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Everything posted by byrds1965

  1. I think you saw the Epiphone Traditional Pro......GC only and MF, 123. Have been out for some time but the price seems to have gone up. Yes Gibson for 2015 is done with the Satins. Good time to buy a Gibson........waiting to see how far the 2014 Satins get marked down.
  2. No problem, I am not sure either why they used 2 ground wires.........took some searching on line too to figure out what the extra wire was and once figured out all good. I like the Probucker I think it is Epiphones best PU. Like them in Lucille and my 335 Pro. Lucille I did as you and did not change any guitar wiring so just straight HB. The 335 Pro I wanted to keep the push/pull single coil option on that guitar and why I bought it. I am one of the few here who does not like the Alnico Classic Pros........I think they sound flat.....the Probuckers have a depth to them the ACPs do not seem to have to me. The Probucker does not sound much like a real Gibson Burst Bucker but to me more like a bright Gibson 57 or very close to the new Gibson 61 zebras just slightly lower output....so just crank up the amp a bit when changing guitars. I like the Probucker think you will find more depth/clarity over the stock PUs you have now. Dave
  3. I bought a set of Probuckers for my Epiphone Lucille..........easy access with the back plate :) The Probuckers and Classic Pros follow the Gibson wire scheme: Red is the hot goes to the Pot tab Green/White solder together to complete the split coil function and just leave to the side or you will not have full HB......I just soldered and taped. Black is Ground twist and solder that to the other wire there are 2 grounds not sure why Epiphone did this design.......both go to the back of the Pot Also put a set of Probuckers into my 335 Pro...........made sure I bought from Ebay that did not have the quick connects clipped.......that one easy swap too just fish and plug and go to go. Good luck not sure were to get more wire but the Probuckers I got both had the connects attached.......clipped the Gold ones for Lucille and plenty of slack to get to the Pots.
  4. Some have no problems the AJ500s seem prone to cracking, bridge-top lifting etc.....to get a good one pick one that has been around awhile so you know the thing has settled like the Texans as an acoustic electric much better.

  5. Some have no problems the AJ500s seem prone to cracking, bridge-top lifting etc.....to get a good one pick one that has been around awhile so you know the thing has settled like the Texans as an acoustic electric much better.

  6. Not bad for a 25k investment. At that price not a player. Don't watch but wonder how those Harrison Duo Jets and the latest Clapton round of stuff holding value, at the prices that stuff was sold for not players either.
  7. To clarify my long post: On the Lennon J160Es meant to say they only held their Gibson value, the signature on those seem to mean nothing.
  8. Got your post you are looking for the first run Montana built McCartney's hand signed by him. I do not know what those sold for when new or if they have maintained their value. I have watched much of the "Beatles" stuff not hold their value. The 70th Anniversary Lennon J160Es Chicago Music Exchange was dumping the last one they had for $2500 the same price as the Standard X-braced new age Gibson J160Es they also had...........the 70th Lennon started out as a $3600 guitar if I remember right? Talked to one of the guys there and said they just could not move it and make an offer........I already had my CS 62 or would have made an offer. I was told then by them that the Beatles related stuff just does not command the market it used to. 2 things I would check with Gruhn's they might be able to give you a ballpark on the value Second not to sound morbid but McCartney is still alive and you might take the risk and buy as an investment piece and move it close to the time he is gone which I am sure will be a huge jump in anything McCartney related stuff. 25k for a guitar the guy never played is pushing things. I am curious too how those George Harrison 20k Duo Jets are holding value out a few years back also, or for that matter the Clapton strat, Clapton/Harrison Lucy, or his Martins. A look at those the Clapton/Harrison Lucy or the George Harrison Duo Jet might give a better idea on the Montana Texans The John Lennon sig J160Es have not fared well and see the Peace Model these days selling for around $2500 so those and the 70th Anniversary despite being Gibsons did not hold any value and are going used for the same as a J160E standard solid top. Good luck with your search/purchase.
