Review: 2005 Epiphone Emperor Regent Archtop

Review: 2005 Epiphone Emperor Regent Archtop

The Epiphone Emperor Regent is an interesting anachronism. It's one of the most unique guitars in the sub-1000 range of jazz boxes. Its roots go back to the late 30's and 40's style archtops, and its electronics date from the late 50's. The Regent reflects that latter era.

In the 50's, Epiphone was a fierce competitor against Gibson. Its marketing approach was to provide solid top acoustic arch-tops and laminated topped electrics at a lower price than the competition. To this day, those guitars are generally well regarded, especially the acoustics, and fetch high prices on the auction market.

In addition, the company maintains a fair amount of independence. It introduces models that don't always mimic the Gibson consumer product line, such as this one. It's a matter of record that Les Paul worked on his first electric guitar in the Epiphone factory, not Gibson's 

In 1957, Gibson bought out Epiphone, used up its American parts supply, and then shifted production to Japan. In modern times, Epi's are now made in Korea, in most cases by the Samick Factories. That includes this model.

It’s a common slam on Epiphone that all Korean guitars are just cookie cutter units that have different brand names slapped on the headstock. That's an oversimplification. Each guitar is made to different specs, and the Regent is like no other guitar in its class. Also, the Koreans have gotten better and more costly to the point where a lot of production is now shifting to China. The Regent is a well-made guitar.

The first thing that I felt when I first saw a Regent was the overwhelming desire to own one. I promptly (perhaps rashly) traded three guitars to get it 

The Regent is an attractive recreation of a 50's jazz-box, made a bit thinner for better comfort with a gorgeous vintage finish. The acoustic tone was quiet, but pure and jazz-like, and I just knew it would be a keeper. It's pure lines and simplicity of design made all the other jazz guitars in its class seem garish.

The fundamentals are sound. Maple neck, back and sides, with a select spruce top. A floating mini humbucker is mounted on the neck so that the sound wasn't compromised by cutting into the body. The neck is a longer scale type, like most jazz-boxes, and has a very attractive and distinctive trapezoid inlay.

This uncompromising attitude extends to the pickups. The volume and tone knobs are small and mounted on the pick-guard. Technically, you could replace it with a standard non-electric type, remove the pickup, and have an old fashioned arch-top that looks a heck of a lot like an old Gibson.

The only thing I questioned was the use of the traditional frequensator tail, which may have been used back then, but still has the same flaws. The bass strings need to be longer to fit (which luckily some brands do). Also, the bridge is fragile, and can break at the right-angle bend at the tail.

I should be fair and note that the intention is to improve the bass response since the strings go over a rosewood bridge (which I like, it gives the guitar more roundness of tone, but you do sacrifice some intonation).

The pickup is the only weak link. Now, in historical context, these pickups weren't intended to amplify like a Les Paul pickup. The idea was to complement the acoustic sound with a little extra boost at low gain, and in that respect, the pickup does fine.

However, we don't live in an age where all music is performed in small clubs or rooms. The average jazzer might want a little more juice yet keep that acoustic quality. The pickup did well enough but went “electric” in higher volume and gain settings, and in particular, made the treble sound a bit harsh without use of the tone knob.

Now, you can go in two directions at this point. You can go more electric and put a stronger, warmer PU in and make it sound more like a 60's jazz-box. In my case, I put in a Seymour Duncan manufactured Benedetto floater that mounted on the pick-guard and emphasized the acoustic flavor 

Which was a great choice. I already have jazz boxes coming out of my ears for the more electric stuff, so I wanted this one to bring back the era of Django (who briefly did use an acoustic Epi) and Johnny Smith, and it did so in breathtaking fashion.

The sound you get is an acoustic tone that's smooth and crystal clear, and each note is pure sounding and “round” almost no matter how it's picked. Each chord is clean. You can hear every note, so it's also a great comping/rhythm guitar. Also, the pickup allows you to use phosphorous or bronze strings also.

It's hard to praise a guitar like this without sounding like I'm gushing, but it does bring out that kind of emotional reaction. If you're into this style of jazz, of course. That's an important point. If you want to sound like Wes, this isn't the guitar.

However, where the guitar ended up offers the ultimate proof of how good, and attractive this 700.00 guitar is. A year ago, at a jam, a guitar player heard it, and offered me a 1974 Fender Walnut Telecaster for it on the spot. Not being a fool, I took the deal. A week later, he emailed and thanked me. He told me he “was totally stoked about the guitar” and was very happy about the deal. I should note that the Tele had only average resale value due to extensive modifications, etc.

