superior instrument. I am being very serious. I respectfully disagree that a Gibson is “just better and the feeling is a step up in class.” Please consider why you’re saying this: you admit that it’s a Custom Shop, something you’ve paid thousands of dollars for. In your mind of course it absolutely must sound better than it’s far more affordable counterpart. Otherwise, if you admit that there isn’t such a substantial difference, then what’s the point of paying thousands? What’s the point of a brand name? How could you justify the price then? Didn’t you just waste all that money on something so frivolous when it’s far more affordable counterpart is just as good? Of course, you wouldn’t admit that. Players who have money to burn and choose to spend it on the Gibson brand name never will admit that. Because it proves my point. Along these lines, Epiphone prices have gone up for sure. Why? Because demand for Epiphone has increased. Why? Because they’re putting out fantastic, high quality, phenomenal instruments. Epiphone is actually listening to their players. They’re implementing feedback. Continuing to innovate. And provide value that is simply unbeatable. Even with the price increase Epiphone remains affordable. And the price increase is justifiable for these reasons. Gibson is a production line guitar that Gibson charges hand-made prices for. That in and of itself is unjustifiable. Not to mention that a quick look around Glassdoor or Trustpilot will reveal just how disgruntled, unhappy, and resentful Gibson employees (and customers) are due to the awful hours, inadequate pay, and intractable management at Gibson, where they're forced to churn out half-assed guitars. Nothing screams wage-slave capitalism quite like a bloated corporation paying its workers a pittance while selling snakeoil reputation to highly impressionable players (most with a terrible mid-life crisis) willing to pay thousands and thousands to stroke their fragile egos. Now lots of people like yourself want to whine that Epiphone products are made in China and under similarly sketchy circumstances. Epiphone guitars are largely made in Indonesian factories since late 2016 and this continues to be the case. As for factory conditions, Epiphone factory tours show acceptable conditions, probably comparable to Gibson factories (all issues probably included) except with more self-discipline that's a hallmark of many Asian cultures. “But to be honest if you've never played a gibson that was better than an epiphone, you've played the wrong gibsons.” I don’t know how to wrap my mind around such a smug statement. I’ve been playing for ten years. I’ve played plenty of Gibsons (and Epiphones, Taylors, and Martins) at Long and McQuade, which is the biggest music store franchise in Canada. It’s basically the equivalent of America’s Guitar Centre, where I’ve also played my fair share of these guitars. I’ve also played in some boutique guitar stores here and there. My impression of Gibson is the same: it’s overrated, inconsistent quality, and not possible to justify the insane prices. If the Gibsons in those places aren’t good enough, where on earth am I supposed to be playing to find the “right” Gibsons you hold in such high regard? What Gibsons should I be playing, before it’s good enough for you? I’m afraid they only exist in your mind. Like imagine walking up to a player who is just starting their guitar journey (or even if they’ve been playing for a long time) and declaring that their Epiphone isn’t a real instrument or it isn’t good enough until they’ve spent thousands and thousands on it. I hope you realize how ridiculous and condescending that is. And let’s not forget Gibson’s “Play Authentic” scandal last year. You exemplify the attitude. Gibson threatened to sue other (more successful) manufacturers like PRS and FGN and even Harley Benton for “copying”their single cut design. That’s absurd. They threatened to sue players that didn’t play Gibson. They publicly shamed them as well. The backlash was so bad that the Play Authentic video with Gibson CEO Mark Agnessi was taken down promptly. It’s still on the internet though, for people to remember and reference when they need a reminder why Gibson has earned resentment. Gibson literally marketed the same thing you’re saying to me: if you don’t pay thousands for a brand name, what you’re playing isn’t good enough. The irony is delicious. Because Gibson took over the Les Paul patent from Epiphone, who originally designed those single cut guitars with Les Paul himself. Epiphone is the Original Les Paul, played and endorsed by the man himself. That little fact seems to get lost in the mists of history. You mention the importance of history. Gibson is banking on