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About jfine

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  1. Have they discontinued the Nighthawk Custom reissue? I saw on their website that they still offer the 2014 Quilt version, but for how long? I'd love to get one of the purple ones if they're still available--I should have bought the Gibson version in the '90's. One of the best designs Gibson/Epiphone ever came up with.
  2. That's interesting--"T" in Epiphone/Gibson-speak usually means "thin", not that Sheratons ever came any other way, and "V" usually means "vibrato"--maybe yours was intended to have a vibrato and got a Frequensator instead--but Epiphone's vibrato is called a Tremotone, so there's a "T" again. I'm so confused...
  3. When the mice are away, the cat's gonna play...
  4. I don't think so. He had several of them, both US-made and Far East models, and as I recall, they had either Frequensators or stop tailpieces.
  5. There was a band back in the '60's called Pacific Gas And Electric whose guitar player played a sunburst Riviera, and when I saw the late great Chicago bluesman Magic Sam at the Fillmore West in the late '60's, he was using a cherry one (or maybe Sparkling Burgundy; I couldn't tell which).
  6. No--it had a laminated pressed top. In the Epiphone line it was equivalent to Gibson's ES-175, although it was shaped a little differently. I'm not sure if there were any Kalamazoo-made Epiphone electrics with solid carved tops--maybe the Howard Roberts.
  7. In 1973 I bought a Broadway from the guy who bought it new in 1961. This was the Gibson-made version, basically the electric version of the Triumph archtop acoustic. I believe this was the only deep-bodied electric in the Gibson-made Epiphone line until the Howard Roberts came out. Mine was blonde, two mini-humbuckers, wired out-of-phase! The guy I got it from said he'd never had it rewired or modified, but the neck pickup was installed backwards (screw coil furthest from the fingerboard). This made the two-pickup setting almost unusable, but I could get some interesting partially-out-of-phase
  8. It's quite common for the clear coat on those lacquer finishes to yellow with exposure to light. That could well be yellowed Pelham Blue, but it also could be Inverness Green. The way to tell would be to look under the pickguard--the original color should show up there. Either way, you've got a cool custom color Epiphone!
  9. That could well be a Plus top--and no, it won't say that anywhere on the guitar. Wine Red, certainly--not metallic, though. Metallic finishes have little sparkles that reflect the light.
  10. The standard tailpiece on '60's Casinos was the trapeze. Either Tremotones or Bigsbys were available on special order, but the pricelists always showed only the trapeze and Tremotone versions.
  11. I'm primarily a Tele player, but I played Gibsons for years too. I don't sound like a bee in a bottle--well, maybe a very large bee in a very clean bottle! My first good guitar was a Gibson SG that I bought new in '67, and I've had several SG's and Les Pauls over the years. Both varieties can be great, but they're both different. I have to admit that I'm more partial to SG's--I got rid of my last Les Paul because of the weight. It was probably the best-sounding Les Paul I've ever had, and I had it for twenty years--but the older I got, the less I wanted to hang it around my neck for 4-1/2 hour
  12. The Riviera and the Casino have the same body size, but the Casino is shorter overall because the neck and bridge are further down on the body. Although the scale length is the same, there's more accessible neck length on the Riviera, where the neck meets the body at the 20th fret, as opposed to the 17th on the Casino. As mentioned, the Riviera has a center block, which will add a bit more sustain and feedback resistance, at the expense of more resonance on the part of the Casino. I'd pick the Riviera P-93 because of the three-P90 setup.
  13. The Riviera was Epiphone's version of a Gibson ES-335. Epis had Frequensator tailpieces instead of trapezes, and mini-humbuckers instead of full-size ones, but otherwise they're almost identical, except for cosmetic features like Epi's white pickguards and different inlays. Not all Gibsons had Epiphone equivalents, or vice-versa, but a lot did--sometimes the Epi was fancier than the Gibson. (Sorrento/ES-125T). The Gibson that changed the least to become an Epiphone was the ES-330/Casino. And Epiphone's fanciest thinline double-cut, the Sheraton, was fancier than the Gibson equivalent, the ES-3
  14. Very cool piece! A little historical info--Jimi Hendrix played one of those with the King Kasuals when he worked around Nashville in the early '60's, after he got out of the Army. His had a Tremotone vibrato, and at some point he painted bigger "inlays" on the fingerboard.
  15. It sounds like the middle pickup is not original to the guitar, since it doesn't match the other two. The only "non-Custom" Epi Les Paul with three pickups that I'm aware of was the Ace Frehley model, and that had three cream pickups and a cherry sunburst finish. Whoever did the mod wired it up right--three volumes and one tone works great on 3-pickup Gibson-type guitars, and Epiphone actually wired their Les Paul Custom reissue that way--SG Customs too. On the original Gibsons from the '50's and '60's, the middle pickup was actually out of phase with the others, hence the thin sound. On Epis,
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