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2014 model predictions...

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On a side note now that they dont allow smoking in the bars I play in, silver burst wont turn into snot burst. [wink]

Wouldn't it be ironic if the bars in which you play had Richlite counter-tops? At least that way the Richlite would be in the 'right' place?!.....LOL!

 

Nah. I was just ribbing, as I'm sure you know.

I completely 'get' (although disageree with) your appraisal of the 'Phenol-Phreak' and (unlike some) at least you have given it a road-test. Proper Props! [thumbup]

Can't stand SilverBurst myself - far too 'Glam-Rock' - but Silver is better than Snot any way you spin the question!

 

Power On, Dude!

 

[thumbup]

 

P.

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I just want a regular Les Paul Standard. No locking tuners, no special pickups, no locking jacks, no robot tuning, etc, just straight ahead meat and potatoes.

 

And I want the LP Classic back too!

 

And rosewood and ebony fretboards!

 

Took the words right out of my mouth...

 

Yea, what he said !

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:rolleyes:

That's a very interesting concept, CB.

 

The Epiphone back catalogue has some fantastic guitars - and at all price-points - which have disappeared.

The Broadway, Emperor, Howard Roberts, DeLuxe, Triumph and Zenith arch-tops.

Solid-bodies such as the Crestwood, Wilshire, Coronet, Olympic.

The Newport, Rivoli and Embassy basses.

Thin-lines such as the Sorrento and Granada Cutaway.

Even Odd-balls such as the Al Caiola.

 

I know a few of these have occasionally made brief appearances as limited-run models and I suspect a lack of demand would possibly make their return not economically viable but it's an interesting idea nonetheless.

 

P.

 

Well, I realized too, that some of Epi's models, were in fact just their specific versions, of Gibsons,

even back then. But, some (a few of which you've mentioned) were specific only to Epiphone! And, I'm

sure you're quite right, about "lack of demand" determining what stays and what doesn't. But, I've always

wondered, if that lack of demand, of true "Epiphone models," was due to Epiphone still being percieved as

Gibson's bargain brand, as opposed to an entitiy, within itself, therefore the "Gibson Clone" models, being

more popular, to those that either can't afford a "real" Gibson, or simply don't want to spend that much money,

on ANY Brand?

 

Some of this, is from my own "prejudice" towards Epiphone, when they were made along side Gibson's, in Kalamazoo.

I actually preferred, the Epi's (Semi-hollowbodies) design, with the less "Mickey Mouse" ear looking horns, to

the Gibson's, of that period. Though, pretty soon, after...Gibson did the same thing, to the horns, on their

ES thinline models. But, since that time, I've always had a "soft spot" for Epi's! So, I hated them being

relegated to "Asia," at first. Now, though I'd prefer them to still be "Made In America," I don't have any real

problem, with Asian made versions...except in "spec" differences. I will always wish they'd be accurate,

to the originals, down to the smallest detail! But, that's just me! [tongue]:rolleyes:[biggrin]

 

 

CB

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...Well, I realized too, that some of Epi's models, were in fact just their specific versions, of Gibsons, even back then. But, some (a few of which you've mentioned) were specific only to Epiphone!

I think I'm right in saying that with the exceptions of the semi- thin-lines - the Sorrento and Granada (which were essentially the ES-125TC and ES-120T with different p'ups) - all the Epi's I mentioned were Pure Epiphone, CB.

In fact Gibson put out their own version of the Howard Roberts only after they acquired the brand; it was originally an Epi model.

 

I, too, have a soft-spot for these original Epi instruments.

 

Remember the Epiphone Scroll? I had one of those back in like 1979 :)

Yes. I remember when our local Mom&Pop shop got one. Two-octave necks were unusual back then!

 

P.

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I'd like to see more double cut solid bodies (a la double cut junior), perhaps with some nice carved flamed maple and vintage appointments (read, simple) by way of hardware.

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