its nostalgia and a history that prefers to smudge over the Epiphone chapter. In the 1930s Epiphone was innovating and delivering quality in every single way with its arch top designs. They became a serious threat to Gibson. Epiphone pre-dated Gibson, with an already stellar reputation of making acoustic guitars, mandolins, banjos, and arch tops. By 1935 Epiphone was regarded as the best guitar manufacturer in the world. They got a huge distribution deal with a London distributor and launched their first ever electric guitar series the same year. Epiphone was seemingly unstoppable and had achieved all this success before Gibson. Then WWII happened. Family feuds meddled with the future of the Epiphone company. Gibson wanted a share of Epiphone’s acclaimed upright bass line, and the remaining Epiphone brother sold the company to Gibson for $20,000. Gibson bought their biggest competition to stop them from overtaking Gibson. Epiphone then relaunched in 1958. It was Gibson who decided that Epiphone should now make “budget conscious” versions of Gibson designs, as well as reluctantly allowing them to make some of their own originals. That production philosophy still exists today, except as I said, 2020 is the year Epiphone has once again eclipsed Gibson. Similar things happened again to Gibson in the 1970s and Ibanez, with the infamous “lawsuit era.” Like Play Authentic, Gibson went after Ibanez for copying the aesthetic and delivering quality at very affordable prices. This is just a corporate bully tactic that Gibson has relied on to get ahead. That’s it’s place in history. Most importantly, this history lesson demonstrates that history is now repeating itself. Once again, Gibson has fallen from grace. Other manufacturers are doing the same thing (and/or better) at a price that is highly competitive. The direct example of this is Epiphone, which is literally stealing Gibson’s thunder in every way. You’re right to point out that the new Gibson CEO JC Curleigh is putting an emphasis on Epiphone and stepping up quality. It’s notable that he replaced Agnessi shortly after the Play Authentic scandal. But it’s Jim Rosenberg who is the President of Epiphone. He’s the one actually calling the shots, not Gibson. Sterling Doak is the Director of Marketing and Don Mitchell is the Marketing Manager of Epiphone. All Epiphone folks who make executive decisions for Epiphone. All of this is to say, I think your ill-informed opinion and smugness towards Epiphone has no basis. I love and appreciate Epiphone in every single way. I love my Gibson Les Paul Studio, too. But let’s be serious, as you say: if you still maintain that Gibson is better than Epiphone (especially in 2020) you’re just choosing to be willfully blind and needing to justify the money you spent on a glorified headstock logo.
  4. That's it. That's the whole entire post. 2020 is Epiphone's best model year yet. Anyone who seems surprised by this reality hasn't been paying attention to the amazing quality Epiphone has been steadily putting out . Especially over the past five years or so. This year we have all the incredible Les Pauls. Including the revamped Prophecy line. The Masterbilt Texan, along with the Frontier and Excellente models that were reissued. Same as the Coronet and the Wilshire. Now the latest Inspired By Gibson Electrics: ES-335s and Figured ES-335s and the Acoustics: Hummingbird, SJ-200, and the J45. There's never been a better time to play Epiphone. And that's going to be the case for years to come. Because now there's literally no reason to burn thousands of dollars for a Gibson, just to have that brand on the headstock. Epiphone is literally doing it all. With quality that is just as good, if not consistently better. I say all this as a proud Gibson Les Paul Studio (Faded, 2011) owner. I say this as someone who has tried various Gibson acoustics and electrics this year with persistent quality control issues and overall unimpressive feel and looks. I say this as a happy and proud Epi player of four years. Epiphone has finally reclaimed its throne as the original brand that gave Gibson such a run for their money. Maybe they'll even be kind enough to bail out or acquire Gibson this time 😉 I'm sure there's still going to be those guitar snobs who still cling to their Gibson brand. Tearfully, hysterically insisting that Gibson must surely still be better. Even if the new Epiphones play, sound, and even look the exact same as their overpriced counter parts. The best thing about 2020 is that Epiphone has shown that there's no justification for needlessly paying thousands for a quality instrument. It's always been this way if we're being honest with ourselves. It's about time, too. 2020 Epiphone is perfect.
