Without him, the other Stathopoulo brothers shareholders with Epi but none of them the visionary leader he obviously was argued and fell out, resulting in the Epiphone brand being worn down and eventually bought out by Gibson in Instrumental to this was Les Paul himself, an avid Epiphone fan himself, who advised Gibson president Ted McCarty to buy up the name when it became available.
Thus, the great rivalry ended. Epiphone continued to make their own design instruments, though. Established classics like the Emperor remained, but fresh new designs like the Sheraton debuted, and became a huge hit. The Casino showed up in , and forever became associated with John Lennon. A move to Japan occurred in the 70s, before production shifted to Korea in Epiphone hit a high watermark of visibility with Britpop in the 90s.
Oasis clutched on to their Sheratons and Rivieras as if their life depended on them, whilst elder statesman Paul Weller was seen brandishing his Casino. Certainly, Epiphone have become synonymous with f-holed Semi acoustic guitars. Today, artists like Gary Clarke Junior have risen through the ranks on Epiphone, and even heavy hitters like Joe Bonamassa and Slash have released collaborative signature instruments with the company.
Available in a range of colours, including the all-important Cherry Red, the Dot is a guitar that almost all players can get on with. The most famous of these was the Double Cut Casino , first introduced in When the Beatles appeared playing with Epiphone Casinos around , they probably marked the best moment for the brand, showing a very promising future. Epiphone had a catalog of fourteen archtop electric guitars, six solid body electric guitars, three basses, seven flattop acoustic guitars, six classical archtops, four acoustic archtops, three banjos, and a mandolin.
The early to mids was a boom time for Epiphone, with unit sales increasing fivefold between and Epiphone was at its peak in the middle of the decade, with great recognition from the most famous artists. However, the growth of copies made abroad were stealing the market from instruments made in the United States that were much more expensive.
In Gibson, a new shareholder was entering, with whom Ted McCarty, president of Gibson — and Epiphone -, did not have a good relationship. In , Ted receives an offer from Paul Bigsby, with whom he had a friendship. Paul was retiring and wanted someone he trusted and esteemed to continue his company. So he offers the company and Ted accepts, which meant his departure from Gibson months later. The two companies merged in July of that year, resulting in Norlin Corporation.
They were both friends and had been classmates at Harvard Business School. At this time, is where the situation of Epiphone radically changes. The brand was perceived as inferior to Gibson by the new management of the company; and so it was treated, although it could not sell instruments cheap enough to compete with inferior foreign imitations. Before the sale to ECL, the possibility of producing the Epiphone product in Japan had already been considered.
The Japanese country had a good industry of musical instruments and low costs. However, during the first years of production, the Epiphone guitars made in Japan were designs already produced by the Matsumoku Company, with only the Epiphone branding on the headstock. Starting in , the models gradually improved. During those years, Epiphone introduced several instruments: The Monticello and Presentation acoustic guitars; a series of electric guitars with a scroll body; a new range of flat tops and the Nova series of acoustics along with the Genesis solid body line.
By , the Epiphone product list was expanding, with more than 20 guitars. Epi was being re-founded. There, the guitars were built by the Samick Company.
In this way, Epiphone definitely became the brand of budget guitars that we know today. However, new shareholders quickly saw the potential of the more than year-old company. Juszkiewicz and Berryman regarded Epiphone as a sleeping giant. Thus, they traveled to Korea to decide how the company could be encouraged to match the success of other Asian brands such as Charvel and Kramer. Epiphone models were revived and new production techniques began to pay off.
Soon, sales grew again. In , Epiphone included a new PR series of square-shouldered acoustics along with a version of the Gibson J, various classical guitars, a banjo, and a mandolin. By the s, Epiphone already offered 43 different models in a variety of styles and budgets. Gibson President David Berryman opened an Epiphone office in Seoul and appointed Jim Rosenberg as product manager, and set out to make Epiphone an innovative guitar maker again.
