Epiphone

In the pantheon of stripped-down Rock ‘n Roll machines that are all attitude and tone, a mid-60s Epiphone Coronet certainly has a rightful place.  Introduced in 1958 on the heels of Gibson’s acquisition of Epiphone in 1957 (for the paltry sum of $20,000), the Epiphone Coronet was produced for 12 years as the counterpart to the Gibson Les Paul Jr.  Like the Les Paul Jr., the Coronet was a no bells and whistles model that was originally intended as a student model. (However, as evidenced by its presence in the arsenals of such performers as Johnny Marr, Pete Doherty, Marshall Crenshaw, and most notably Jimi Hendrix, it was a student model with great potential!) These respective models shared certain characteristics, such as a lightweight slab body, and, more importantly, the classic and highly-desirable Gibson P-90 bridge pickup for most model years (NOTE: the first two years of Coronets featured a New York pickup). Yet, the unique style of the Coronet represents a somewhat rare departure from what would quickly become Gibson’s typical approach to the Epiphone line—this approach was effectively a tandem production of slightly tweaked analogues of their own models that could subsequently cleverly reintroduced as an alternative in the same market (much like a GM’s approach to cars). 

At the outset, the first two generations of the Coronet were perhaps more reminiscent of their double cutaway Les Paul Jr. counterparts. Despite the difference in body shape, with the late ‘50s Les Paul Jr. having sharper cutaway lines and being more bulbous in the lower bout, both the first and second generations of Coronet had symmetrical horns and a traditional 3x3 headstock. The first-generation edged closer to the Les Paul Jr. spec with its 1 ¾” thick body thickness, squared body edges, asymmetrical pickguard, and inked serial number. Interestingly, while Gibson radically changed the Les Paul Jr., Special, and Standard bodies in 1961 in favor of the SG body, the second and third generation Coronets only displayed subtle changes in morphology. Initially, the second-generation Coronet ushered in a thinned body at 1 3/8” thickness (this was a fairly significant 3/8” reduction), the very important transition to a P-90 pickup, and a symmetrical pickguard. Though not visually consistent with the imminent SG, the 1960 Coronet’s thinner body and the symmetrical pickguard are arguably precursors to SG features. Then, in 1963, the Coronet made its final subtle shift to a body with slightly asymmetrical horns, and, most notably, a 6-in-a-line “Batwing” headstock.  Meanwhile, other Gibson shifts in specs, such as the introduction of Maestro Vibrolas and mid-‘60s narrow necks were broadly mirrored in the Coronet and the Epiphone line in general.

By all indications, this Coronet is an early example of the third-generation production. As vintage instruments go, this guitar offers a highly desirable blend of worn in feel but generally clean and original condition.  While a drawback for some, its narrow 1 9/16” nut width translates to a fast feel and an appealing ease of play for those who wrap their thumb.  Apart from its unique mid-century curb appeal, the main draw is, of course, the iconic tone of the single bridge position Gibson P-90.  Delivering a signature dynamic blend of power, warmth, and bite, this pickup delivers a responsiveness like non other, at once capable of singing clean tone and nuance as well as ripping overdrive.  Just like its cousin, the Les Paul Jr., the Epiphone Coronet is a surprisingly versatile and comfortable instrument, especially considering its simple design (of course, as we all know, sometimes the simple approach is best!).  Yet, unlike its Gibson relative, the uniquely-styled (but highly competitive!) Coronet enjoys much less recognition, thus making examples such as this cherry 1963 extremely attractive in terms of performance value.

Condition

For its age, this lightweight Coronet has been generally well-preserved.  There are no structural issues to report; but, it does exhibit some cosmetic wear and tear, consistent with routine use. Perhaps most obvious, is the finish wear along the perimeter of the headstock and an unfortunate scratch on the face (thankfully above the logo).  However, in addition to the somewhat expected occasional faint scratch or dent, there are a few points of minor impact, primarily on the body edges, resulting in some finish marring.  One such deeper dent/mar, measuring approximately 5mm in diameter, is located on the back of the neck near the 1^st fret—this doesn’t really impact neck feel, and there is no headstock damage associated, but it is notable. And there is some relatively minor belt rash on the back, mostly surrounding the control plate and on the control plate itself.  Otherwise, the cherry red finish is still very vibrant and juicy, but there is some fading to note on the back of the neck.

While the guitar is almost entirely in an original state, it has a couple of notable yet understandable modifications. The bridge has been replaced with a modern bridge for improved intonation; and, the original pickguard, which was slightly distorted and chipped at one mounting screw hole, has also been replaced with a modern replica—in both cases, the original parts are present. The pickup and wiring harness all appear to be original, with both CTS pots dating to 1963 (the week numbers of their respective codes are partially obscured by solder, but read 13763XX). However, the black pickup cover is manifestly not original, as it should be chrome in this model year (it otherwise lacks the UC-450-1 mark that should be present on an original Gibson part of this era).  Given the originality of the pickup and wiring, this is obviously evidence of a later owner’s aesthetic preference. Finally, a Schaller strap lock has been added to bass side horn in addition to the original pin located on the back (perhaps a questionable addition for some, but not a bad idea for rocking!).  – VERY GOOD Condition

• Double Cutaway Solid Body
• Mahogany “Slab” Body with Rounded Edges
• Asymmetrical Cutaway Horns
• Cherry Red High Gloss Nitrocellulose Body Finish
• Mahogany Neck
• C-Shape Neck Contour
• Rosewood Fingerboard
• Mother of Pearl Dot Fingerboard Inlays
• Contoured “Batwing” Headstock
• Black Headstock Finish with Gold Logo
• Cherry Red High Gloss Nitrocellulose Neck Finish
• Single P-90 Dogear Pickup
• Master Volume and Master Tone Controls
• Black Bell Knobs
• Kluson “Six on a Strip” Tuners with White Oval Buttons
• Non Original Replica White Pickguard with Epsilon “E” Logo (Original Included)
• Non-Original Compensated Wraparound Bridge (Original Included)
• Bone Nut
• 24 3/4” Scale Length
• 1 9/16” Nut Width
• Weight: 6 lbs