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1946 Epiphone Zenith - What to do?
HI Everyone, I have inherited a 1946 Epiphone Zenith acoustic guitar. The guitar seems structurally sound but has been PLAYED quite a bit over its lifespan. The tuning peg plastic knobs are crumbling. One has nothing left on it. Frankly, I am not sure if I want to keep and play, want to fix and sell or just want to sell at this point. If I were to fix/play, fix/sell, I would like for it to have parts that belong. It's also missing a pick guard, which I think was removed at some point. Any advice would be most welcomed. Does anyone happen to know sites where parts are available and possibly guitar people in the northern NJ/ NYC are that specialize in these old guitars?
Thanks in advance for your help Rich https://drive.google.com/file/d/104T...ew?usp=sharing https://drive.google.com/file/d/1FTS...ew?usp=sharing |
#2
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Personally, I'd restore and play - you're not going to find anything built to that level of quality, with that kind of tone (New York Epiphones were justly renowned for their cutting power, the ability to be heard through a full-tilt horn section without amplification - I'm the former owner of a '46 Epi Blackstone, and I've played plenty of originals in my lifetime, so i can vouch for their volume potential), for what it'll cost to bring this puppy back to playing form. As far as parts are concerned, I'd start with StewMac for hardware (tuners, tailpiece - that's a replacement FYI - both of which have been reissued TMK) and archtop.com for a duplicate pickguard; another source might be Lark Street Music in Teaneck, who - along with Raritan Bay Guitar Repair on Route 9 in Freehold - would also be my first points of contact for repair/restoration...
Let us know how it goes...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |
#3
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Here's someone playing a 1944 Zenith. Might be worth it.
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Martin D18 Gibson J45 Martin 00015sm Gibson J200 Furch MC Yellow Gc-CR SPA Guild G212 Eastman E2OM-CD |
#4
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Quote:
Fixing the tuning knob(s) would be a cheap fix. Get something that at least looks original. Then try to sell it. It's really not worth much, but you might get lucky with someone who's seriously into vintage archtops. The sound coming out of newer acoustics is really in a different league than these old thin-sounding laminate archtop Epiphone Zeniths. Sorry for the harsh opinion, but there it is.
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2018 Guild F-512 Sunburst -- 2007 Guild F412 Ice Tea burst 2002 Guild JF30-12 Whiskeyburst -- 2011 Guild F-50R Sunburst 2011 Guild GAD D125-12 NT -- 1972 Epiphone FT-160 12-string 2012 Epiphone Dot CH -- 2010 Epiphone Les Paul Standard trans amber 2013 Yamaha Motif XS7 Cougar's Soundcloud page |
#5
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That’s a carved-top guitar from one of the top builders. It’s not ‘crap.’ If you expect a carved-top, parallel-braced archtop to sound like an x-braced flat top you’ll be disappointed every time. That’s not what they are about. They are about chunking our rhythm in the middle of a horn section and being heard without amplification. It will be mid-heavy and there won’t be much sustain.
If the tuners work, order new buttons from Stew-Mac rather than new tuners. It’s easy enough to remove the old buttons and install new. I would fix it up and play it, but I love that sound. I use an archtop often on Dan Hicks tunes and similar, and would love to have your Epiphone rather than my Loar 700. The tailpiece is a replacement, but so what? Paul Fox can make you a pickguard. More info: http://www.epiphonewiki.org/index/Ze...ic_Archtop.php If you are going to sell it, just sell it and let the buyer fix it up. It doesn’t need much (assuming the braces are ok). Steven |
#6
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Some thoughts for those who may not fully understand what authentic vintage archtoos are all about:
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) Last edited by Steve DeRosa; 07-30-2020 at 09:25 AM. |
#7
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Thanks so much for that candor.
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#8
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Awesome feedback, much appreciated
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#9
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Steve, thanks so much for the advice and history lesson. So glad I joined this group
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#10
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http://wiedler.ch/nyepireg/default.html is the website repository of all information relevant to New York Epiphone era instruments of all types. Huge information repository. This is from the "Model" section of the site, easier to read there and many clickable links to pictures. According to this, carved braced spruce top, pressed laminate walnut arched back and sides, sunburst, Kluson tuners (Stew Mac Golden Age tuners replicate a lot of Kluson tuners of this vintage with new, excellent replacement parts). I have a 1946 Zephyr electric, my favorite guitar to play and one that gives a lot back. Simply wonderful neck on it.
Model: Zenith First made: 1931 Last made: 1954 Designation: 1931: model on headstock, SN stamped inside body 1934: model + SN on label Body size: 1931: 13⅝" wide; 19" long (Concert) 1934: 14¾" wide; 19¼" long (Grand Concert) 1935: 15¼" wide; 19¼" long (Auditorium) 1936: 16⅜" wide; 20¼" long (Grand Auditorium) 4-string: 1936: Zenith Tenor / Zenith Plectrum Finish: 1931: sunburst top (1933–34 only: sunburst semi-opaque top) 1943–45 only: sunburst opaque top 1949: blond finish optional Headstock: 1931: rounded peak; white banners 1933: rounded peak; engraved gothic script banners; later: lighter font 1934: rounded peak; block letter logo, exclamation point 1934 (later): rounded peak; block letter logo, stickpin 1935: rounded peak; script logo, stickpin 1939: center dip; script logo, stickpin (pearl) 1945: center dip; script logo, stickpin (celluloid) 1948: center dip; script logo, cartouche (pearl) Plating: nickel Tuners: 1931: strip Waverly square, plastic buttons 1934: single Grover clipped, plastic buttons 1937: single Waverly clipped wide, plastic buttons 1937: single Grover pointed 6:1, plastic buttons 1939: single Grover pointed 12:1, plastic buttons 1940: single Waverly yoda head, plastic buttons 1943: single Kluson riveted gear, plastic buttons 1943: strip Kluson riveted gear, plastic buttons 1948: single Waverly yoda head, plastic buttons, hex bushings 1952: single Waverly bell-end, plastic buttons, hex bushings Neck: 1932: mahogany, 1 centerstripe 1940: cherry (1944–45: gold sparkle heelcap) Fretboard: rosewood, no binding 1931: dot, 4 positions (2 dots fret 7) 1936: dot, 5 positions (2 dots fret 7) 1948: dot, 6 positions (2 dots fret 12) Pickguard: 1931: black plastic, short 1939: tortoise plastic, long (1949: with E logo) Tailpiece: trapeze (1943–46: with rosewood bar) (UK only, late 1930s: Frequensator) Soundholes: 1931: segmented 1935: cello style 1949: modern style Top: spruce, carved (earliest: brace-arched); single binding Back/sides: 1931 maple, pressed laminate, single binding 1933: walnut, pressed laminate, single binding 1949: maple, pressed laminate, single binding Price: 1932: sb $50 1940: sb $59.50 1941 Oct: sb $66 1946: sb $75 1947: sb $85 1949: sb/bl $85/$110 1950: sb $95 1953: sb/bl $110/$125 1954: sb/bl $125/$140
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. Last edited by MC5C; 07-30-2020 at 02:26 PM. |
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