The creation of an office in Seoul proved to be a major turning point for the new Epiphone, as engineers and luthiers collaborated to remake the company. Epiphone invested in new models and the market responded well. At the time of the NAMM show, a new range of electric and acoustic instruments debuted to rave reviews and customer response. In , a limited series of Riviera and Sheraton guitars were produced at the Gibson factory in Nashville.
Also, the Montana plant built Excellente , Texan and Frontier guitars. These Epiphone guitars were only intended as a special event, but public reaction prompted Rosenberg to reissue more classic designs. In the months that followed, a diverse range of artists, from Chet Atkins to Noel Gallagher of Oasis, were invited to join Epiphone. Arguably, Epiphone was as successful in the late s as at any other time in its history. The Epiphone Casino John Lennon and the Revolution meant a return to authenticity and self-identity.
In addition, associated with one of the best artists of all time, which highlighted the resurgence of the company itself as a music legend. In , Epiphone introduced the Elitist range, made in Japan, and strengthened its position in the acoustic market with the acquisition of longtime Gibson luthier Mike Voltz. From placing production orders all the way through until delivery to the final customer.
How has that changed over the last decade? When I started, Epiphone wasn't the size we are now. And the systems that we had at that time were minimal at best. So, over the years, my goal--and that of our entire team--has been to make constant improvements. We developed our own systems and worked with factories to enhance their capabilities.
Communications and the ability to move product around the world quickly has gotten much better as well. We want to make the best instrument at the best price and bring it to the market as quickly as possible.
I've always enjoyed my job here because you always have the ability--and the encouragement--to make improvements. Quite frankly, Epiphone was one of the best marketeers when the brand first started and I think we've carried that tradition forward. There are a lot of innovations that Epi Stathopoulo originally put into the brand.
And we try to live up to that tradition today as well. The history of Epiphone is spectacular and I'm happy to be able to contribute to it. What is a typical day like for the Director of Operations at Epiphone?
We have offices in Asia and in Europe and of course the U. Most of what I see is data based on when product will be completed and ready for shipping as well as any questions the factory may have about specifications.
Distribution centers also report back to me when they have received our instruments. How long does it take to make an Epiphone instrument? The whole process of an instrument going on the line and coming off the line is usually three days, sometimes a little bit longer. I should mention that Epiphone has two factories in China that produce all of our premier product. A lot of other brands don't have that.
Were our factories built from the ground up? The first factory was quite an interesting process because we procured ground in China and built the factory ourselves. We patterned a lot of the design on our Gibson factory. And from that process--building from the ground up--we learned a lot. It was really a wonderful experience. The second factory was originally owned by someone we had done business with for quite a long time.
They wanted to get out of the business, so we bought that factory and restructured it to be more consistent with our first factory. The two factories are about an hour and a half from each other. Is making an Epiphone instrument still a hands-on process? Certainly we have fantastic machines to cut bodies and necks but once that's done, there's a lot of hands-on work. Many companies have tried to make a fully automated process but I can't see why we would do that at Epiphone.
The attention to detail that our workers put into making an Epiphone instrument is tremendous. And I consider our workers as skilled as any in the world. Most importantly, our employees take pride in that process and it shows in the quality of our instruments. You make regular visits to Epiphone factories.
Why are those visits so important? My visits help build and maintain relationships. That can't be done long distance. Yes, this is a business, but it's a passionate business. When I go around the world and watch our instruments being made, I also get to see and hear our instruments played on a worldwide stage.
It's wonderful to see our instruments in the hands of musicians and know where it came from, what went into the building of that instrument, and to know that it's being played and appreciated. We have a huge range of products that we make. I don't know of any other brand that has the breadth that Epiphone does--from entry-level acoustics, to historic archtops, Les Pauls, mandolins and banjos and Dobros, and all at great price points.
