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Hey, all.
I'm someone who grew up playing rock guitar, and I've recently decided to challenge myself a bit and learn jazz. Such a change also means that I get to look for a new guitar, which is fun, because I have played the same guitar for years (one that isn't very well suited for jazz).
So, in looking for a new guitar, I shopped around, played a few things, and eventually decided that in my price range, the Epiphone Broadway had more of what I was looking for than anything else. I bought one online because of the 45-day return policy associated with such purchases...seemed like the smart way to go.
Long story short, I get the Broadway in the mail and it is totally messed up. I mean cracks in the finish, both large and small, a bit of fret buzz here and there, strange vibrations coming from inside the thing. Horrible experience.
I had a good impression of Epiphones before this, but that impression was based mostly on the South Korean Epiphones of yesteryear. They were made of cheaper materials than the originals, but the craftsmanship was still okay. You know, you got your money's worth, and it was nice to have those less expensive versions of the high end Gibsons, and Epiphones of old. However, it seems to me that the Chinese-made Epiphones of today are sort of cheaper versions of the Korean-made Epiphones...but for the same exact price.
So, I'm at a point where I need to exchange the Broadway, but I'm a bit worried to try another Broadway, naturally. One guitar I didn't get to try out is the Godin 5th Avenue Kingpin. To exchange for one of those would cost me about $100 less than the Broadway. And it seems to get pretty high marks, but would anyone here actually recommend one over a Broadway?
It seems to me from listing to online demos of the Kingpin that it doesn't have as much low end as a Broadway, and it's not as warm. Yet, it still has a very nice tone. Albeit, perhaps more suited for blues music.
Lastly, has anyone bought a Kingpin and modified it by switching the pickup? If so, why and to what?
Thanks,
--p.
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01-05-2013 06:45 PM
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The Kingpin is an awesome guitar and hands down one of the best bangs for the buck out there. I had one for several years until I "traded up" for a vintage Harmony. I'll probably get another Godin one of these days.
The workmanship is superlative--made in Canada. It has a nice "woody" sound--the P90 pickup seems to transmit more of the acoustic tone than humbuckers. Very versatile, can go from warm and what sounds like an acoustic amplified to overdriven and growly by dialing up the volume and varying your attack.
i don't see a reason to change the pickup--it is a perfect fit for this guitar.
The size is very comfortable, especially for couch pickin'. The neck is very extra smooth with the satin finish. Might be better for people without giant hands though as it is a bit on the narrow side.
Very nice on the eyes--all finishes pretty but I like the cognac burst especially. Every non-musician who sees it goes gaga over it for some reason.
Are there any downsides? No cutaway. Could feedback in loud band situations. Never gonna do heavy metal but can darn well do anything else from blues to jazz to rockabilly. And the finish--well it has its advantages over a heavy glossy poly but I personally prefer a gloss finish in a jazz guitar, which is why I'm GAS'ing for the Godin 5th Ave. Jazz--much more expensive than the Kingpin though...
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I have two Korean Epiphones, an early Joe Pass, and a double cut Genesis. both are excellent and representative of all of the guitars I have from Korea.
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Pretty much agree with everything Jeff said...the neck is a slim profile, but actually wider at the nut than the Broadway.
I think it's far and away a better guitar than pretty much anything in it's price range, including the Epiphones.
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I've played both. If it were me, Godin all day.
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Kingpin II cw with the two p90 type single coils through a nice clean Fender SS like the Princeton Chorus 50 watt 2X10 or a Roland cube. An all-day pleasure trip.
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This. That old smokey tone is to die for.
Originally Posted by RoyaleT
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The only other occasional add-on is a cheap EQ peddal like Behringer and a touch of the built-in reverb, especially the spring type in the Fender.
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Wow! Such hospitality! Thank you all. You really, really answered all my questions.
And from your answers so far, it sounds like I should probably go with a Godin for my "price-range" (tax-bracket?).
It also sounds like if I were able to stretch a little bit and get a Godin with a cutaway to start, not only would I probably save myself wanting to upgrade years down the road, but with a Godin cutaway now, I might not truly need anything better, ever. That could save me money in the long run.
Now, truly, not needing modifications is a huge advantage, because I know a lot of people mod out the Epiphones with Gibson p'ups and locking tuners, at least another $200 investment, possibly $400. Anything that's ready to go straight out of the box, for about the same price, is hard to argue with.
Thanks again,
--p.
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I found my mint KP II for less than $600 on line from Guitar Center. They show up in great shape often, no real need to buy new at $995. Good luck with your search.
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I ordered a second Broadway along with a 5th Ave Kingpin CW II. I plan on keeping just one.
Unlike the first Broadway they sent me, the second Broadway I received is in pristine condition. Of course, it has gold hardware, pearly inlays and a glossy finish; it's probably better to look at than 5th ave Kingpin. The separate volume and tone controls on the Broadway are also nice. Another advantage is that its pickups do not buzz.
I have a Telecaster with Custom Shop '51 Nocaster pickups, but that didn't prepare me for the buzz of the Kingpin's P90s, the first P90s I've played. But, this is where the Broadway's advantages over Kingpin probably end.
Despite their buzz, the Godin p90s in the Kingpin are far less muddy than Epiphone's '57 humbuckers; the Godin pickups are more sensitive yet less likely to distort...and I like their tone better even though the single volume and tone controls make the Kingpin's sound somewhat less controllable.
Plus, the Kingpin is lighter, smaller and slightly easier to play.