  9. Unless you have to have the signature guitar just order one from the Custom Shop. No way that should be the 50-60k people are asking for those. I had to order my J160E that way and it was not 50k. Not a Lennon signature but that is not what I wanted. I ordered a 1962 J160E and that is what I paid for and got. Vintage Texans minus the 1964 naturals are a good deal much less than same era J45s..........see them about the same prices as J50s. Burst Texan's from 64 always seem to go for less than the naturals since the Bursts don't have the McCartney connection. Find a good vintage one they are out there and a better guitar than a 50k signature Now seems to be the time and the future............Beatles fans and babyboomers are in retirement and selling off this gear. The vintage stuff has had a huge price drop and I don't see some of it ever climbing back to where it was. Most of the next generation of players don't seem to care too much what guitars the 60s bands were into these days. The market seems flooded with this "Beatle" related stuff lately and a lot of it in close to mint condition. Have scored several nice TO Vox amps lately that were only available for sky high prices in the past if you could even find them. Seems to be a glut of older players selling gear off these days.........and the good news for buyers of some of those things is the market has moved on for much of it. On un Beatle related gear Fender Princetons.........vintage ones are now selling for less than the new 65 RI..........lets see what am I going to buy the new 65 RI or the old handwired vintage one.......... Waiting for the prices on the Deluxes to come back down. I had a 1964 I sold off back in the 80s......dumb.......as soon as I can score a good vintage one again.......
  10. My Sweetwater rep told me the same thing. Fine by me as I have been replacing most of my Epiphone's with the faded Gibson's lately $449 for an SGJ is just a stupid price for a Gibson. Except for stuff like my 61 Casino reissue and the 62 Sheraton RI if they don't offer something that can stand up to a Gibson again going to have to take a pass. The Japanese market demands accuracy and quality so they get it, should be a lesson to us here. They will offer what sells in what market and if no problems with what they are offering us here then no changes. Kind or our own fault in my opinion.
  11. Most of the time they are marked that for a limited run like the Pelham Blue G400 with Maestro brought up here, or often times stores like GC or SA order a color for themselves like GC now has that P93 Riviera in a metallic red and a Wildkat too I have only seen at GC, 123, MF. SA ordered Casinos in burst with Bigsbys like Harrisons, standard line, I have one. Usually that is how it seems to work. The P93 is an example of them running the line for a long time. Has nothing though on the EJ160E Lennon has been available for around 20 years now and every one I have seen has the Limited Edition Sticker in the sound hole.
  12. Mine looks the exact same as the photo here. Mine also has a "white" typed thing sticker over the Epiphone sticker in the guitar as the poster and you guys mention but I can't see from the post. I would guess as discussed they wanted to try out had some made up and then got rid of them. I bought mine as stamped as a USED used from GC when I saw one pop up. One last thing to help tell if fake: I have only seen them with the 15th fret inlay as in this photo. LARGE! The early Peerless and Samick made one are exactly like this exactly like the Gibson. The current EJ160Es I see now with better body shape do the NARROW fret at the 15th. Hope all this helps you.
  13. The link goes to nothing for me. If this is an Epiphone: I own one too also stamped a used. Guessing like another said mine is a late 90s Samick or Peerless made. My Peerless 2005 shares the same exact body as this but the Natural has a larger headstock and different font on the Epiphone inlay so I lean towards the Samick plant made. Yes Epiphone did make the EJ160E in both Natural and Burst. The 90s early 2000s Samicks and Peerless models I have seen use the same exact body as the new IB Texans. If the body shape is the same as the current IB Texan I would say legit too without being able to see. If close go and see and play it. If you know Epiphones every factory varies and still does but if anything looks crude or misspelling like in name on headstock obvious fake. Most of the fakes I have seen, very few, pretty obvious they were fakes. One last thing the sigs on the EJ160Es vary from looking like ballpoint pen to wide paintpen looking . The early Peerless and Samick made ones, the John Lennon sig very sharp like a gold ballpoint pen sig. Should have added my Natural is in Black and my Burst has the Gold sig both look identical in script. Hope that helps.
  14. If you have to finance play a Gibson SGJ with the new Gibson 61s like them as much as 57s. You can get them on sale for around $450 an extra $50 bucks is stupid cheap for a Gibson probably why they are gone after 2014. I own them all too, side by side the answer is Gibson if you can afford.
