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Example: 38123 = 1993 / ES-930J / unit 123. Six digit serial numbers From 1961 to early 1970, Epiphone used 6-digit serial numbers in the Gibson serial number line. Gibson Brands, Inc. Respects your right to privacy. In 1960, Epiphone's production moved to the Gibson plant in Kalamazoo, Michigan.
Vintage Guitars Info's
Vintage Epiphone Guitars.
Model Information and Specs.
- Gibson Mastertone Banjos 19 18-194 4. TB-Granada Mastertone #9152-20, the 'Banjo Pete' TB-Granada Mastertone #9152-26, the 'Herbert Reese'.
- Epiphone is an American musical instrument manufacturer founded in 1873 by Anastasios Stathopoulos, currently based in Nashville, Tennessee.In 1957, Epiphone, Inc. Was purchased by Gibson and relocated from New York to Kalamazoo, Michigan.Epiphone was Gibson's main rival in the archtop market prior to 1957. Aside from guitars, Epiphone also made double basses, banjos, and other string instruments.
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Model Information:
- Archtop (full depth) Hollowbody Models
Gburner 4. Thinline (Gibson-made) Hollowbody Models:
Flat top Models:
Solidbody (Gibson-made) Electric Models:
1959 Gibson-made Epiphone
Emperor Zephyr Regent
Epiphone Emperor (acoustic), Zephyr Emperor Regent (electric) archtops.
Collectibility Rating: Acoustic Cutaway model: A, Electric Cutaway model: C, Acoustic Non-Cutaway model: B.
On-par with Gibson's Super 400, but not nearly as collectible because the Epi name just doesn't have the collectibility Gibson has.
- 18 1/2' wide, maple back and sides, 7 ply binding on top and back, 3 ply binding on F-holes, single bound fingerboard with 2 white lines inlaid along edges, triple bound peghead, vine peghead inlay, gold plated parts.
- elongated pickguard.
- 3 segment 'V' block pearl fingerboard inlay.
- Sunburst finish.
- Treble side dip on peghead.
- Ebony fingerboard.
- Frequensator tailpiece.
- Abalone wedge in 3 segment 'V' block fingerboard inlay.
- Natural finish optional.
- Center dip peghead.
1936 Emperor introduction specs:
1939 Emperor specs:
with selector switches
1952 Zephyr Emperor Regent specs:
- Zephyr Emperior Regent (cutaway) model available with 3 New York pickups, 2 knobs, control plate with 6 small pushbuttons.
- 1954 Emperor Electric specs:
- Zephyr Emperior Regent model renamed Emperior Electric.
- Non-cutaway acoustic model discontinued.
- Gibson made.
- Acoustic model discontinued.
- Thinbody.
- 3 New York pickups.
- Control plate with push buttons discontinued.
- 4 knobs and a 3-way switch added.
- Stairstep Grover tuner buttons.
- 3 Mini-humbucking pickups.
- Available special order only: 1963.
1958 Emperor Electric specs:
1961 Emperor Electric specs:
Discontinued 1970 (later available in Japanese-made line).
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1951 Epiphone Deluxe Zephyr Regent
Epiphone Deluxe (acoustic), Zephyr Deluxe (electric), Zephyr Deluxe Regent archtops.
Collectibility Rating: Acoustic Cutaway model: B+, Electric Cutaway model: C-, Acoustic Non-Cutaway model: C+.
On-par with Gibson's L-5, but not nearly as collectible because the Epi name just doesn't have the collectibility Gibson has. The Empire is the tenor version of the Deluxe and was available from 1931 to 1939.
- 16 3/8' wide, maple back and sides, 3 ply binding on top and back, single bound fingerboard, bound peghead, gold plated parts.
- Diamonds and triangle fingerboard inlay.
- 3 segment F-holes.
- Masterbilt peghead with flowers.
- Tenor version available called theEmpire (discontinued 1939).
- Foral and notched diamond fingerboard inlays.
- White pickguard.
- Vine peghead inlay.
1931 Deluxe introduction specs:
1934 Deluxe specs:
1939 Deluxe specs:
- Frequensator tailpiece.
- Natural finish optional.
- Center dip peghead.
1941 Zephyr Deluxe specs:
- Electric (Zephyr) version available: 1 pickup in bridge position, volume and tone control on 1 shaft with circular 'MasterVoicer' control plate.
1950 Deluxe, Zephyr Deluxe, Zephyr Deluxe Regent specs:
- Cutaway version (Regent) available.
- Laminated maple or spruce top or electric versions.
- New York style pickup(s) on Zephyr Deluxe.
- Single pickup Zephyr Deluxe has pickup in neck position.
- Two pickups available with slotted Strat-style switch.
- Two knobs mounted on circular 'MasterVoicer' control plate.
- Rosewood fingerboard.
- Some with Emperor style pearl/abalone V-block fingerboard inlays.
1951 Zephyr Deluxe, Zephyr Deluxe Regent specs:
- Knobs in line parallel to strings.
- 'MasterVoicer' control plate discontinued.
1954 Deluxe Electric specs:
- Non-cutaway electric model discontinued.
- Zephyr Deluxe Regent (cutaway) version renamed Deluxe Electric.
- Knobs in line that crosses strings.
1958 Deluxe specs:
- Gibson made.
- Deluxe Electric (Zephyr Deluxe) and acoustic non-cutaway models dropped, leaving only the acoustic cutaway model available.
1965 Deluxe specs:
- Available by special order only.
Deluxe Discontinued 1970.
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1951 Epiphone Zephyr Regent.
1961 Epiphone Zephyr Natural E311TN thinline with Gibson mini-humbuckers.
Epiphone Zephyr, Zephyr Regent, Zephyr Electric archtops.
Collectibility Rating: Electric Cutaway model: D+, Electric Non-Cutaway model: D-.
Electric Epi's have little collectibility because of their plywood construction.
- Maple veneer body, slotted-block fingerboard inlay, nickel plated parts, metal peghead logo plate.
- 16 3/8' wide body, non-cutaway.
- 1 pickup with oblong housing and metal cover in bridge position.
- Multiple bound top, single bound top and fingerboard.
- Blond finish.
- Pickup in middle position.
- Single bound top.
- 17 3/8' wide body with laminated spruce or maple top.
- Frequensator tailpiece.
- 1 New York pickup in neck position.
- Sunburst or blond finish.
- Available with cutaway (Zephyr Regent).
- Avaliable with DeArmond pickup.
- Rename Zephyr Electric (for both non-cutaway and cutaway models).
- Acoustic model dropped.
- Gibson-made thinbody with rounded cutaway.
- 2 New York pickups.
- Unbound tortoise pickguard.
- Mini-humbucker pickups replace New York pickups.
1939 Zephyr introduction specs:
1942 Zephyr specs:
1950 Zephyr and Zephyr Regent specs:
1953 Zephyr and Zephyr Regent specs:
1954 Zephyr Electric specs:
1958 Zephyr Electric specs:
1961 Zephyr Electric specs:
Zephyr Discontinued 1964.
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1959 Gibson-made Epiphone Century.
Melita bridge is not original.
Epiphone Century electric archtop.
Collectibility Rating: D--.
- 1939 Century introduction specs:
- 16 3/8' wide, non-cutaway.
- Blade pickup with oblong housing and metal cover/handrest in bridge position.
- Output jack on top.