  5. Epiphone has been phenomenal this year. Every single time they release something my jaw is on the floor. Everyone over at Epiphone needs a raise. For real. These acoustics are looking like the best offerings they've done so far. Add that to the Frontier and Excellente reissues they've done, and Epiphone is proving their unbeatable value again and again. Most of the videos available at this point don't really do the sound justice yet. Even from what I've heard, the Hummingbirds seem to sound the best. I literally just ordered a Masterbilt AJ45. Then the Inspired By Gibson J45 was announced. It made my head spin. I'm so excited for the Aj45 but wow...finally the rest of us can afford a fantastic, proper J45 without having to take out a mortgage or sell a body part... So proud to be an Epi player right now!
  6. My Texan was built in an Indonesian factory, so if the build of the AJ45 is anything like it, I'll already be very pleased! I enjoy the long scale neck. But I imagine the short scale neck on the slope shoulder dreadnaught makes it even more comfortable to play. That's always nice. Definitely a plus. Thank you so much for the detailed opinion of your AJ45. That's exactly what I was looking for. I don't mind the matte finish, but a pickguard swap would be in order. Everything you've said about the AJ45 makes me compelled to buy it. Your input is much appreciated!
  7. I think the new Hummingbird and Dove Pro (basically any guitar made post-2017) all have Pau Ferro fretboards. Unfortunately, they can look kind of ugly on some guitars due to their light brown wood colour as opposed to the darker rosewood shade that can almost look like ebony. I know what you're talking about because of the example of the limited edition Dove Pro in white, which is a gorgeous guitar, that sadly looks ugly thanks to the Pau Ferro fretboard and bridge. Same with the new Epi Standard Plustops, all stunning ...except for that damn Pau Ferro... However, CITES could be lifting its restrictions on rosewood for guitars soon, so maybe we'll get darker fretboards back in the near future! I know it shouldn't matter, really, because fretboard colour is totally an aesthetic thing; that doesn't affect the sound or playability at all, but somehow it still matters 😜 Hope this answers your question 😁
  8. Thank you very much! I haven't been able to put it down since I got it, so I hope that I'll keep enjoying it for many years to come!
  9. http:// http:// http:// http:// http:// http:// In my opinion, no guitar collection is complete without a Goldtop Les Paul! I’m extremely lucky to have this gorgeous Epiphone Les Paul Traditional Pro in Metallic Gold, one of the rarest finishes available. It’s an out of production model and I literally bought the last one left in Canada...on sale! Huge thank you to Long and McQuade for always being amazing in every way and to Walker and Williams for their phenomenal guitar straps. This is my third Epi guitar and honestly, I’ve never been prouder to play one (thanks to all the hardworking folks in the Qingdao Epi factory!) As soon as I took this incredible Epi out of its case, I haven’t been able to pick my jaw up off the floor. The fit and finish is flawless. I’m impressed by the perfect gold paint (stunning when the light hits it) and the classy antique cream binding. Pickup selector is rock solid, tone knobs are cozy and feel great. Attention to detail is impeccable. Playability is so buttery smooth and comfortable! I especially want to point out the worn satin neck: my Prophecy Custom Plus GX has a satin neck as well, but whereas that one is smooth, the Traditional has a rustic, almost open pore mahogany neck and body that has this wonderful worn-in feel. Of course the tone is where this guitar really shines! I can’t heap enough praise onto the pickups. I love playing in the rhythm position, but the Probucker in the bridge sounds insanely good I’m tempted to just leave it in lead. Also, combining both pickups sounds absolutely heavenly. Running straight through my Boss Katana 100, I’ve gotten quite a range of tones: from pristine to warm, jazzy cleans, scorching distortion, throaty growls, and tasty crunch; then adding some boost and compression from my pedals brings everything to a whole new level! I don’t usually split the coils, but I appreciate having this feature just the same. Epiphone really went for the gold when they created this beautiful guitar. The guitar gods have definitely smiled upon me, and I’m grateful to be playing for many, many years to come!