How does an Epiphone travel from one side of the world to the other and arrive in flawless condition, ready to play? A lot goes into that process. We have to pay close attention to the climate changes our instruments will go through during the processes of manufacturing and transit. We have to consider everything from how many instruments we're manufacturing at a time to how long it takes an instrument to arrive at our distribution centers in Nashville and around the world.
Over the years, we've found the shortest way to run these routes. And we have quality teams set up in all the areas where our instruments may be shipped so we can go through each instrument before they are sent out to our customers.
How do you improve a process that's now become state of the art? That's very difficult. As we discussed earlier, we're always looking for a better way of making a guitar.
Les Paul is still our inspiration--how he worked in the Epiphone factory in Manhattan at night with the dream of building a new kind of electric guitar. If there is a better way, we at Epiphone want to discover it.
We're always improving our instruments, delivery methods, and quality tracking. But in a way, all of those endeavors are easy. Our main job is to get a superb instrument into the hands of our customers so they can make magic.
When that happens is when our entire team feels the greatest sense of satisfaction. Are music retailers around the world still going strong? In the United States, the neighborhood music store is struggling. Though online sales continue to grow, the whole experience of going into a music store is still exciting, especially for first time buyers and we value that relationship very much.
And that is still the best opportunity to sit down and talk with a dealer, learn about Epiphone, and discover what instrument is best for you. That's a magical moment.
I believe that a big part of my job is to continue Epiphone's history of quality and innovation. We have a great history, great product, and a great worldwide team and they dedicate themselves to that idea everyday. I am a lucky guy, I love guitars and I have the joy of working here at Epiphone making iconic products everyday. PS - I play them too!! The idea of making Epiphones around the world is not a new one. In fact, founder Epi Stathopoulo had plans of his own to make Epiphone a world-wide manufacturer of quality professional instruments back in the late '30s just prior to World War II.
Now in the 21st century, Epiphone has more than realized Epi's grandest dreams. In our continuing series honoring our th Anniversary, Epiphone.
It's a unique factor with a unique mission: all Epiphones, all the time. Scott and Lloyd, thanks for speaking with Epiphone. Tell us about what you do for Epiphone? Scott Lewis: My initial role here in China was to bring my experience from two decades at Gibson USA to oversee all aspects related to production.
I started working for the Impulse Division in located on Elm Hill Pike in Nashville producing Gibson's line of pickups and electronic assemblies.
Two years later, I transferred to the main Gibson USA facility as I had a strong desire to learn more about the guitar building process. Through the years I was fortunate to work in just about every department from rough mill to final assembly in various capacities from machine operator, supervisor and plant manager.
In , I came to China to work for Epiphone and hooked up with Lloyd Williams to begin improving the operations in China to meet and exceed Epiphone's quality standards. Lloyd Williams: Like Scott, I have been in the musical instrument manufacturing business for more than 20 years.
I originally started with Baldwin piano company in Cincinnati, Ohio in the marketing department. I held a variety of jobs there and was serving as a production manager when the company was acquired by Gibson in At that time, I moved to Nashville to work at Gibson's headquarters as a product manager under the Epiphone division. In , I transferred to China full-time to oversee manufacturing operations.
Currently, I am the Director of China Operations with the primary responsibility of overseeing the production of guitars as well as Baldwin pianos.
I also work on a daily basis with our partner factories and suppliers to ensure Epiphone's high standards are maintained here in Asia. Tell us about your life in China. Scott Lewis: China has a unique culture that you have to adapt to achieve effective results. Like life in any foreign country, you sometimes need to change your way of thinking and adapt accordingly. From a cultural perspective since I moved here in , I have seen the popularity and sales of musical instruments and specifically guitars increase dramatically.
While piano's still have a larger presence in China, there are now more rock bands at the local clubs, bars and hotels than ever before. As a result, our China domestic sales continue to increase every year.
Lloyd Williams: The biggest lifestyle challenge for me when I first came to China was using chopsticks. I almost starved to death learning how to use them. But seriously, I enjoy Asian culture and the people and found that I adjusted to life here really easily. As to the revolution Epiphone is experiencing here in China, it is a beautiful thing to behold.