- Single bound top, back, fingerboard.
- Dot fingerboard inlays.
- Metal peghead logo.
- Walnut finish.
- Tenor version available called theMelody (discontinued 1958).
- 15 1/4' wide.
- No handrest.
- Jack on side.
- 16 3/8' wide, non-cutaway.
- Oblong pickup with fat blade in neck position.
- Square control plate with radial markings.
- Unbound fingerboard.
- Large rectangular pickup with non-adjusting poles.
- Some Century's with New York pickup.
- Highlighted mahogany finish.
- Blond finish available.
- Rectangular black pickup housing with oblong chrome plates.
- Some Century's with New York pickup.
- Gibson made.
- 16 3/8' wide non-cutaway thin body.
- 1 New York pickup.
- 25 1/2' scale.
- Sunburst finish.
- P90 pickup replaces New York pickup.
- No peghead plate.
- Royal Burgundy finish available.
1942 Century specs:
1946 Century specs:
1950 Century specs:
1954 Century specs:
1958 Century specs:
1960 Century specs:
1961 Century specs:
- Discontinued 1970 (later available in Japanese-made line).
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1934 Epiphone Tudor.
Epiphone Tudor acoustic archtop.
Collectibility Rating: C.
- 16 3/8' wide, trapeze tailpiece, triple bound top and back, single bound fingerboard, floral and notched diamond fingerboard inlay, Masterbilt peghead, gold plated parts.
1931 Tudor introduction.
1934 Tudor specs: Maple back and sides, bound pickguard, block letter logo, wandering ving peghead inlay, unbound peghead.
1937 Tudor discontinued.
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1954 Epiphone Broadway Zephyr Regent.
Epiphone Broadway acoustic and electric archtop.
Collectibility Rating: Acoustic Cutaway model: C, Acoustic Non-Cutaway model: D+, Gibson-made Electric Cutaway model: C.
- 16 3/8' wide, 25.5' scale, walnut back and sides, 3 ply binding on top and back,single bound fingerboard, bound peghead. The Bretton is the tenor version of the Broadway, and was available from 1931 to 1954 (renamed Broadway Tenor in 1937).
- 3 segment F-holes.
- Ebony fingerboard.
- Masterbilt peghead with flowers.
- Tenor version available called the Bretton (discontinued 1937).
- Large block fingerboard inlays.
- Gold plated parts.
- Unbound peghead.
- Wandering vine peghead inlay.
- 17 3/8' wide non-cutaway body.
- Pickguard extends even with bridge.
- Standard F-holes.
- Multiple bound peghead.
- Frequensator tailpiece.
- Maple back and sides.
- Center dip peghead.
- Natural finish available.
- Flower peghead inlay.
- Cutaway version (Regent) available.
- Fat column peghead inlay.
- Gibson made, cutaway model.
- Acoustic model discontinued.
- 2 New York pickups.
- 2 Mini-humbucking pickups.
- Tunematic bridge.
1931 Broadway introduction specs:
1934 Broadway specs:
1937 Broadway specs:
1939 Broadway specs:
1941 Broadway specs:
1951 Broadway specs:
1958 Broadway Electric specs:
1961 Broadway Electric specs:
Broadway Discontinued 1970.
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1953 Epiphone Triumph Regent. Picture from Folkway Music.
Epiphone Triumph acoustic archtop.
Collectibility Rating: Cutaway model: C, Non-cutaway model: D.
The Triumph is essentially a Gibson L-7, or the poor-man's Deluxe (or L-5).
- 16 3/8' wide, 25.5' scale, 3 ply binding on top and back, sunburst finish, single bound fingerboard, bound peghead, gold plated parts. Note: only interested in cutaway (Regent) version. The Hollywood is the Tenor version of the Truimph, and was available from 1934 to 1956 (renamed Truimph Tenor in 1937).
- Walnut back and sides.
- Paired diamond fingerboard inlays.
- Masterbilt peghead.
- Tenor version available called the Royal (discontinued 1935).
- Maple back and sides.
- Notched diamond fingerboard inlays.
- Floral ornament with fleur-de-lis design at top inlaid on peghead.
- Block letter logo.
- Script logo in 1935.
- 17 3/8' wide non-cutaway body.
- Script logo.
- Pickguard extends below bridge.
- Standard F-holes.
- Single bound peghead and back.
- Frequensator tailpiece.
- Natural finish available.
- Center dip peghead.
- Cutaway version (Regent) available.
- Fat column peghead inlay.
- 'E' on pickguard.
- Gibson made.
- Non-cut model discontinued.
1931 Triumph introduction specs:
1934 Triumph specs:
1937 Triumph specs:
1939 Triumph specs:
1941 Triumph specs:
1949 Triumph specs:
1958 Triumph specs:
Triumph Discontinued 1970.
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Epiphone Spartan archtops.
Collectibility Rating: D-.
- 16 3/8' wide, nickel plated parts, bound top, back, fingerboard. Tenor version call the 'Regent' from 1934 to 1937, then renamed the Spartan Tenor (tenor version discontinued 1950).
- Round sound hole.
- Maple back and sides.
- Dot fingerboard inlays.
- Stickpin peghead inlay.
- Block peghead logo.
- Sunburst finish.
- Tenor version available called theRegent (discontinued 1937).
- F-holes.
- Walnut back and sides.
- Slotted block fingerboard inlays.
- Greek column peghead inlay.
- Script peghead logo.
- Blond finish available with white mahogany wood.
1934 Spartan introduction specs:
1937 Spartan specs:
1941 Spartan specs:
Spartan Discontinued 1950.
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Epiphone Blackstone archtop.
Collectibility Rating: D.
- 1931 Blackstone introduction specs:
- 14 3/4' wide, mahogany back and sides.
- Round sound hole.
- Single bound top, back, fingerboard.
- Dot fingerboard inlays.
- Sunburst finish.
- Masterbilt banner on peghead.
- 15 1/2' wide.
- Block letter logo.
- Stickpin peghead inlay.
- 16 3/8' wide non cutaway.
- Maple back and sides.
- F-holes.
- Parallelagram fingerboard inlays.
- Notched elongated diamond peghead inlay.
- Script logo.
- Tenor version available.
- Blond finish available.
- Abalone vertical oval peghead inlay.
- Abalone peghead logo.
1933 Blackstone specs:
1934 Blackstone specs:
1937 Blackstone specs:
1941 Blackstone specs:
1945 Blackstone specs:
Blackstone Discontinued 1950.
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1953 Epiphone Devon.
Epiphone Devon archtop.
Collectibility Rating: C.
1949: 17 3/8' wide carved top, 25.5' scale, frequensator tailpiece, single bound pickguard, triple bound top, oval fingerboard inlays, vertical oval peghead inlay, script Epi logo, sunburst or blond finish. Discontinued in 1953.Structurally the same as the Broadway and Triumph models.
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1933 Epiphone Royal.
Epiphone Royal archtop.
Collectibility Rating: D-.
1931: Mahogany back and sides, 3 segment 'f' hole, single bound top and back and fingerboard, dot fingerboard inlays, Masterbilt peghead, sunburst finish.
1934: 15 1/2' wide, walnut back and sides, rounded peak peghead.
1935: discontinued.
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1948 Epiphone Zenith.
Epiphone Zenith archtop.
Collectibility Rating: D- (similar to an ES-125).