  10. Hey, I'm so glad you're looking into the Prophecy GX!! I've had mine for a year now, a whole joyous year of playing and admiring this beautiful guitar. I wrote an in depth review about it here, in case you want to check it out. Bottom line, the quality and worksmanship on the Prophecy GX is astounding. It plays fantastic, it sounds amazing, and it looks stunning. Trust me, you will not go wrong with buying this guitar! The Prophecy GX is the finest Les Paul I own. Hope this helps and hope this guitar becomes a keeper for you!!
  11. I am absolutely loving my Prophecy since I've had it!!! Seriously, I can't put it down. It's become my go-to guitar. And speaking of which, the neck has really spoiled my hand...this is the most comfortable guitar that I have, and have ever played. Regarding the high frets, they are definitely playable. I find that as I go up the neck, it's as if it kind of molds to my hand y'know? Even if I have large hands (I'm tall, with long fingers...) I find that I can easily have grip and control. I never have to tense my wrists, even if I go up far; I think it's partly because the satin finish is just so comfortable and mostly because the neck profile is perfect (I also have an Epiphone Texan with the Slim Taper D profile and it's my favourite type of neck). The intonation is perfect and I'm amazed how well the guitar stays in tune, even with a lot of bends and even if you're going far up the neck. This is a remarkable guitar, and my opinion only gets better the longer I have it. If you're considering getting this one, I cannot recommend it enough! I hope this helps
  12. Congratulations on your beautiful new guitar and your first Epiphone!!! I've taken quite a liking to the Goldtop Les Paul Traditional Pro. Had a chance to try it out recently and was quite impressed, so I totally agree with you that Epi's Traditional Pro Les Pauls are really underrated. I hope you enjoy yours for a long time to come!
  13. After two years of research + saving up, I'm overjoyed to finally have my Les Paul Prophecy Custom Plus GX in stunning Cherry Red! Enjoy some photos: Huge thanks to Long & McQuade here in Canada for being awesome, kind people and getting my Prophecy as a special order. My Prophecy's Serial Number is 18051509375,which means it was made in the fantastic Qingdao Plant, China in May 2018. The only thing I've changed on my Prophecy is the Custom truss rod cover. Many thanks to the awesome Hell Guitar Parts. Michael, the owner of the shop in Himeji, Japan was kind enough to send me a hand written thank you note, along with one of their unique Super Blacks picks. I appreciate the caring, fast service + delivery and encourage everyone to check out their collection of beautiful truss rod covers, switch and machine head washers, pick guards, and pup caps. Thanks as well to Walker and Williams, who make the best guitar straps inthe world; mine is a super comfy elegant black leather and suede strap from their One Of A Kind collection! Now here's my review: In my opinion,this is the greatest Les Paul that Epiphone has ever come up with. I know that's a bold statement considering just how many models are equally quite amazing in comparison: the 1960 Tribute Plus, the Standard Plus (and Plustop) PRO, the Inspired by 1955 Custom, the Classic Custom, the Custom Plus, and several artists models. I just want to thank the geniuses at Epiphone for taking the brilliant concept of the Prophecy and turning it into marvelous reality. I also want to thank all the hardworking people who put this work of art together so exquisitely. I will discuss the Prophecy in glorious detail, but for the folks not inclined to read my long rant explaining why I'm so overjoyed, all you need to know is that the Prophecy excels in construction, playability, sound, and value. It is utterly incredible in every way. Hand on my heart, go on and get one as soon as you can at whatever stage of your guitar journey you're at! As a point of reference, I own a 2011 Gibson Les Paul Studio Satin in Worn Cherry, which cost around $1,000 CAD at the time. I think it's the best version of the Studio that Gibson has ever done. It was my first "serious" guitar andis special to me. My Studio is a no-frills, no nonsense guitar with a baked maple fretboard and Burstbucker Pro pickups. It continues to