  15. This was discussed many times on the old forum. Epiphone LPs or anything Mahogany are not made of the same materials the Gibson's are. In the old "Ask Henry" forum he even broke it down in a posting for everyone. When you buy and Epiphone you get a good quality guitar but an Epiphone LP, SG etc will never be made of the same materials as the Gibson counterpart. The Hollow bodies being laminated Maple construction will be the guitars closest construction and materials to their Gibson cousins. My Gibson LP vs my Epiphone LP both with 57s from the factory, the Gibson just has more "sing" to it. Brush the strings and it resonates. I can't say if it is the Poly vs Nitro and my Epiphone LP is a great Epiphone and very pleased for what I paid for it. My Gibson LP, however, is not only a great Gibson but a great guitar period.
  16. I love Gibson's but you really need to look at all the specs to find the guitar you want for the reasons you stated. I have said before I am not spending the kind of money for a Gibson to mod, though I know many do. I want all the stuff I want right the first time. My 2011 Traditional LP had the keystone Klusons and 57s and that is what I wanted a plain stock Gibson LP. You really have to look at every Gibson model to figure out what they have done this time with tuning keys, PUs etc....... Fender's branding makes so much more sense, if I want an American Standard it is going to stay the same "specs" for a long run just have to wait for your color to pop into the run. The rest of the line they offer every option but the stock Strat/ Tele stays basically the same and you can go up in line from the Squier line to the top CS tier of a basic Strat or Tele. Gibson has such a confusing model line and price structure. Until the SG Original no way to get the Maestro on what was then the 61 RI at $2000 then the same guitar offered as a VOS for $3500 with a Maestro so an extra $1500 for just the Maestro!? Happy to have my Original and happy with the price Gibson put on it so not a problem buying one.
  17. I saw him in Vintage Guitar Magazine with it but no mention of that specific guitar or Epiphone making one. I hope you are right and we can get one down the line. I have a freq Elitist Riviera now but would like the stop bar version and in Nitro and the full deal, nylon saddles etc just like a real 60s one. Make a nice companion or choice of flavors to my 335 stop bar.
  18. I started playing in the early 80s and my first guitar was one of those imported Japanese things, from back when they were bad. My first real guitar was a Gibson SG Special brand new, never been able to find one the same again no pickguard, red with the switch where one of the 4 control knobs would be. Gibson made so many versions of the SG Special. Guys were selling off Gibson's all the time for well under $500 when all my buddies wanted the other stuff and also you could not give a tube amp away back then either. I still have almost all the black face Fenders I bought back then. Guitars came and went but after playing that first Gibson from then on I finally knew ok so this is what a guitar should be! In the 90s guitars somehow transformed from used to vintage and the prices rose to match. Not too many I regret letting go but got to play a lot of great and some not so great vintage guitars while my buddies were into their Jacksons and Bradshaw type stuff. Great times!!
  19. I am old enough to remember the 80s and you could get all this stuff for next to nothing (used guitars then not vintage yet), 50s burst LPs back then were high (not todays prices) but normal stuff like 335s, LPs, SGs etc most guys then wanted the Jacksons, Ibanez............ They were the same as todays Gibson's some were great and some just meh. I agree with you on the current day Gibson's are more consistent in construction and in shape, the 60s 335 horns were all over the place, bevels on the SGs same but you need to play a pile like the vintage ones too, I am lucky to live in the Chicago market and the Chicago Music Exchange has a wall full of new and vintage and you can do an AB with pretty much any Gibson there, or other major brand. It is just how the wood all goes together that a guitar gets what ever mojo it is going to have. I have seen great looking figured wood guitars vintage and new and some are great and some not. I recently sold my J45 1942 reissue and got a great 1964 J45 instead. If you looked inside only you would think construction wise the 1942 reissue with hide glue and perfect fit and finished bracing would kill it, the 1964 J45 is solid construction but not anywhere near as pretty and has some glue slop vs the reissues perfect construction but the 1964 is the better sounding guitar. Comparing I owned a 1966 J50 and sold that when I first played my 1942 J45 reissue left the store with that and sold off the J50. There are duds in both vintage and new and the same wonderful in both too. You just can't tell how all the parts are going to react until it all goes together. Finding the great ones is part of the fun.