- 1931 Zenith introduction specs:
- 13 5/8' wide.
- Segmented F-holes.
- Maple back and sides.
- Dot fingerboard inlays.
- Single bound top and back.
- Sunburst finish.
- Tenor version available called theMelody (discontinued 1958).
- 14 3/4' wide.
- Walnut back and sides.
- Stickpin peghead logo.
- Block peghead logo.
- Blond finish available.
- Vertical oval peghead inlay.
- Gibson made.
- 16 3/8' wide.
1934 Zenith specs:
1954 Zenith specs:
1958 Zenith specs:
Zenith Discontinued 1970.
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1934 Epiphone Beverly.
Epiphone Beverly archtop.
Collectibility Rating: D--.
13' wide, flat top, arched back, mahogany back and sides, 3 segmented 'f' holes, adjustable bridge, trapeze tailpiece, elevated pickguard, no body binding, dot fingerboard inlays, rounded top pehead, brown finish, tenor available. Introduced 1931 and discontinued in 1937.
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Epiphone Olympic archtop.
Collectibility Rating: D--.
- 1931 Olympic specs: 13' wide, mahogany back and sides, 3 segmented 'f' holes.
- 1933 Olympic specs: 13 5/8' wide, trapeze tailpiece, rounded end fingerboard with dot inlays, rounded non-peak peghead, sunburst finish.
- 1934 Olympic specs: decal logo with 'Epiphone' on a banner and 'masterbilt' underneath banner.
- 1937 Olympic specs: 15 1/4' wide, standard 'f' holes. Tenor and plectrum version available.
- 1942 Olympic specs: script peghead logo with tail underneath.
- 1939 Olympic specs: center dip peghead.
- 1950 Olympic specs: discontinued.
Note in 1937-1939 Epiphone sold a model called the Apollo in England. It was very similar to the Olympic with amahogany or birch 16' sunburst body, segmented f-holes, rectanglefingerboard inlays, 'Epiphone Masterbilt' decal peghead logo, and a black pickguard. It cost less than the Olympic and had a mix of features which Jim Fisch says led to speculation it may have been produced by Regal for Epiphone.
1937 Epiphone Apollo, replaced tuners.
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Epiphone Byron archtop.
Collectibility Rating: D.
15 3/8' wide, mahogany back and sides, adjustable bridge, trapeze tailpiece, unbound elevated pickguard, single bound top and back, dot fingerboard inlays, script Epi logo with tail underneath, center dip peghead. Available about 1938 only.
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Epiphone Ritz archtop.
Collectibility Rating: D.
15 1/4' wide, maple back and sides, tortoise grain binding, trapeze tailpiece, dot fingerboard inlays, center dip pickguard, cherry neck blond finish. Tenor version available. Introduced 1941 and discontinued in 1950.
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1965 Gibson-made Epiphone Sheraton.
- Epiphone Sheraton thinline semi-hollow electric archtop.
- 2 New York pickups.
- 2 mini-humbucking pickups.
- Vibrato standard.
- Cherry finish optional.
Collectibility Rating: NY parts models: B+, Gibson parts models: C.
With NY pickups, knobs and neck, this is a very elegant model on par with Gibson's ES-355. However, with Gibson parts it's way less collectible.
16' wide, double round cutaways, thin semi-hollow body with solid maple block down center (like an ES-355), sunburst or blond finish, 7 layer top body binding, multiple bound neck, back, headstock, pickguard, flower headstock inlay, V-block pearl/abalone fingerboard inlay, 24 3/4' scale, Frequensator tailpiece (optional Bigsby), gold plated parts.
1958 Sheraton introduction specs:
1961 Sheraton specs:
1965 Sheraton specs:
- Sheraton Discontinued 1970 (later available in Japanese-made line).
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1966 Riveria.
Epiphone Riviera thinline electric semi-hollow archtop.
Collectibility Rating: C-.
Epi's version of the ES-335, but uglier.
- 16' wide, double round cutaways, thin semi-hollow body with solid maple block down center (like an ES-335), royal tan finish, bound top and back, single bound fingerboard, 24 3/4' scale, mini-humbucking pickups, Frequensator tailpiece.
- oval fingerboard inlays (like a Windsor).
- Single bound tortoise pickguard.
Late 1961 Riviera introduction specs:
1961 Riviera introduction specs:
- single parallelogram fingerboard inlays
1965 Riviera specs:
- Sunburst finish standard.
1966 Riviera specs:
- White 3-ply pickguard with beveled edges.
- Cherry finish optional.
- 1967 Riviera specs:
- Vibrato optional.
Riviera Discontinued 1970 (later available in Japanese-made line).
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1961 Gibson-made Epiphone Casino, royal tan.
Epiphone Casino thinline electric fully hollow archtop.
Collectibility Rating: 2 pickup model: C+, 1 pickup model: D-.
Essentially an ES-330. The fact that the Beatles used this guitar is the key reason it has any collectibility.
- 16' wide, double round cutaways, fully hollow thin body (like an ES-330), sunburst or royal tan finish, 24 3/4' scale, trapeze tailpiece (optional Bigsby), 16 frets clear of the body, single bound fingerboard, 1 P-90 pickup in middle position or 2 P-90 pickups.
- Dot fingerboard inlays.
- Black pickup covers.
- Metal peghead Epiphone logo
- tortoise pickguard
- Pearl inlaid Epiphone peghead logo.
- Single parallelogram fingerboard inlays.
- Nickel plated pickup covers.
- White pickguard.
- Chrome plated pickup covers and other parts.
- Cherry finish optional.
1961 Casino introduction specs:
1962 Casino specs:
1963 Casino specs:
1965 Casino specs:
1967 Casino specs:
Casino Discontinued 1970 (later available in Japanese-made line).
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1962 Professional.
Epiphone Professional thinline fully hollow electric archtop.
Collectibility Rating: D.
A strange bird indeed. All amp controls are on the guitar, and it requires the matching amp to be fully functional. It is usable with other amps via the 1/4' jack on the top of the guitar(to utilize the matching amp requires a special cable plugged intothe guitar's multi-pin jack). There is one volume and one tone knob and 5 tone switches (giving a lot of tone variations for a one pickup guitar), which work through the 1/4' jack. The other controls on the guitar control the reverb and tremolo on the original matching amp and are as follows: one on/off switch for the reverb and one for the tremolo, one rotary knob for controlling the amount of reverb, one for controlling the amount of tremolo and one for the speed of the tremolo. So essentially the guitar is fully functional withoutthe matching amp, aside from the treble/reverb functions.But a bit too weird for most collectors, and with the single pickupbeing in the neck position, this scares away most players.
- 16 1/4' wide, double round cutaways, fully hollow thinbody, 1 mini-humbucking pickup, triple bound top, single bound back and fingerboard, single parallelogram fingerboard inlays, 24 3/4' scale, Frequensator tailpiece, tuneamatic bridge, royal tan or red finish. Came with a special amplifier. All amp controls on the guitar's black/white/black pickguard with 7 switches and 5 knobs. Symmetrical pickguard covered almost the whole top of the guitar.
Introduced in 1962, discontinued 1967.
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Epiphone Caiola, Caiola Custom, Caiola Standard thinline electric fully hollow archtop.
Collectibility Rating: C-.
Essentially a fancy artist-model ES-330.