play and sound awesome. The Prophecy,though, is something truly special. No Gibson comes even close. I am not stating this to fuel the fires of a decades-old ferocious debate; I'm simply stating the facts from my personal experience. Honestly, I am not trying to convince anyone to necessarily buy this guitar (although I totally think you should ASAP). I just want to share my glowing impressions in the hopes that I can give some perspective to others who are considering this guitar or are just curious about it. First Impressions: As soon as I opened the case, I gasped. And as soon as I could pick my jaw off the floor, I kept saying "wow!" as I inspected the guitar. The fit and finish is superb. I was absolutely blown away by my Prophecy from the moment I saw it. For anyone wondering, it played and sounded great right out of the case! I will get a professional set up done the next time I need a string change, but that's entirely due to personal preference. I've been playing my Prophecy all day long and have somewhat come down from the initial euphoria. But I'm by no means any less enthusiastic about it! The Prophecy's gorgeous appearance and Gibson pickups were the main selling points for me. I just love everything about this guitar: the colour, the quilted maple top, the gold hardware, the mother of pearl and abalone appointments, and of course the Gibson USA 490R and 498T pickups. The sense of wonder and amazement I had when I first opened the case is going to stay with me for a long time. Construction/Appearance: My photos barely do justice to the amazing construction and appearance of this guitar. The fit and finish are flawless. The quilted maple top is phenomenal. I can tell that a lot of care and skilled craftsmanship went into making this guitar. In person, the Prophecy is even more breathtaking to behold and play because it just exudes elegance and power. The toggle switch and tone knobs are sturdy and feel durable. I absolutely love the graphite nut; I played for about an hour and forty five minutes straight and didn't have to re-tune even once. Playability: My Prophecy plays and sounds amazing! Honestly, I prefer to play my Prophecy over my vintage Harmony H78 which I adore for many reasons, including the comfortable neck and the sweet, low action. Somehow, the Prophecy has action that is impressively sweeter and lower. Since I have big hands, I prefer to play thicker necks. The first thing that struck me about play ability was the complete comfort of the neck. It feels really good to grip. I like that the Prophecy's neck is fast and smooth as silk, making it perfectly suited for movement all the way up to the highest frets (I'm happy to say that I have absolutely no buzz on any of them). This is the most comfortable neck out of all my guitars. On a related note, the mahogany and rosewood fingerboard have a lovely grain. I don't really gig anymore, so I've practiced with my Prophecy for about an hour and a half,purposefully standing up to get a good feel for the guitar. While it is hefty,it isn't overbearing. I'd say it's a comfortable weight: you know the guitar is there, but you don't need a chiropractor for your shoulder. The supplied gold Epiphone strap locks work really well. I've also recorded with my Prophecy in my cozy bedroom studio. Considering this guitar's purpose, it's quite ironic that I'm not a shredder. I can play lead riffs and licks alright but I'm definitely more of a rhythm guitarist. I am fully and completely happy with the playability of my Prophecy. Sound: The Prophecy's deep, rich, powerful, and articulate pristine clean/dirty mean tones are everything you'd want to coax from a Les Paul: massive sustain, warmth,shimmer, crunch, bite, snarl, growl, and wail. While its's intended for metal, I play rock of all varieties, blues, and my very humble attempts at jazz instead. This guitar sounds incredible through my BOSS Katana 100. I also used my pedal board: Boss DS-1 Distortion, TCElectronic Forcefield Compressor, and Outlaw Effects Boilermaker Boost. I was worried about poor grounding with the Prophecy (and even posted about it on these forums; thanks to everyone who helped me out!) but thankfully this isn't an issue whatsoever. I loved being able to coil-split on the fly, and switching between the pickups gave a myriad of defined, smooth, and