But to this day, you would think that someone who got a rare Telecaster worth two or three times what I traded for it would feel great. Instead, oddly enough, I'm the one who feels a little remorse over the deal. Especially as it's been very hard to find another Regent in my area.

It's that kind of guitar.

- Al Handa 

  2006

Note: This review first appeared on the ePinions.com site in 2006. This and other reviews were short takes that accompanied the link to a business that sold the guitar. As a rule, the guitar had to be at least examined and played by the reviewer (and ideally owned). In my case, a severe case of GAS made it possible to have at least owned the reviewed instrument for a short while. I'm reprinting these as having another source on a guitar never hurts, even if the reviews aren't definitive. Other than minor corrections, these short takes are unchanged from the original text. I figure that it might be helpful to keep the older perspective.

 

The Quitturz by Al Handa

AVAILABLE ON KINDLE UNLIMTED

AVAILABLE ON KINDLE UNLIMTED

Here's info on some of my Vella books:

The Quitturz (title not changed on ad yet)

https://www.amazon.com/kindle-vella/story/B09PC3L6PC

I, Ivy

 https://www.amazon.com/kindle-vella/story/B0B3RCBT4D

The Forbidden Lost Gospels Of Murgatroyde

 https://www.amazon.com/kindle-vella/story/B0BJ2TW4P1

The Boogie Underground Think Tank: How To Survive The End Of Civilization

 https://www.amazon.com/kindle-vella/story/B0BG6LNXTG

The Adventures Of Queen Khleopahtra: Ruler Of Egypt, Time Traveler, and Literary Detective

 https://www.amazon.com/kindle-vella/story/B0BJC122G7

Please check out and listen to my music on Spotify, YouTube, Apple Music and other music sites. Please add any cuts you like to your playlists!

Review: Ibanez Artcore AFS75T

The Ibanez Artcore AFS75T: Still Standing Two Years Later On

 The Ibanez Artcore line caused quite a stir a couple of years back. Most of the guitars wouldn't have caused a lot of comment as higher priced models, but the fact that the lower line started at 325.00 was a revelation in world where affordable Archtops not named used Harmony Rockets were scarce. Archtops had been considered a niche item, but it was obvious that there was a lot of pent up demand in this price range.

Most of the media attention was focused on the large body 75 line, and the fact that it was a lot of guitar for the price. Whether or not it was enough to make it a really good archtop was more or less lost in the hype. The hype included bragging that other companies have asked Ibanez to make them Archtop guitars for rebranding (which they’ve always done, actually, that was never any secret in the guitar world).

There was no question that the lower line was a good deal, particularly if you played rockabilly or blues. The main audience for the guitar were rockers who leaped at the chance to own an archtop that looked good and was fairly priced.

Lost in the excitement was that the upper line Ibanez guitars were high quality and offered real competition to the dominant Epiphone line. It's now 2007, and the Artcores are now just another option and what was good and bad about those archtops is pretty clear. The original inexpensive line is still considered a nice guitar if you don't overpay for it. Its average used price in this area is around 250.00, if you include a hardshell case, and as low as 175.00 if you don't.

Also, no one who plays any amount of jazz takes it seriously as a jazzbox. In fact, it's rockabilly side is promoted more. The AFS75T has also dropped in value, going from a street price of over 700.00 to around 400.00. As such, it's not a bad deal, and a used one at an even lower price would be even better.

The shallow body AFS75 was one of the more popular models back in 2005, but was a bit pricey and was admired more than purchased. Given what it was, it should have been more popular. It was a configuration that could have competed well with the Epiphone Casino, or could have been promoted as an updated Gibson ES-125 thinline. Thinline archtops like the ES-125 (note: there is a full body version also) have always been popular on the used/vintage market and it's always been a wonder to me why Gibson or Epiphone hasn't re-released it.

The Ibanez, with its two ACH humbuckers isn't like the ES-125, which had a single P-90 and no cutaway, but it's a similar guitar. It's very playable, feels comfortable and easy to play.

However, Ibanez chose to go with a multi-dimensional type that could play different styles, and thus it has an all maple body and neck. With that kind of wood, even medium output humbuckers can lose their jazz character and become edgier (since Ibanez didn't choose to use their very fine jazzier humbuckers on this one). It's a bit bright for a lot of jazz applications. However, that’s probably a pickup issue as more than a few expensive jazz boxes use laminated maple to reduce feed back.