  20. I have scored several that way my current Elitist Riviera I got on close out. My point is the only guitar new I could spend Gibson money for in the Epiphone line is the Elitist Casino right now and for that price I want it correct. I understand their graduation to Gibson with LPs, SGs etc you can step up those models to the Gibson model. I did not pay full price for my LP Traditional Gold Top either, I wanted the 57s, Tulip Klusons and got a 2011 model on year end closeout. Not changing a thing as those are all the things I wanted, I did not want burstbuckers or Groves etc. I am not buying a Gibson level guitar to start changing things out, I know some do. My J160E I had to go the Custom Shop route and pay full price to get what I wanted. There is nothing in the Epiphone specific line you can step up to Gibson quality in an acoustic or electric these days if you want to buy new besides the Casino. I would also like to see the Riviera offered here. I know Epiphone will never sell a lot of them but then again how many SGJs is Gibson selling vs the VOS ones? I would like Epiphone to offer us the option to buy new something "correct". I agree on the Kalamazoo and the old wood piles, Heritage finally used the last of in the early 2000s. I would like something from Epiphone on the same quality level as my current day Gibsons. I think Epiphone remembers the poor sales of the old Elitist line. The quality was on par with Gibson except poly vs nitro, but none were period correct. As far as period correct they did build Rivieras with stop bars. Robben Ford has one and was pictured with one in Vintage Guitar Magazine not long ago. I am guessing they did not build many that way and the reason they are offering it in the Japanese market and limited quantities. It is a rare bird but some were made that way.
  21. To each their own. I have ordered several Gibson CS guitars to get what I want. My J160E is as close as I could get them to build a 1962 J160E. The burst is wrong as it is the current Gibson burst but other than that pretty close. My point is if I spend Gibson money for a guitar I want the Casino to have the Klusons as they did back then. I am not paying Gibson money to change things out. I know many guys buy Gibsons and PU swap, Gibson has so many options I find the one I want and buy that, to me that is the point of spending that kind of money to get what you want in the first place not a project guitar. My Epiphones are project guitars and I have paid a price I don't mind changing things out. For the Elitist Casino to be called a 1965 with Grovers and Poly sorry not happening. I am also a Rickenbacker fan and John Hall listened to the complaints of the first run Vintage series (V64 Harrison 12 string) they replaced it with the V63 models. I owned the V64 and it was real close the V63 my bandmate owns one, and it is as close as you can get without a time machine. What I am asking is not an unusual request to make at least some of your historic guitars accurate or at least a graduated tier like Fender offers. Some things I don't mind chasing the vintage models and waiting years to score. Some things I would be happy with brand new under warranty like Ric, Fender does.
  22. FYI if you are in the market: The GC in Arlington Heights IL has a 62 J50 the last time I was there. Condition Good, it was a player, and has a lot of checking, some pickgaurd lift, but sounds good, very mellow. Has been there quite a while so might make them an offer. J50s never seem to command the price of J45s.
  23. I know when I buy an Epiphone LP, SG, EJ160E (or other Gibson clone) I am not getting the same thing. I am getting a close affordable version and that is fine with me and a good value for the money. I only have the problem with Epiphone specific guitars that should be correct or at least offer a tier like Fender, a low cost Casino then then a spec correct one. Most 60s guitars that I have played and own today are the ones most want the new ones to play and feel the same in this day and age not the other way around. Sorry the Casino was not offered with Grovers and I'm not buying a new one to change them for that price. If I am going to spend Gibson money then I expect a guitar that is correct in the first place and needs nothing changed. I own Gibsons and would spend Gibson money for a correct Casino, Texan, Riviera etc. Problem is they are not offered so I can't buy one. I know we both own IB Texan's and I do like mine, had or if this one becomes available to us in the US I will be selling mine and buying this one. The only way to get a real Epiphone Texan now is to find a used one. I think we are not offed these guitars because we are willing to accept and buy almost there versions at lower prices. The Japanese on the other hand have shown they will not buy almost correct things and demand and get what sells in their market. I am to blame too as I bought 2 IB Texans had I not bought any or most of us not bought one, Epiphone might have been forced to offer us this guitar also. Epiphone is only following a proven business model of what sells in what market and they are in business to make money. I would not cost Epiphone much to add a batch of Texan's or 1966 Riviera's to the same shipping container bringing the Elitist Casinos here. I would guess their marketing department for the US figured they would not sell and we are willing to keep buying IB Texans so why no new Elitists for us.
  24. The answer is over on the Electric forum, Not for us Japan only. Posted my theory on the reason why over there.
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