pleasant tones (even with the distortion and crunch cranked). There's just an unmistakable presence to this guitar. Best of all, the Prophecy can clearly handle whatever musical style you throw at it! Prophecy Fulfilled: Without a doubt, my Prophecy is a keeper. This is by no means some pretty piece of furniture or just a wall hanger; it's a versatile guitar that is meant to be played, and very often. When I'm not playing it, I'm daydreaming of playing it! The performance and craftsmanship of this guitar are demonstrably made with the hardworking player in mind. Pleasebelieve me when I say: the Prophecy is worth every single penny. I even consider it under-priced for the quality you're getting! Epiphone is clearly a company that listens to customer feedback and that truly cares about making a high caliber guitar. At this point in their history, Epiphone is truly making some of the best guitars available. Their quality is incredible, and their value is frankly unmatched. So let me lay to rest any doubts: the Prophecy is simply the best Les Paul you can possibly buy, full stop. It surpasses many comparable Epiphone offerings and it certainly outperforms the Gibson Tribute and Studio offerings (as I can personally attest). I know some people endless debate whether a high-end Epiphone Les Paul is better than even a low-end Les Paul; if you have functioning ears, fingers, and a reasonable mindset, you will surely be able to realize that the Epiphone's features, fit, and finish are simply on par-and I daresay-better than Gibson's. And personally, I think this goes for Gibson's Custom Shop Les Paul models as well.I would put my Prophecy up against any $3-$6K Gibson Standard or Custom anytime,all the time. I would even put it up against the (supremely overrated and overpriced) Gibson Les Paul Supreme. I honestly think that there is just no reason to spend your hard-earned thousands of dollars on a Gibson anymore,folks. I'm going to bite the bullet and say outright that the days of attaching caveats to the admission that "Epiphone is excellent" are long over. It's not,"Epiphone is excellent…for the price" it is "Epiphone is excellent." It's not,"Epiphone is excellent…for a made-overseas guitar," it is "Epiphone is excellent." It's not "Epiphone is excellent…but Gibson is better," it is"Epiphone is excellent." And it definitely should not surprise anyone that Epiphone makes excellent guitars: their construction, attention to detail, electronics,and value are consistently exceptional. More importantly, the Prophecy absolutely stands on its own merit. This is not a guitar you can give a back-handed compliment to because you absolutely will not find more value for your money. The Prophecy demands and deserves your unwavering respect. My Prophecy makes me an immensely satisfied player. It also makes me want to become a better one every single time I play. I hope everyone has a guitar just like this, one that leaves them feeling overjoyed, grateful, and inspired!
  14. Here's my Studio Satin from 2011 (with stock Burstbucker Pros, baked maple fretboard, and the good old trapezoid inlays)
  15. This is an interesting question that's obviously sparked lots of debate. Maybe you already know, but Gretsch is no longer even Gretsch. They still retain ownership of their company (so they're allowed to say Grestch) but since 2002, Fender controls their production, distribution, and marketing. I think this is a good thing, as I've tried their Electromatic line and thought it was very nice. However, I don't think you should assume what "most players want." I feel like that's Gibson's mentality right now and it's...misguided. Most players want a quality guitar, period. Preferably one that doesn't cost them a fortune. As others have mentioned, Epiphone has its own rich history long before Gibson acquired them. And I also think the Epiphone headstock is fine the way it is, and it's beautiful when it's bound. So I never understood why people thought it's "ugly." Gibson's headstock has its issues too, as I'm sure you know... Bottom line, I never look at my Epiphones and wish they were Gibsons. I'm a proud owner of a 2011 Gibson Studio, but if Gibson wants their guitars to sell, they need to make quality guitars. Not focus on marketing.
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