- 16' wide, double round cutaways, fully hollow thin body (like an ES-330), 2 mini-humbucking pickups, ebony adjustable bridge, zero nut, no soundholes, 25 1/2' scale, trapeze tailpiece with wood center insert saying 'Caiola Model', single bound fingerboard, 7-ply top and 5-ply back binding, arc-shaped control plate with 2 knobs, 5 switches and pickup selector, 'Custom' at end of fingerboard, block fingerboard inlays, fat column peghead logo, brownish-red or royal tan finish.
- Introduced 1963.
- 1965: Tuneamatic bridge added.
- 1966: Renamed 'Caiola Custom'.
- 1966: Caiola Standard introduced with 2 P-90 pickups, single bound top, dot fingerboard inlays, no peghead ornament.
- 1968: Walnut finish only for Caiola Custom.
- Caiola Custom, Caiola Standard discontinued 1970.
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1961 Windor with 2 mini-humbuckers.
Epiphone Windsor thinline electric fully hollow cutaway archtop.
Collectibility Rating: 2 pickup NY part model: B, 2 pickup Gibson part model: C+, all 1 pickup models: D-.
Basically a fancier Gibson ES-125tc or ES-125tdc models, but with better pickups andbetter hardware. The 1961/1962 models really rock because of thePAF mini-humbuckers. The 1959/1960 models don't sound as loud andpowerful, but have a more jazzy and mellow tone. This model is apersonal favorite of mine.
- 16 3/8' wide, single pointed cutaway, unbound tortoise pickguard, metal peghead logo, 24 3/4' scale, rosewood bridge, trapeze tailpiece, gold plated parts, oval fingerboard inlays, natural or sunburst finish.
- 1 or 2 New York pickups (1 pu models in neck position).
- Mini Humbucking pickups.
- No peghead plate.
1959 Windsor introduction specs:
1961 Windsor specs:
Windsor Discontinued 1962.
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A single pickup 1967 Sorrento
in Olive sunburst.
- Epiphone Sorrento thinline electric fully hollow cutaway archtop.
- 1 or 2 PAF mini-humbucking pickups (1 pu models in neck position).
- Oval fingerboard inlays.
- No peghead plate.
- 3/4 size available.
- Vibrato discontinued.
- Cherry finish available.
Collectibility Rating: 2 pickup model: C, 1 pickup model: D-.
Epi's version of the ES-125tc or ES-125tdc, but with mini-humbucker pickups.
16 1/4' wide, single pointed cutaway, unbound tortoise pickguard, metal peghead logo, 24 3/4' scale, tuneamatic bridge, trapeze tailpiece, nickel plated parts, dot fingerboard inlays, vibrato optional, natural or sunburst finish.
1960 Sorrento introduction specs:
1962 Sorrento specs:
1968 Sorrento specs:
Sorrento Discontinued 1970.
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1965 Gibson-made Epiphone Granada.
Epiphone Granada and Granada Cutaway thinline electric fully hollow archtop.
Collectibility Rating: D-.
- Much like a Gibson ES-120T. 16 1/4' non-cutaway, thinbody, 1 F-hole, 1 Melody Maker pickup mounted into the pickguard, rosewood bridge, trapeze tailpiece, controls mounted into pickguard, 24 3/4' scale, dot fingerboard inlays, sunburst finish.
- Introduced 1962.
- 1965: Granada Cutaway introduced with single sharp cutaway.
- Granada and Granada Cutaway Discontinued 1970.
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1955 Epi FT-210 Deluxe Cutaway.
Epiphone FT Deluxe and FT210 Deluxe Cutaway flat tops.
Collectibility Rating: Cutaway model: A, Non-cutaway model: B.
Has the same attributes as Epi's Deluxe archtop, but in a flat top version. The cutaway model is like a cutaway J-200; a very rare and unique model. Of all pre-1958 Epi flattops, in my opinion this is the coolest!
- FT Deluxe specs: 16 1/2' wide, maple back and sides, pickguard, trapeze tailpiece, multiple bound top and back, maple neck, multiple bound rosewood fingerboard, cloud fingerboard inlays, vine peghead inlay, gold plated parts, sunburst or natural finish.
- Introducted 1939. Discontinued 1942.
FT210 Deluxe Cutaway specs: 17 3/8' wide, single round cutaway, multiple bound top and back, single bound fingerboard, cloud fingerboard inlays, flower peghead inlay, gold plated parts, natural top finish (some sunburst).
- Introduced in early 1950's. Discontinued 1957.
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1967 Epi Excellente
- Epiphone FT120 Excellente flat top.
Collectibility Rating: B.
The fanciest flat top produced during this period by Gibson. Brazilian rosewood back and sides makes it collectible. 1965 to 1970 models worth less than 1963-1964 models with bigger necks. Too bad this model didn't have 'slope shoulders', or it would be top in it's class (most collectors don't like Gibson's square shoulder dreadnought designs).
- Square shoulder dreadnought shape, rosewood back and sides, tune-o-matic bridge, large pointed pickguard with engraved eagle, multiple bound top, back, and ebony fingerboard, cloud fingerboard inlays, large pearl and abalone peghead inlay, single bound peghead, gold plated parts, natural top finish. Introduced in 1963. Discontinued 1970.
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1966 Gibson-made Epiphone Frontier.
Epiphone FT110 (Frontier) flat top.
Collectibility Rating: Epi-made: C-, Gibson-made: C+.
- 1942-1957 New York made FT100 specs: 16' wide, arched maple back, cherry neck, multiple bound top, single bound fingerboard, slotted block fingerboard inlays, fixed bridge with compensating saddle, vertical oval peghead inlay.
- Gibson made ('Frontier' added to FT110 model name).
- Adjustable saddle bridge.
Gibson made FT110 Frontier specs: 16 1/4' wide, 25 1/2' scale, square shoulder dreadnought shape, maple back and sides, bound fingerboard, sloted block fingerboard inlays, walnut finish on back and sides, natural or sunburst top, gold plated parts.
1958 FT110 Frontier specs:
1962 FT110 Frontier specs:
- 1963 FT110 Frontier specs:
- Large pointed pickguard with rope and cactus design.
- Standard teardrop shape pickguard, often with slashed 'C' logo.
1966 FT110 Frontier specs:
FT110 Discontinued 1970.
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1955 Epiphone Texan.
Epiphone FT79 (Texan) flat top.
Collectibility Rating: Epi-made: C-, Gibson-made: C.
The Gibson-made version is much like a J-45.
- 16' wide, walnut back and sides, triple bound top, single bound back and peghead.
- Slotted block fingerboard inlays.
- Stickpin peghead inlay.
- Maple back and sides.
- Triple bound back (some single bound).
- Single parallelogram fingerboard inlays.
- Vertical oval peghead inlay.
1942 FT79 introduction specs:
1954 FT79 specs:
- 1958 FT79 Texan specs:
- Gibson made ('Texan' added to FT79 model name).
- Round shouldered dreadnought shape.
- Mahogany back and sides.
- angled side rectangle fingerboard inlays.
- oval pearl peghead inlay.
- Slashed 'C' logo on pickguard.
- Plastic tuner buttons.
- Adjustable saddle bridge.
- Metal tuner buttons.
- Square shoulder body shape.
1962 FT79 Texan specs:
1967 FT79 Texan specs:
FT79 Discontinued 1970.
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(Gibson-made) Models
Epiphone Crestwood and Crestwood Custom solidbody electric.