I think it's a tough call choosing between these two, unless you can just accept that p90s are supposed to be loud. I'm gonna give it a few days and see if I get numb to it.
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Go for the >Godin....Today's Epis are "cheap stuff".....in a short time you'll regret buying them
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Depends.
The Broadway is 17" and the Godin, 16" width if memory serves.
I have three of the Epi Regents. (Blonde, Brunette and Redhead).
They have the grunt I need for the big band.
I don't regret owning them.
In my limited experience with smaller size archtops, I'm not sure they
have the muscle for the rhythm in a 17-piece band.
(Before someone talks about pickups, I should explain I combine transducers with magnetics,
and rely more on attack than would be common).
But I really have no axe to grind with this model archtop, it does what I want it to
and what it's supposed to do. I suspect the Broadway is the regent except with the two pickups,
and it would not surprise to discover that it's a good, useful guitar. If it's like my three Regents,
then play before you buy. All three of my harem sound different. One is warm and rounded,
another is bright, and the third, the "brunette", is the loudest. (Chuckle).
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I have a Kingpin, I really like it. I bought it as a backup for my vintage X-500, mainly to use it in small gigs, reharshals, jams, etc... whenever there is no justification for a precious guitar like the Guild. I got it used in a nice trade - some cash plus a Bandit 65 and the guitar has reveled being much more than a backup, I really like it.
I did some mods to it - ebony bridge, 012 rounds with 014 018 on top, all new electronics (pickup, caps, pots, wire). My luthier said the electronics mods were REALLY hard to do so don't go for it unless you trust your luthier (which I do). I didn't tried the stock pickup extensively but liked it - the thing is I am a sucker for Bare Knuckles pickups and had to try their Half-Note P90 (which sounds brilliant). Even the acoustic sounds is quite nice. Another surprising thing is versatility, used it on some pop / rock stuff and it performed admirably convincing - my X-500 is always jazzy, no matter what.
The main drawback is lack of a cutaway although the the body only starts on the 14th fret instead of the 12th. And I am also not a big fan of rosewood for fingerboard... Oh and it does have some feedback issues, more than my X-500.Last edited by jorgemg1984; 01-13-2013 at 01:10 PM.
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Watch the Serial Numbers. If you buy one made at the Peerless factory in the 1990's, you're OK and have a quality musical instrument. The Peerless made Epi's look better, are crafted better and are more solid over all. Originally Posted by peterpanico
Go for the >Godin....Today's Epis are "cheap stuff".....in a short time you'll regret buying them
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Roosto, Originally Posted by Roosto
Just wondering, when did they switch factories away from Peerless? The one I bought in 2010 has a sticker
saying "Made in Korea". And they stopped making the Regent altogether in 2011.
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Originally Posted by MaxT
Serial numbers and factory codesCurrent Epiphone serial numbers give the following information[14]:
Korea
- I = Saein
- U = Unsung
- S = Samick
- P or R = Peerless
- K = Korea
- MR = Korea
China
- DW = DaeWon
- EA = Gibson/QingDao
- EE = Gibson/QingDao
- MC = Muse
- SJ = SaeJung
- Z = Zaozhuang Saehan
- BW = China
Japan
- No letter or F = FujiGen
- J or T = Terada
Czech Republic
- B = Bohêmia Musico-Delicia
Indonesia
- SI = Samick Indonesia
Example: SI09034853 SI = Samick Indonesia, 09 = 2009, 03 = March, 4853 = manufacturing number.
YYMMFF12345
- YY year
- MM month
- FF factory-code
- 12345 production#
- FACTORY NUMBER CODES—for some models starting in 2008, if serial # begins w/numbers
- [NOTE: The factories identified by these codes are based on patterns that forum members have observed. The numbers appear as the 5th and sixth digits in the serial number.]
- 11 = MIC sticker on a '08 Masterbuilt
- 12 = DeaWon or Unsung (China—uncertainty remains as to which factory)
- 15 = Qingdao (China) -- electric
- 16 = Qingdao (China) -- acoustic
- 17 = China - factory unknown MIC sticker on a J160E
- 18 = China - factory unknown found on one 2009 model bass
- 20 = DaeWon or Unsung (China—uncertainty remains as to which factory)
- 21 = Unsung, Korea
- 22 = ??? Korea (factory still unknown)
- 23 = ??? Indonesia (factory still unknown, probably Samick,)
- I = Indonesia (this letter has appeared as the 5th digit on two authentic new models made in Indonesia
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Roosto,
Thanks for going to all that detail.
Didn't realise they switched around quite so much, makes me wonder why.
Or for that matter, that some were made in Bohemia.
It looks like I have two of the Peerless ones.
Oh, just a footnote...The Korean f-holes have smaller tips than the Peerless ones.Last edited by MaxT; 01-13-2013 at 03:08 PM.
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The f-holes are one of the first differences you notice with the Peerless Broadways. They are larger with binding. Just seem to be a better shape as well.- Originally Posted by MaxT
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Roosto,
Yes those f-holes are like my Peerless ones. I haven't owned the two-pickup Broadway, but I think it's the same
body, allowing for the extra pickup and so forth.
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Looking forward to reading what your decision is... they are 2 VERY different guitars acoustically, and still somewhat different electrically. I own a Peerlees Broadway (Epi) and have played the CWII at a store. Very different. Personally, I preferred the neck on the B'way, but might like the P90s better than the HBs... I put P90s in my B'way and it was a HUGE improvement. Now my B'way sounds like something in-between the stock B'way and the CWII.
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