Chinese culture is rapidly, becoming more open especially in the music scene. I watch a lot of music shows in person and on TV and it amazes me how many leading and upcoming artists are using Epiphones and Gibsons as their instrument of choice. What are some of the advantages to Epiphone owning its own factories? Unlike other OEM or contract factories that produce for several brands.
Lloyd Williams: This is a trick question, right? This is our company making our guitars. We are focused on making only the best guitars and only Epiphone guitars. It is our reputation that is at stake and we play to win. You just can't get that through OEM factory production alone. A lot of guitar companies are trying to rely on OEM alone but not Epiphone.
Our proprietary Epiphone designs are built by Epiphone employees and that really makes all the difference. While we do use OEM factories to extend our capacity, production is tightly controlled by a dedicated team of Epiphone quality technicians stationed onsite within these facilities. Quality is a huge part of what we're about at Epiphone.
Tell me about the significant changes and improvements that you've overseen. Scott Lewis: Quality is 1, and to achieve that 1 status you must be efficient in every aspect of operations. We basically changed the entire footprint for production to mirror USA production in terms of flow and processes. As some processes may differ, such as binding and paint application, the end result is a great instrument.
Currently, we are engaged in changing our finished goods and work-in-process system to emulate Epiphone USA's inventory tracking and bin location system. That will significantly improve our efficiency managing production but more importantly will allow us an additional level of QC inspection every step of the way. We are also in the process of making changes to our current designs for shipping boxes that will reduce transportation damage and be much more environmentally friendly.
Lloyd Williams: The most important thing any manufacturer can do is to institute and maintain a factory-wide philosophy that is focused on quality control supported by the use of only premium quality raw materials. If the factory is geared toward total quality control and uses the best materials available then manufacturing is relatively smooth and the end product will be world class.
About 1 out of every 10 workers here are in a quality control position, which is very unusual in a manufacturing environment in Asia. Tell us about the Epiphone employees who make our guitars. Lloyd Williams: Wow, where do I begin? When a new employee starts on the line they are assigned a mentor. Depending on the skill level for their position they will apprentice from 60 days to one year.
Once they have passed their apprenticeship and mastered their skills they in turn become mentors for the next new employee. But, we have very little turnover so most of our folks have been with us for years.
All of our senior managers and supervisors started on the shop floor and worked their way up the old fashion way like Scott by learning to be master craftsmen with strong leadership skills. We also have Epiphone Master Luthiers who are dedicated to teaching critical skills such as neck jointing, buffing and final setup. These are former line leaders who have the knowledge and skills of traditional guitar making and keep the Epiphone flame burning bright.
Scott and I are extremely proud of our team and in return they are extremely proud to be part of the Epiphone family. What are some of the new challenges you see for Epiphone in terms of manufacturing?
Lloyd Williams: For producing Epiphone future models the criteria is simple: build a guitar that a musician really needs. And second, build the guitar with unique features and benefits that the musician can really use to expand their musical horizons. Oh yeah, and while we are doing this we focus on quality, quality, quality. I personally hope we continue to resurrect Epiphone models from years ago and at the same time continue to innovate.
Our biggest challenge is to continue to deliver the best instrument at the best value. Do either of you have an instrument that is your personal favorite to see made? Scott Lewis: My favorite instrument is the ES The playability is unbelievable and the sustain is just pure pleasure to the ears.
To be honest, any production of the hollow body instruments is an amazing sight to see as it is more than a just a block of wood and neck. Lloyd Williams: Oh, I guess I would have to say any model with lots of multi-binding, metallic finish and is a bear to build. But seriously, I guess I am drawn toward the Casinos. To me they are the heart and soul of Epiphone.
But I also bang on my old Epiphone AJ acoustic but that is just to annoy the cats outside my window. We have a very informed and demanding audience. Quality is serious business, isn't it?