Collectibility Rating: NY parts model: B+, Gibson parts model: C-.
Mahogany body, 2 pickups, tune-o-matic bridge and stop tailpiece, pickguard with slashed 'C' logo, rosewood fingerboard.
Gibson Epiphone Banjo Serial Numbers Lookup
1962 Crestwood Custom in Polaris White, 3+3 tuners.
- Two New York pickups.
- 1 3/4' thick symmetrical slab body with squared edges.
- Square body edges.
- Sunburst finish.
- NY style white knobs.
- Tunematic bridge.
- Metal peghead logo.
- 3 tuners on a side peghead style.
- Asymmetrical pickguard with slashed-C logo.
- Gold plated parts.
- Inked serial number a la solidbody Gibsons.
- Dot fingerboard inlays.
1958 Crestwood introduction specs:
1964 Crestwood Custom, batwing peghead.
- Late 1959 Crestwood Custom specs:
- Renamed Crestwood Custom.
- 1 3/8' thick body with rounded edges.
- Symmetrical pickguard.
- Cherry Red finish.
- Two mini-humbucking pickups.
- Pearl peghead logo replaces metal plate logo.
- Oval pearl fingerboard inlays replaced dot inlays.
- Vibrato tailpiece standard.
- Gibson style knobs.
- No pickguard logo.
- Serial number stamped into back of peghead wood a la solidbody Gibsons.
- White finish optional.
- Vibrato uses a rosewood insert.
- Asymmetrical body with upper bass horn slightly longer than upper treble.
- Asymmetrical pickguard.
- Vibrato tailpiece optional.
- Bound fingerboard.
- Goofy looking 'cheap amp' style barrel knobs often used.
- 6 on a side ('batwing') tuner configuration.
- Nickel plated parts.
- Maestro vibrato has no rosewood insert.
- Maestro vibrato standard.
1961 Crestwood Custom specs:
1962 Crestwood Custom specs:
1963 Crestwood Custom specs:
1964 Crestwood Custom specs:
1965 Crestwood Custom specs:
Crestwood Custom discontinued 1970.
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Epiphone Crestwood Deluxe solidbody electric.
Collectibility Rating: D+.
- Basically a three pickup Crestwood Custom.Asymmetrical body with bass horn slightly longer than treble, rounded body edges, 1 3/8' deep, 3 mini-humbucking pickups, tuneomatic bridge, vibrato, asymmetrical pickguard, bound ebony fingerboard, block fingerboard inlays, triple bound peghead, 6 on a side ('batwing') tuners, cherry or white finish.
- Introduced 1963.
- Discontinued 1969.
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1964 Wilshire with a stop tailpiece and the 'cheap amp' knobs.
Epiphone Wilshire solidbody electric.
Collectibility Rating: 3+3 tuner models: C+, Batwing peghead model: D.
- 1959 Wilshire introduction specs:
- Symmetrical slab body with square body edges, 1 3/4' deep
- 2 white soapbar P-90 pickups
- Symmetrical pickguard
- Tuneomatic bridge
- NY style knobs.
- Vibrato optional
- Dot fingerboard inlays.
- Unbound rosewood fingerboard.
- Pearl peghead logo.
- Sunburst or Cherry red finish.
- 1 3/8' deep body with round edges.
- Cherry red finish.
- Black soapbar P-90 pickups.
- Stop tailpiece (vibrato no longer optional).
- Gibson style knobs.
- Two mini-humbuckers.
- Maestro vibrato optional.
- Asymmetrical body with upper bass horn slightly longer.
- 6 on a side ('batwing') tuner configuration.
- Gold silkscreen Epiphone peghead logo.
- Goofy looking 'cheap amp' style barrel knobs often used.
- From 1963 to 1969, the Wilshire and the Crestwood Custom are nearlyidentical, expect the Wilshire has dot fingerboard inlays, a goldpeghead logo, and no fingerboard binding. Also the Wilshire isoften seen with a stop tailpiece (where the Crestwood Custom almostnever has this option).
1960 Wilshire specs:
1961 Wilshire specs:
Mid-1962 Wilshire specs:
1963 Wilshire specs:
- 1965 Wilshire specs:
- Red Silver Fox finish optional (Cherry red stain with yellow/silver pore filler).
- Stop tailpiece (vibrato no longer optional).
1966 Wilshire specs:
Discontinued 1970.
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Epiphone Coronet solidbody electric.
Collectibility Rating: Gen1: B, Gen2: C+, Gen3: C-.
- Mahogany body, 1 pickup, combination bridge/tailpiece (like a Les Paul Junior), rosewood fingerboard, dot fingerboard inlays.
- 1 New York pickups.
- 1 3/4' thick symmetrical body.
- Square body edges.
- Sunburst or black finish.
- NY style knobs.
- 3+3 tuners peghead style.
- Metal peghead logo.
- Asymmetrical pickguard.
- Inked serial number a la solidbody Gibsons.
- Black P-90 pickup replaces New York pickup.
- 1 3/8' thick body.
- Rounded body edges.
- Symmetrical pickguard.
- Cherry finish.
1958-1959 Epiphone Coronet, first generation
1958 Coronet introduction specs:
1960-1962 Epiphone Coronet, second generation.
1960 Coronet specs:
- 1961 Coronet specs:
- Pearl peghead logo.
- Gibson style knobs.
- Serial number stamped into back of peghead wood a la solidbody Gibsons.
- Vibrato optional.
- Asymmetrical body with upper bass horn slightly longer than upper treble.
- 6 on a side ('batwing') tuner configuration.
- Chrome P-90 pickup.
- Goofy looking 'cheap amp' style barrel knobs.
- Green Silver-fox finish optional (a translucent green finish with silver pore filler).
- The Coronet also came labeled as an Epiphone Dwight model. Sameguitar, different branding, says 'Dwight' on the truss rod cover.
- Vibrato discontinued.
1962 Coronet specs:
1963-1969 Epiphone Coronet, third generation
with 'batwing' peghead, Silver Fox finish.
1963 Coronet specs:
1964 Epiphone Dwight (Coronet) with vibrato, Green Silver Fox finish.
1964 Epiphone Dwight specs:
1966 Coronet specs:
Coronet Discontinued 1970.
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1967 Olympic Double in cherry red finish,
(2 pickup) model. Note the black, narrow, Melody Maker style pickups.
- Epiphone Olympic (1 pickup), Olympic Double (2 pickups),Olympic 3/4 (1 pickup, 3/4 scale) solidbody electrics.
- Introduced 1960. Single cutaway (like Gibson's Melody Maker), 3+3 tuner configuration.
- 1963: Asymmetrical double cutaway body with upper bass horn slightly longerthan treble horn, logo between pickups, goofy looking 'cheap amp' style barrel knobs.
- 1964: 3/4 scale length version discontinued, 6 on a side 'batwing' peghead,Maestro vibrato optional.
- 1965: vibrato standard.
- 1966: cherry finish optoinal.
- Discontinued 1970.
Collectibility Rating: D-.
- Combination tailpiece/bridge,dot fingerboard inlays, available one or two pickups and in 3/4 scale length version, thin black Melody Maker style pickups, sunburst finish.
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1963 Epiphone Olympic Special.
Epiphone Olympic Special solidbody electric.
Collectibility Rating: D-.
