Epiphone dot electric guitar dating

This month we wrap up our saga of the Alamo by picking up with the new guitar line offered in 1965. 5, Alamo basically divided its guitars and basses into three groups; the Professional Line, the Artist Line and the Fiestas. 5 Professionals included the Titan bass, the Eldorado bass and the Eldorado guitar.Alamo, as you recall, was originally set up by Southland Music and Charles Eilenberg after World War II (ca. The Titan bass (9.50) continued to have a hollow-core construction. cutout, a single middle pickup and volume and tone controls.The three-pickup Fiesta featured the pickups in parallel, with one volume and two tones, and three small plastic sliding on/off switches near the lower horn. These, and the recycled Paragon amps for accordions and bass fiddles, were probably leftover, slightly older designs. Love No picture is available of Alamos in 1966, but by 1967 the line had again undergone a fairly radical transformation, here with a catalog graciously provided by Scott Freilich of Top Shelf Music, Buffalo. 7 received yet another facelift, although not too drastic, when compared to the amps of two years earlier. Gone is the little logo plate, in favor of a white plastic script Alamo lightning bolt perched at an angle on the upper left hand corner of the grill. The Model 2576 was the Band Piggy-Back (eight tubes, two channels, tremolo, 15″ speaker, 35 watts/70 watts peak, 4.50), Lansing option Model 2576JL15 (4.50).The Model 2587R (9.95) came in red, the Model 2587W in white, the Model 2587S in sunburst, and the Model 2587C in cherry sunburst. They are still basically rectangular cabinets covered in black vinyl, but now with a darker black and silver grillcloth. Alamo divided its amps into four lines, the PA Series, Professional Series, Artist Series and Studio Series. The Model 2571 was the Galaxie, mistakenly identified in the text as a Piggy-Back, but clearly still a combo (seven tubes, two channels, tremolo, two 12″ speakers, 22 watts/44 watts peak, 9.50), Lansing option Model 2571JL12 (4.50). 7 was the Alamo Pro Reverb Piggy-Back amplifier Model 2579.This began a long period of name and design shuffling, including the introduction of the hollow-core Titan, in 1963. The center-humped headstock gave way to 4-in-line/6-in-line headstocks with a sort of squared-off Strat styling. The Eldorado guitar and bass were both solidbodies, with Honduran mahogany bodies.Throughout the history of Alamo, the hollow-core and solidbodies would weave in and out of the story. Now standard fare was the more-or-less Strat-shaped pickguard, with slightly more refined squiggles than on the previous fetal pickguard. However, on later models, the name of the guitar was also engraved on the guard and clearly, this was meant to be read straight on with the guitar standing upright. These looked very similar to the Titan, except the lower horn was thinner.

The Model 2596 came in cherry (Model 2592T with Bigsby). 5 line offered three Fiestas, with hollow-core bodies and an even more radically squashed Strat/Jazzmaster body. These each had slightly different pickguard shapes depending on how many pickups, each without the Oriental ?? These had uncovered Acra-Tune bridge/tailpiece assemblies, with no Bigsby option.It had two pickups, two volumes, two tones, and 3-way toggle near the lower horn. These all had the shorter, more rounded Strat-style heads, with the by now typical elongated truss rod cover. The pickguards were identical to the previous, now defunct, Fiesta guitars.The Model 2598 cost 5 with the covered Acra-Tune bridge assembly. The head was the more rounded version like the Toronado. These were, for Alamo, fairly normal looking, aping fairly closely a Fender Jazzmaster shape. Hole Guitars because, as you might guess, they included, for the first time, a single f-hole on the lower bass bout.Also still pumping was the Model 2569 Paragon Bass combo (six tubes, two channels, 15″ speaker, 35 watts/70 watts peak, 4.50), Lansing option Model 2569JL15 (4.50). 7 Studio Series consisted mainly of a repackaging of other Alamo standbys, including the Model 2563 Embassy Tremolo, Model 2562 Challenger, and Model 2560 Capri, again the same except for the new cosmetics. 7 line was the Model 2493 Embassy Hawaiian guitar, with the tapered triangular body, finished in Alpine White, with the black and red aluminum fingerboard. 7, the Alamo guitar line was redefined, although it still reflected the ? Basically there were two groupings, the Professional Series and Fury guitars. 7 Professional Series consisted of one guitar and one bass. This was a slightly more conservative interpretation of the offset double cutaway Strat, with more pointed horns.Also remaining was the Model 2567 Futura with Reverb and Tremolo (eight tubes, two channels, 12″ speaker, 15 watts/30 watts peak, 9.50). One new amp joined the line, the Model 2573 Dart Tremolo, with four tubes, three inputs, tremolo with speed control, volume, tone, 10″ speaker, 3 watts/6 watts peak power, and a cost of .50. 7 was the time-honored Fiesta amplifier (and, for the time being, anyway, Fiesta guitars). 2599 Q-T Practice Aid, a solidstate little box which served as a practice amp with a set of headphones (.50). At least six different extension speaker cabinets were also available for various models. The pickguard was still the squiggly Strat-style with the engraved Oriental ??

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