Lloyd Williams: Everything about making a quality guitar must be taken seriously! Though it is more fun compared to making a washing machine. But to answer your question, quality demands keep growing as more and more information is out there for review.
I would have to say the biggest challenge is meeting the increased expectations of the customers. Dave Berryman, Jim Rosenberg, Scott Aisenbrey and Marty Burns keep us focused on what is needed in the musician's world so we have to be very responsive at the factory level.
We seem to always be working on something new so there is a lot of collaboration back and forth between the big office and the factories. But hey, when you have an army of guitar fanatics back at the home office you can expect to be challenged on a daily basis. Is there anything about the processes that you oversee that might surprise our audience?
Scott Lewis: Having worked at both Gibson and Epiphone, there isn't much difference in the basic processes with the exception of a few high end CNC's and few other minor variances. Epiphone remains true to what I would call a handcrafted instrument. Several of our processes today require hands on work that remains one of the most intriguing discussion points with touring guests.
Lloyd Williams: What really is unique about crafting Epiphones is that we are mixing year old techniques with modern technology. Epiphone's engineers provide us with 3D drawings based on actual historical instruments for use in making our jigs and molds for many of the re-issue models. I remember when we tooled up for Casino production how accurate the shapes had to be and it took some time to get it spot on.
We do use some automation but at the end of the day most of the work is done by hand. You are more likely to see our craftsmen with a chisel than pushing a button on some behemoth machine. The guitar market is one of the most demanding markets in the world when it comes to quality. To be successful in this market you have to deliver the best guitar that can be made without exception.
The passion shown by an Epiphone player is truly unique. Mike M , grinwer , AJ6stringsting and 2 others like this. In , family disputes as well as financial problems finally prompted Orphie to surrender distribution rights to Continental. As a result, Epiphone production was relocated from New York to Philadelphia that same year. This step was strictly rejected by many old employees, which resulted in countless layoffs. Incidentally, many of the former employees worked at Guild afterwards, but only briefly.
The resulting shortage of skilled workers meant that the quality of Epiphone guitars deteriorated significantly. And although Volpe was one of the most famous guitarists of the time, and apparently some of his signature models were also sold, the help came too late.
In , Gibson finally took over Epiphone. In addition, years later he would become the mentor of a certain Paul Reed Smith , and so immortalize his name on a guitar model forever. Unexpectedly, the Gibson employees found various guitar parts in the Epiphone factory in Philadelphia after the contract was signed. However, many forms were missing for this, which is why a completely new line of guitars was finally created.
While many of the first guitar models were strongly reminiscent of Gibson guitars, the Epiphone guitars quickly developed their own identity again. Gibson used the Epiphone brand, for example, to test new concepts and implement some of the crazier ideas. With this combination of amp and guitar, the built-in effects of the amp can be controlled with the help of potentiometers on the pickguard. Gibson made drastic changes in the Epiphone line-up from the very beginning.
Instead of large jazz guitars, the focus was now on thin semi-hollow bodies and solid body guitars. And since the focus was now much more on electrically amplifiable instruments, corresponding amps were of course not missing. In addition, the new models included some new acoustic guitars that were strongly based on the models from Martin Guitars. Some of the original archtop guitars continued to be produced, but took a back seat.
And the double basses also quickly lost their importance for various reasons. Their production was stopped at the beginning of the s. Incidentally, some of the models introduced in are still or again for sale today. However, Epiphone are based on a somewhat younger model from , which was made famous primarily by James Bay.
Over the next few years, Epiphone slowly but steadily increased sales. Other Epiphone models were even more expensive than their Gibson equivalents. Even in the early 60s, Epis was not yet considered a cheap Gibson alternative. In addition to countless other artists, the Beatles and the Rolling Stones, among others, were regularly seen and photographed with epis.
The euphoria of the early s did not last long, however. In the second half of the s, more and more guitars came to the United States from Japan.
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