- One Melody Maker thin black style pickup, dot fingerboard inlays, thin Melody Makerstyle peghead, logo reads upside down to player,sunburst finish.
- Introduced 1962. Symmetrical body with sharper cutaway than other Episolidbody models.
- 1964: Maestro vibrato optional, goofy looking 'cheap amp' style barrel knobs.
- 1965: Asymmetrical body with bass horn slightly longer than treble horn(still with sharper tips than other Epi solidbody models), vibrato standard.
- Discontinued 1970.
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Copyright 1995-2005 all rights reserved.
Epiphone is one of American's oldest and most revered instrument makers. Since 1873, Epiphone has made instruments for every style of popular music and in 2013 will celebrate its 140th anniversary.
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The name Epiphone evokes both history and the spirit of invention. The “House of Stathopoulo” has played a central role in every great musical era from the mandolin craze of the early 1900s to jazz age guitars of the 1920s; from swing era archtops through post-war pop, jazz, r&b, and early rock n' roll; and from the 'British Invasion' to heavy metal, punk, grunge, and thrash. And now, in the 21st century, new Epiphone technical breakthroughs such as the ProBucker™ pickup, series parallel switching, built-in KillSwitch™ pots, the Shadow NanoFlex™ and NanoMag™ pickup systems, and premier acoustic/electric guitars with the eSonic™ preamp have brought Epiphone to a new generation.
The story behind Epiphone's improbable rise from a small family repair shop to a worldwide leader in the manufacture of quality instruments could easily be transformed into the great American novel. But this story is true.
The story of Epiphone begins in the mountains of Greece and threads its way to Turkey, across the Atlantic to the immigrant gateway of Ellis Island, and into the nightclubs, recording studios, and coast-to-coast radio broadcasts of Manhattan in the 1920s and 30s. It's the story of both hard earned craftsmanship passed from father to son and the ceaseless American drive for innovation.
The variety of musicians that walk through Epiphone's history is remarkable. Jazz greats like George Van Eps, country pioneers like Hank Garland, bluesman John Lee Hooker, and scores of mandolin, archtop and steel guitar players used Epiphone instruments daily over nationwide broadcasts. There are unlikely heroes and tinkerers in the Epiphone story too, like guitar pioneer Les Paul, who worked nights in the Epiphone factory in New York City to create 'the Log', his primordial version of what would eventually be called the 'Les Paul.' The Beatles' bassist extraordinaire Paul McCartney choose an Epiphone Casino as his first American made guitar and John Lennon and George Harrison quickly followed. The Casino appeared on every Beatles album from Help through Abbey Road. And today, Epiphone can be heard on albums by Gary Clark, Jr., Alabama Shakes, My Chemical Romance, Joe Bonamassa, Nirvana, Johnny Winter, Zakk Wylde, Machine Head, Dwight Yoakam, The Strokes, Slash, Jeff Waters, Paul Simon, Radiohead, The Waco Brothers, Lenny Kravitz, and Paul Weller.
If a time machine could transport today's Epiphone players to Epi Stathopoulo’s Manhattan showroom of 60 years ago, when it was a gathering place for all the Big Apple's best players, generations of musicians would agree that Epiphone has always been the “House of Stathopoulo.” And today, Epiphone is still innovating, still delighting musicians, and still frustrating competitors with daring designs and superb quality.
'Epiphone always made a good guitar,' Les Paul once said. And that after all, is what all musicians are looking for.
The opening chapter of the Epiphone story begins about 140 years ago in Kastania in the mountains overlooking the ancient city of Sparta, Greece. Family legend tells that in 1865, Kostantinos Stathopoulo left Kastania and journeyed to Magoula in the Eurotas valley to register the birth of his son, Anastasios. Little else is known of the family until 1873, around the time of Anastasios's 12th birthday, when the Stathopoulo family left Greece for the coast of Turkey where they settled in Smyrna, a bustling seaport with a strong Greek immigrant population of merchants and craftsmen. There, Kostantinos established himself as a lumber merchant. Kostantinos would often take Anastasios with him on work trips throughout Europe, where the boy observed his father's trade and learned about tonewoods. During this time, the family established a store in Smyrna selling and repairing lutes, violins and bouzoukis. By 1890, Anastasio's local reputation as a talented luthier was providing enough business that he opened his own instrument factory. He married and started a family. His first son, Epaminondas, was born in 1893, followed by Alex, Minnie, Orpheu, Frixo and Ellie.
High taxes imposed on Greek immigrants under the Ottoman Empire made life difficult for the Stathopoulo family and at the age of 40, Anastasios boarded a ship to the United States. Public records from 1904 list A. Stathopoulo living at 56 Roosevelt on Manhattan's Lower East side, home to many other Greek and Italian immigrants. Once in America, Anastasios continued his instrument trade. He quickly assimilated the pace of American business practices. He filed his first and only patent March 25, 1909 for an Italian style bowl back mandolin. Anastasios's instruments now carried labels in English:
A. Stathopoulo
Manufacturer, repairer
of all kinds
of musical instruments
Patentee of the Orpheum Lyra
New York, 1911 U.S.A.
Epi, as the oldest child was known, easily merged into American life, attended Columbia University, and graduated with honors. With Anastasios crafting and selling his instruments on the ground floor and family living upstairs, the line between work and home life became increasingly blurred. Epi and Orpheus ('Orphie') were soon helping out in the shop, now located at 247 West 42nd Street.
Epi was only 22 when his father Anastasios died. As the oldest son, Epi was charged with keeping the business going. Already a keen student of his father's work and eager to establish himself in the marketplace, Epi replaced the old instrument label of his father's with a new one: 'The House of Stathopoulo, Quality Instruments Since 1873.' Already an amateur designer and inventor during his apprenticeship, Epi now took a lead role in the company and was granted his first patent for a banjo tone ring and rim construction - 1,248,196 given to E. A. Stathopoulo.
At his mother's death in 1923, Epi assumed ownership of the controlling shares of the business and phased out most of the old world style mandolins. Instead, he introduced the Recording line of banjos, then the most popular instrument in post-World War I America.
The Recording line was listed in advertisements alphabetically: Recording (A) at $125, the Bandmaster at $200, the Concert at $275, and the De Luxe, which sold for $350. Epi continued to expand as his business and reputation for quality work grew. The family acquired the 'stock, goodwill, and modern machinery' of the Farovan Company instrument plant in Long Island and incorporated. Epi gave the now growing business a new name--Epiphone. “Epiphone” referenced not only his own name, but the Greek word for sound--phone. It was also an echo of the Greek word epiphonous, meaning one sound on another, the son building on the dreams of the father.
Epi took the title of president and general manager and announced in trade publications and advertisements that 'the new policy of business and all interest will be devoted to the production of banjos, tenor banjos, banjo mandolins, banjo guitars, and banjo ukuleles under the registered trademark name of 'Epiphone.'
Epi retained most of the Long Island factory's skilled workers. Production increased. Quality improved. Ornate banjo models were introduced in 1927 including the Emperor tenor banjo ($500), the Dansant ($450), the Concert Special ($300) and the Alhambra ($200). Business was good and the Stathopoulo brothers, with Orphie now serving as Vice President, moved the company to 235-237 West 47th Street.
By 1928, The Epiphone Banjo Company were making banjos for Selmer/Conn and the Continental Music line of stores, a major distributor of instruments. In 1928, Epiphone also introduced their first line of acoustic guitars to compete with the company that Epi determined was Epiphone's greatest rival, Gibson.