As a result, most comparisons are with the ES-335, a semi-solid Gibson type, and only beginners or intermediates are going to think the two are comparable. I've played both (and owned an ES-330), and the Artcore sounds pretty good, but isn't anywhere close to a Gibson.

This guitar in stock configuration would make a nice modern jazz guitar in the Methany mold, or be a good rocking blues instrument. Like all Ibanez's, it is well made, and worth upgrading. The key is to make sure you put in pickups like a Seymour Duncan Seth Lover or 59 model, Kent Armstrong, or Gibson alnico II magnet Burstbucker.

The tremelo bar, is of course, useless for jazz (IMHO). It's main appeal is for blues and rockabilly, which this guitar is well suited for. My lack of excitement for tremelo bars has been well shown in previous reviews, so I won't beat it to death. However, given the cost of a good one, I'd have recommended losing the tremelo bar, and putting in better pickups or a jazz-style tailpiece.

This would be an Artcore I'd recommend, even for a jazz player. It's basic concept of a thinline hollowbody is a good one. Hohner proved with its HS-40 that an all maple guitar can be an excellent medium priced jazzbox (of course, it has Kent Armstrong Vintage Humbuckers, a fine jazz pickup).

This Artcore is at a more realistic price now, as it was never better than an Epiphone Joe Pass. It is very upgradable, and when played stock, you can hear the potential that warmer pickups would bring to this guitar. Also, the blue finish is cool, and looks even better than in the pictures.

One interesting development in the Ibanez jazz line; some of the new models look a whole lot like Joe Pass's, with wood tailpieces (nice idea) and natural grain (like the most popular of the Pass line). Also, another model that's stayed around has a sharp cutaway like the Gibson ES-137. 

Perhaps since 2005 the Artcore line has had the cockiness knocked out of it, and with it a realization that the Epiphones dominate the medium price Archtop market for a reason. They know the market, and the market wants more than flash and will pay more for quality and tradition. But in the case of this Artcore, with some upgrades and the right attitude, both you and guitar will soon be on the true path of medium level jazz guitar ownership free of Epiphone envy.

- Al Handa

  2006

Note: This review first appeared on the ePinions.com site in 2013. This and other reviews were short takes that accompanied the link to a business that sold the guitar. As a rule, the guitar had to be at least examined and played by the reviewer (and ideally owned). In my case, a severe case of GAS made it possible to have at least owned the reviewed instrument for a short while. I'm reprinting these as having another source on a guitar never hurts, even if the reviews aren't definitive. Other than minor corrections, these short takes are unchanged from the original text. I figure that it might be helpful to keep the older perspective.

The Quitturz by Al Handa

AVAILABLE ON KINDLE UNLIMTED

AVAILABLE ON KINDLE UNLIMTED

Here's info on some of my Vella books:

The Quitturz (title not changed on ad yet)

https://www.amazon.com/kindle-vella/story/B09PC3L6PC

I, Ivy

 https://www.amazon.com/kindle-vella/story/B0B3RCBT4D

The Forbidden Lost Gospels Of Murgatroyde

 https://www.amazon.com/kindle-vella/story/B0BJ2TW4P1

The Boogie Underground Think Tank: How To Survive The End Of Civilization

 https://www.amazon.com/kindle-vella/story/B0BG6LNXTG

The Adventures Of Queen Khleopahtra: Ruler Of Egypt, Time Traveler, and Literary Detective

 https://www.amazon.com/kindle-vella/story/B0BJC122G7

Please check out and listen to my music on Spotify, YouTube, Apple Music and other music sites. Please add any cuts you like to your playlists!

2003 Gretsch G3900 Synchromatic Archtop

Review: 2003 G3900 Synchromatic Archtop

The Gretsch G3900 Synchromatic Archtop was part of an extensive release of three Korean manufactured product lines to be priced in the sub-1000-dollar category. Although there were three distinct lines, due to an unclear distribution and marketing strategy, there isn't a lot of information about these guitars on the internet. In fact, it's unclear how many even reached the market in any numbers, and there are models out there that may never have even been listed as new releases.

This particular archtop was part of the “Historic Series,” and was intended to be a link to one of 17 past classic designs. A lot of this was primarily marketing spin, as most only had a superficial resemblance to the past. In this case, the guitar didn't really resemble the legendary Synchromatic acoustic arch-top line that was introduced in 1939 and included everything from student to Pro versions.

Except in two details: One, the guitar features the distinctive unbound “Cats Eye” holes, and two, a distinctive (and to some, maybe a weird looking) modern-deco type wood bridge. In all other respects, it's actually a lightweight medium sized Gibson-influenced arch-top with a slight old time Gretsch flavor.

