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Everything posted by jfine

  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 tones by juggling levels on the individual volume controls. I've never played another one, so I don't know if there were more like that, but I've seen pictures of other Broadways with the reversed neck pickup--I think the one in the '65 catalog might have been like that. Strange! I can't imagine that they did that on purpose, but you never know...Gibson did some wild things with out-of-phase middle pickups on ES-5's and Les Paul Customs in the '50's. And no, I don't still have the guitar...
  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 hours a night! I don't currently have a Les Paul, but I still have an SG--it's a 2002 Gibson SG Supreme, and it's a better guitar than either my old '67 Standard or the '65 Standard I had in the '80's. Maybe this belongs in the Gibson forum--but I played an Epiphone SG Custom some years back that blew away a Gibson SG Custom reissue in a side-by-side comparison.
  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-355.
  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, the middle pickup is in phase, allowing it to be used with the others without getting all that phase cancellation.
  16. Is that the one in your avatar? The pic's awfully small--how about some bigger ones? Is it a thin body? If so, it's likely to be a Zephyr Regent. Looks like it's got the metal badge on the headstock--that would slso point to it being a Zephyr. If it's a full-depth body, it could be a Broadway, but I've never seen a Broadway with the metal badge. I used to have a '61 Broadway, and it had the "Epiphone" script logo and an inlay that looked like a short fat Doric column.
  17. I bought a Gibson ES-347 with a TP6 new in 1981, kept it for about a month, and traded it in on a Les Paul Heritage 80 Elite. I wound up putting a TP6 on the Les Paul and played it that way for quite a few years. It was convenient to fine-tune with my picking hand at the tailpiece, but by the time I got rid of the guitar in 2001 (it weighed a ton, and I got to where my back couldn't take it any more), I'd replaced the TP6 with a stopbar like the original. It seemed like I got a little more sustain with the stopbar.
  18. Minimalist? Hm. Check out Danny Gatton, Roy Buchanan, James Burton, Roy Nichols, Brent Mason, Ed Bickert, Wilko Johnson, John 5, Bill Kirchen, Redd Volkaert, or any of the millions of great Tele players out there in virtually all styles of music, and then tell me that Tele players are minimalists. Oh--Albert Collins, Jeff Beck, Kenny Vaughn, Don Rich...
  19. jfine

    SG Cosmetics

    The large pickguard came in around late '66. I buught a new SG Standard in late '67 and it had the large pickguard, but I remember seeing a couple like that before I got mine. Regarding fingerboards, Juniors had rosewood boards with dot inlays and no binding, Specials had rosewood with dots and binding, Standards had rosewood with pearl trapezoid inlays and binding, and Customs had ebony boards with binding and pearl block inlays. The standard color on everything except the Custom was cherry red--Customs were white, and so were SG-TV's, basically white Juniors. Specials were also available optionally in white, with a very few early Specials and TV's in "TV" yellow. Virtually any color was available on special order--a few mid-'60's Standards have turned up in Pelham Blue, and occaisonally a black or white one will turn up. When I was in college in '68-'69, I had a friend who had a black SG/Les Paul Custom, probably a '61 or '62, with an original Bigsby. They were all available in optional Walnut Brown starting in about '67, including Customs, which always had white pickguards--everything else had black guards. A few early-mid '60's Customs were made in Cherry Red, and a very few brown sunburst ones are out there--they really look sharp with their white pickguards and gold hardware.
  20. Wow, that's different! Is it an Olympic or an Olympic Special? The regular Olympic had the same body shape as the Crestwood and Wilshire, but with Melody Maker pickup(s), while the Special was basically a Melody Maker in shape as well. Around '68-'69 is when Gibson changed the Melody Maker from the double-cutaway slab-Les Paul shape to the SG shape, with a briefly-produced slab variant made around '66. This has to reflect that change in the Epiphone line. Got to be really rare--I've never seen one!
  21. As several people have already stated, Epi New York pickups are not humbuckers, they're single-coils, left over from the pre-Gibson period of Epiphone production. They do turn up on some early Gibson-made Epiphones--I've seen pictures of an early Coronet that looked somewhat like a symmetrical double-cutaway Telecaster with one NY pickup in the bridge position. The NY pickups were used up by 1963--all the electrics in the '63 catalog had either Gibson-developed mini-humbuckers or P-90's. I used to have a '61 Epi Broadway with two minis, out-of-phase, interestingly enough--I bought it in 1973 from the original owner, who claimed it had never been modified, but I'm not so sure--the neck pickup was backwards; screw coil to the inside rather than facing the neck like normal. Which would explain the out-of-phase sound in the middle switch position--I guess I had a Peter Green Epiphone!
  22. Sounds like you've got a bunch of cool stuff! It's all programmable, though, including the amp--and if you've never used programmable FX before, the learning curve can be pretty steep. It helps if you have a sound in mind that you're trying to get, and it sounds like you do with the Gilmour reference. Does the VF do amp simulations? It's an older unit, so it may not, but the Mustang amp does, so you may want to start there. Find a Marshall simulation (although they may not call it that, maybe British Stack or something similar), use a moderate amount of gain (too much will make it muddy; not enough won't give you the sustain--experiment!) You don't mention what guitar you're using--on a humbucker-equipped guitar use the bridge pickup and roll off the tone control a bit--on a Strat use the middle and bridge pickups together. Dial in some delay, either on the amp (if it'll do it) or on the VF, and if you're using the VF strictly for FX and not for amp simulation, run it in the amp's FX loop if it's got one--that way the delay won't swamp your overdrive. Use a fair amount of delay time, maybe 400ms. or so, no more than 2-3 repeats, and keep the delay level fairly low so it doesn't get in the way of your playing. Less is more, as they say. Good luck!
  23. ...said the cat who ate the cheese and sat in front of the mousehole...
  24. First, let me say that I really like the look of the new '62 reissue Sheraton, Sorrento, and Crestwood Custom. Very cool. (I haven't played them yet, so I can't say if they play and sound good or not.) I'd love to see a reissue of the thin-bodied Emperor from the same period, but there are a couple of features I'd change to make the guitar more usable for modern players. The original ones were wired up like a 3-pickup Les Paul Custom, with the middle position on the pickup selctor giving the bridge and middle pickups out-of-phase--it's pretty honky and thin. What I'd do is have a separate volume control for each of the three pickups, plus a master tone control (there are four controls), and have the pickup selector wired for bridge, neck, and both together, with the middle pickup on its own volume control. And--a push-pull pot (tone control, maybe?) to allow the middle pickup to be in- or out-of phase. This would allow any combination of the three pickups, and give the option of in- or out-of phase on combinations involving the middle pickup with the other(s). Having separate volume controls would allow controlling the amount of out-of-phase-ness as well. And a partial or full center block would keep it from feeding back so much, a problem with the old ones. Three mini-humbuckers on a semi-hollow body? I'd buy one!
  25. I definitely smell a rat. I just noticed that the link in the post takes you to the Guitar King website which sells these things, and coincidentally, that's the name of the OP. I think someone's trying to drum up business for their so-called "handmade" Chinese knockoff guitars...
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