The Recording Series
The Recording series of acoustic guitars, like the banjo line, were each identified by a letter ('A' through 'E') and were notable for their unusual body shape. The instruments combined spruce and laminated maple and were available as an archtop or flattop.
The Recording guitars were not initially a success. One problem was a lack of celebrity endorsement. The other was a lack of volume. The Recording guitars were too small and arguably too ornate, particularly in comparison to the size and volume of Gibson's popular L-5, which was introduced in 1922 and had quickly become an industry standard. The L-5 had projection, tone, and complimented rhythm sections with a tuneful timbre and snare drum like attack.
Though banjo sales remained steady immediately after the stock market crash of 1929, Epi was keenly aware that archtop guitars were becoming more popular and that his main competitor in quality and design was Gibson. In 1931, the Epiphone Banjo Company announced the introduction of the Masterbilt line of guitars featuring seven carved top, f-hole style archtops ranging in price from $35 to $275.
It wasn't hard to see the L-5's influence on the new Epiphone line. Epi's guitars had similar f-holes, pegheads, and even a similar name to the Gibson Master Model range. Epi did continue to distinguish his company with model names that musicians could easily remember and be proud to own.
The Epiphone Masterbilt line included the De Luxe ($275), Broadway ($175), and the Triumph ($125). The De Luxe, according to advertisements, featured a 'carved spruce top, flame curly maple back, violin construction throughout, large 'f' holes, black and white binding and sweet resonant tone.'
Throughout the 1930s, the rivalry between Epiphone and Gibson would veer from friendly sparring to all-out guitar warfare. Gibson retaliated with a new archtop design in 1934, increasing the body width of its existing models and introducing the king-sized Super 400 (named after its $400 price tag). Not to be outdone, Epi replied the following year with the top-of-the-line Emperor, which raised the stakes with a slightly wider body and a provocative advertising campaign featuring a nude woman holding an Epiphone archtop. In 1936, Epiphone struck again, increasing the size of its De Luxe, Broadway and Triumph models by an inch making them 3/8' wider than Gibson's archtops and one of the most distinctive instruments on the market.
By the mid '30s, Epiphone guitars were considered to be among the best in the world, and Epi himself was enjoying the patronage of the most respected players on the scene. Epiphone went inter-continental with a distribution deal with Handcraft Ltd. of London, and a new showroom opened at 142 West 14th Street in a seven-story beaux-arts style building near Little Italy.
The new building included an advertised 'state-of-the-art' research and development laboratory. The Epiphone showroom on the first floor was both the company's headquarters and a hangout for musicians. On Saturday afternoons, Epi would open display cases and let the leading guitarists of the time artists like Al Caiola, Harry Volpe, and Les Paul, jam as people listened for the sidewalk.
Epi was also aware of the success of Rickenbacker's electric steel guitar models. In 1935, Epi made his move with the introduction of the Electar Series (originally known as Electraphone). Among Epi's unique design features included individually adjustable pole pieces on the Master Pickup. The Electar line furthered the reputation of Epiphone as an innovative brand. By the late '30s, sales had doubled. Collaborations between Epi and other companies became more frequent. In July 1936, Epiphone showed off several new models at the National Association of Music Merchants (NAMM) show at the Stevens Hotel in Chicago, including an electrified piano created with the Meissner Inventions Company in Milburn, New Jersey. Epiphone also began selling amplifiers after meeting electronics enthusiast Nat Daniel, a friend of Les Paul's. Daniel perfected an innovative push/pull wiring design, which today is a fixture in many amplifiers. Epiphone reps heard Daniel's amps and hired him to build chassis as well as new designs. (Daniel would go on to start the Danelectro line of guitars and amps in the 50s).
Toshiba e studio 355se manual. By the end of the '30s just prior to America's entry into World War II, the rivalry between Epiphone and Gibson showed little sign of abating. In 1939, the two firms introduced similar 'pitch-changing' Hawaiian guitar designs, a precursor to the pedal steel. When Gibson introduced a line of violins, Epiphone struck back with a line of upright basses. It took the outbreak of the World War II, the scarcity of key materials, and the virtual shut down of guitar production around the world to ring the bell on the rivalry.
HARD TIMES
Vintage Epiphone Banjo
The war changed everything. Before the bombing of Pearl Harbor in 1941, Epiphone was a consumer favorite and industry leader. By the end of the war in 1945, the company had lost its greatest asset when Epi died of leukemia. Epiphone shares and control went to younger brothers Orphie and Frixo.
Problems emerged slowly at first. Epiphone continued to clash with Gibson, each introducing electric cutaway versions of their top archtops. Pickups continued to be refined and players continued to appear onstage with Epiphone guitars. From the outside, it seemed to be business as usual.
But cracks soon appeared both on the production line and in the boardroom. The Stathopoulo brothers argued over the future of the company and in 1948, Frixo sold his shares to Orphie. The company's reputation for craftsmanship and innovation that Epi had built in the '20s and '30s did not survive the war years. Tastes were changing and Epiphone's products seemed traditional and out of step. The Epiphone factory moved from Manhattan to Philadelphia in 1953 to avoid a union clash but many of the company's craftsmen refused to leave New York.
EPIPHONE AND GIBSON
In the early '50s, Epiphone's former champion and favorite late night tinkerer Les Paul became a household name with a television show, a radio program, and chart-topping hits, all played with his name-brand Gibson Les Paul. Les had been perfecting his solid body guitar design in the Epiphone factory and when Fender emerged with their Telecaster, Gibson President Ted McCarty made Les Gibson's first solid body electric guitar endorser.
As Epiphone's fortunes continued to decline, Les suggest McCarty reach out to Epiphone. McCarty took the advice and reached out to Orphie, expressing Gibson's interest in Epiphone's critically acclaimed upright bass division which Gibson had not picked up again after World War II. When Orphie replied in 1957, McCarty was offered the entire Epiphone company, including the remaining inventory of the Philadelphia factory, for $20,000. McCarty accepted on behalf of Gibson. The Stathopoulo family was out of the instrument business.
Though McCarty's original intention was to bring the Epiphone bass models into the Gibson catalogue, by 1957, he changed his mind. Instead, as McCarty wrote in a memo that year, the Epiphone brand would be revived with a new line of instruments.
McCarty's marketing plan was to offer Gibson-made Epiphones to dealers who were keen to win a Gibson contract, but had not yet proven themselves as profitable dealers. (The right to sell Gibson models was hotly contested between dealerships at this time). It was the perfect solution. Dealers would get a Gibson-quality product without treading on the toes of dealers who already sold the Gibson line. The entire Epiphone operation was relocated to Kalamazoo, Michigan. Epiphone was back in business.
Gibson Epiphone Mandolin Serial Numbers
A NEW BEGINNING
Epiphone wouldn't stay in the shadow of Gibson for long. When a new line of instruments started filtering through to dealers in 1958, it became clear that the two brands now had three separate identities. On one hand, Epiphone now listed budget-conscious versions of existing Gibson models. Alongside these models, however, were also recreations of classic Epiphone designs such as the Emperor, Deluxe and Triumph along with a selection of new designs like the semi-hollow Sheraton, the solid body Moderne Black, and flat-top acoustics like the Frontier, whose square-shouldered body style was a first for any instrument from the Gibson Kalamazoo factory. Combined with a new line of amplifiers, it was clear that Epiphone designers were quickly establishing their independence.