Adding to the retro vibe is the single coil floating pickup, with the tone and volume control mounted on the pickup guard. The vintage sunburst tone is very authentic looking, although not traceable to any particular classic Gretsch and it's an attractive and clearly durable finish.

The body is laminated maple, with a one piece bound maple neck. The tuners are good, hold tune well, and tune fast. The all-maple construction, laminated to reduced feedback, results in a guitar that can get jazzy tones with some tone settings and picking technique, but the pickup isn’t quite warm enough. The tone isn't quite “round” enough, but to be fair, you don't buy a Gretsch to play pure jazz. Thicker strings do improve the jazz tone noticeably, and one can always add a Benedetto to the pickguard and radically improve that capability. 

I did notice that .12's stifle the sound, although it makes the jazzier side come out. You get a muddier tone, so the best compromise turned out to be .11's. It doesn't have a big enough box for a .12 set to drive in that style.

The small body is extremely comfortable to hold and play and produces a fine acoustic tone. If you fingerpick it with your nails, it gives you the Chet Atkins sound without breaking a sweat. If you want the sound a bit smoother, you can do that, or back off the volume and get some acoustic bite. This was the capability I enjoyed most in the guitar. 

Turn up the gain, and you have a more than decent retro-rock, rockabilly or bluesy-rock guitar. The small neck makes chording and fast soloing easy, and many players will find this guitar will make them sound better.

The best way to describe the guitar is that it's a niche type. However, it can do electric finger style extremely well and old 40's and 50's style jazz-acoustic are certainly within your reach. It's a guitar that didn't sell well but might have if players could have been exposed to the subtleties it was capable of. I experimented with tuning it to an open jazz chord, and while it couldn't do the Wes thing, a lot of Django came out. Not bad.

For example, I like to relax by improvising to an open tuning or, say, some John Fahey arrangement. By backing off the volume a bit, I found that the acoustic-electric sound was capable of a sound that responded to even the lightest amount of touch.

It's one of those guitars one can bring a lot out of in terms of tone, as opposed to the other way around. That's a good point to remember in an age where a majority of players expect the guitar to make the sound for them. I found this guitar much more enjoyable than, say, the Epiphone Zephyr or some Artcores I took a chance on early on.

In 2003, Fender took over this company and this guitar and the rest of the Historic models were discontinued, leaving only the Electromatic line in place. That and the extremely pricey high-end guitars. 

There is one very interesting aspect about this guitar, and the Historic line in general. Unlike Gibson, which uses Epiphone for its budget guitars, Gretsch backed this line with its name.

As a result, it's one of those rare Korean made guitars that has kept a good resale value. Most of these guitars that come onto the market are snapped up even at prices close to it's original retail. Korean or not, you're still buying a Gretsch. It helps that the G3900 was a good guitar in the first place, but it also shows what a good name means in a crowded guitar market full of imports.

- Al Handa

  2006

Note: This review first appeared on the ePinions.com site in 2013. This and other reviews were short takes that accompanied the link to a business that sold the guitar. As a rule, the guitar had to be at least examined and played by the reviewer (and ideally owned). In my case, a severe case of GAS made it possible to have at least owned the reviewed instrument for a short while. I'm reprinting these as having another source on a guitar never hurts, even if the reviews aren't definitive. Other than minor corrections, these short takes are unchanged from the original text. I figure that it might be helpful to keep the older perspective.

 

The Quitturz by Al Handa

AVAILABLE ON KINDLE UNLIMTED

AVAILABLE ON KINDLE UNLIMTED

Here's info on some of my Vella books:

The Quitturz (title not changed on ad yet)

https://www.amazon.com/kindle-vella/story/B09PC3L6PC

I, Ivy

 https://www.amazon.com/kindle-vella/story/B0B3RCBT4D

The Forbidden Lost Gospels Of Murgatroyde

 https://www.amazon.com/kindle-vella/story/B0BJ2TW4P1

The Boogie Underground Think Tank: How To Survive The End Of Civilization

 https://www.amazon.com/kindle-vella/story/B0BG6LNXTG

The Adventures Of Queen Khleopahtra: Ruler Of Egypt, Time Traveler, and Literary Detective

 https://www.amazon.com/kindle-vella/story/B0BJC122G7

Please check out and listen to my music on Spotify, YouTube, Apple Music and other music sites. Please add any cuts you like to your playlists!