The grand unveiling of the Epiphone line took place at the NAMM trade show in July 1958 with the electric Emperor as the flagship model. The show itself would generate orders of 226 guitars and 63 amps, a modest return. Over the next few years, Epiphone would sell 3,798 instruments in 1961 and by 1965 account for 20% of the total instruments shipped out of Kalamazoo. Even more impressive was the prestige of the guitars themselves. In the early 1960s, the Epiphone Emperor cost significantly more than the top-of-the-range Gibson Byrdland, while 1963's deluxe flat top Excellente, was $100 more than the J-200, and made of rarer tone woods.
The early 60s brought the explosion of folk music, and Epiphone was ready to cater to it, introducing the Seville classical guitar (with and without pickups) in 1961, as well as the Madrid, Espana and Entrada models. In 1962, Epiphone listed a twelve-string, the Bard (on which Roy Orbison composed 'Oh, Pretty Woman' and 'Only The Lonely') along with a smaller version, the Serenader. In 1963, the Troubadour, steel string flat top guitar was introduced.
The strength of the Epiphone acoustic range was matched by the electric line, the most famous of these was the double-cutaway Casino, first issued in 1961. When the Beatles appeared playing Casinos around 1966, it appeared like Epiphone's recovery was assured with a new identity and the world's biggest pop act as their biggest fans. The catalog now listed 14 electric archtops, six solid-bodied electrics, three basses, seven steel-string flat tops, six classical, four acoustic archtops, three banjos and a mandolin.
The early to mid-1960s were boom time for Epiphone, with unit sales increasing fivefold between 1961 and 1965. But the rise of foreign-made copies in the late '60s took over 40% of the Epiphone/Gibson market share and closed many companies down entirely.
There were other problems. Gibson's Ted McCarty had retired to run Bigsby. Budgets were cut. Gibson's parent company, CMI, was bought in 1969 by the Ecuadorian ECL Corporation, a beer company, and Epiphone found itself in a predicament. It was now perceived to be secondary to Gibson but could not sell instruments cheap enough to compete with inferior, foreign imitations.
Before the sale to ECL, the possibility of producing Epiphone product in Japan had been taken under consideration and by 1970, Epiphone production in the United States shut down and moved to Matsumoto, Japan. However for the first few years of production, Epiphone guitars made in Japan were actually rebranded designs already produced by the Matsumoku Company. The Epiphone line was now a virtual orphan in the guitar world.
Models gradually improved. In 1976, Epiphone introduced the Monticello, a series of scroll-body electrics, the Presentation, a new range of flat tops, and the Nova series of flat tops along with the Genesis solid body line. By 1979, the Epiphone product list was gathering speed, with over 20 steel-string flat tops and electrics.
EPIPHONE IN KOREA
Gibson Epiphone Banjo Serial Numbers Rb 250
In the early '80s with the rising cost of Japanese production, Epiphone relocated to Korea in 1983 in a collaboration with the Samick Company. In 1986, three Harvard MBAs; Henry Juszkiewicz, David Berryman and Gary Zebrowski, bought Gibson/Epiphone from ECL/Norlin. Reviving Gibson was the first priority for the new owners, and with Epiphone making less than $1 million revenue in 1985, the 100 year old company was once again set aside.
But new owners Juszkiewicz and Berryman soon identified Epiphone as a sleeping giant and travelled to Korea to decide how the company could be pushed to match the success of other Asian brands like Charvel and Kramer. As they absorbed Epiphone's pedigree, models were revived and new production techniques started getting results. Soon, sales were growing again.
By 1988, the Epiphone listed a new PR Series of square-shouldered acoustics along with an interpretation of Gibson's J-180, several classical guitars, a banjo, and a mandolin. There was also a solid selection of Gibson-inspired models like the Les Paul and SG, new archtops like the Howard Roberts Fusio, and a revival of the Sheraton.
TAKING ON THE WORLD
By the 90s, the Epiphone line offered 43 different models across a range of styles and budgets. Gibson President David Berryman opened an Epiphone an office in Seoul and appointed Jim Rosenberg as product manager, and set about re-introducing Epiphone to the world as an innovative guitar maker.
The creation of an office in Seoul turned out to be a major turning point for the new Epiphone as engineers and luthiers collaborated to re-make the company. During this intense re-organization, Epiphone product changed beyond all recognition. Factory processes were assessed and refined and Epiphone's own engineers took a hands-on role in the development of pickups, bridges, toggle switches, and fret inlays, as well as unique features like the metal E logo and frequensator tailpiece. Financially and emotionally, Epiphone invested everything into these new models. And the marketplace responded.
Used Gibson Epiphone Banjo
By the time of the 1993 NAMM show, a new range acoustic and electric instruments debuted to great reviews and customer response.
In 1993, a limited run of Rivieras and Sheratons were produced in Gibson's Nashville factory, with the company's Montana plant also building 250 Excellente, Texan and Frontier flat tops. These Epiphones were only intended as a special event but the public reaction prompted Rosenberg to reissue more classic designs.
Those who attended the 1994 NAMM witnessed the re-introduction of Epiphone legends like the Casino, Riviera, Sorrento, and Rivoli bass. In the months that followed, word spread, and a diverse range of artists, from Chet Atkins to Oasis' Noel Gallagher signed up to be part of Epiphone, a confirmation that Epiphone was still a great instrument company.
Epiphone was arguably just as successful in the late '90s as at any point in its history. The Advanced Jumbo Series and several important signature models were released including the John Lee Hooker Sheratons and the Noel Gallagher Supernovas, both a critical and popular success. The John Lennon 1965 and Revolution Casinos matched unbeatable authenticity and quality and reunited Epi with one of the greatest artists of all time, underlining the company's own re-emergence as a music legend.
In 2000, Epiphone introduced the Elitist range and strengthened its position in the acoustic market with the acquisition of veteran Gibson luthier Mike Voltz. Voltz's contribution greatly to Epiphone's re-development reviving the electric guitar and the reintroduction of the Masterbilt range along with the 2005 re-issue of the Paul McCartney 1964 USA Texan.
International demand for Epiphones was so high that the company opened a new factory in China in 2004, the first time that Epiphone had its own dedicated factory since the merging with Gibson in 1957.
Today, Epiphone has something for every player in every genre. Working musicians prize Epiphone for its affordable versions of Kalamazoo factory favorites and new models like the Wilshire Phant-o-matic and the Ultra III. Collectors of vintage guitars snap up the authentic Elitist reissues of the Emperor, Casino and Excellente. Epiphone quality rivals that of any guitar manufacturer in the world, while rock 'n' roll fans delight in the company's signature models like the Marcus Henderson Apparition, the Zakk Wylde ZV Custom and the Joe Bonamassa Goldtop.
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In 2013, as Epiphone celebrates 140 years as the working musician’s favorite instrument maker, Epiphone still has the pioneering spirit of Epi Stathopoulo. And now, from its new headquarters in Nashville, TN, Epiphone will continue to set the standard for affordable quality and innovation. Epiphone thrives on risk while always delivering a great instrument.
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'Epiphone is still the House of Stathopoulo. We're designers. We're players. We're mavericks. And, we're passionate about everything we do.'