Epiphone olympic double

Epiphone olympic double DEFAULT

1967 Epiphone Olympic Double

The Kalamazoo-made Epiphone version of the Gibson Melody Maker. These started out being essentially identical to the Gibson version when introduced in 1960 but by 1963 they had changed to this very groovy asymmetrical body shape in stylistic harmony with their Coronet/Wilshire/Crestwood lines. Mahogany body and neck, Brazilian rosewood fingerboard with pearl dots, 1 & 9/16″ nut width, 24.75″ scale length, This one is in that red-hued late ’60s sunburst and while it exhibits some wear and has a professionally-repaired heel crack, is all-original save for Schaller tuners on the 6-in-line “batwing” headstock. The Epiphone “epsilon” on the single-ply white guard is heavily worn but still present, the pickups are factory with their cool smooth black covers, electronics are straight including the uncommon and quite stylish knobs, and the wraparound tailpiece sits in front of a factory Maestro Vibrola unit. Factory black dart/stinger on heel too, very attractive. Nice and light at 6 pounds and comes in its original (rather beat) gray soft case. 

Categories: Electrics, Gibson, OtherTags: 1967, vintage epiphone

Sours: https://www.williesguitars.com/product/1967-epiphone-olympic-double/

Epiphone Olympic

Epiphone Olympic

The Epiphone Olympic was the entry level CMI/Gibson-made Epiphone solid body - also the best selling of all 1960s Epiphone solids. In fact the Olympic, and the very similar Olympic Special don't represent just one guitar - the design changed (somewhat confusingly) several times over the nine years of production, though the basic specifications did not. Vintage Epiphone Olympic guitars are just as collectable (though not as highly priced) as other USA-built Epiphone models, especially instruments with the earlier body styles.

The Epiphone solid-body range could be directly correlated to the Gibson solid-body range sharing many features: hardware, pickup configurations, body and neck woods, construction and controls. They were all made at Gibson's Kalamazoo factory, so this is not surprising. The Olympic corresponds to the Gibson Melody Maker, both fitted with identical hardware, built with the same construction, the same design (until 1963) and having the same price tag. Both single-pickup instruments cost $149.50 in 1/10/66, double pickup models cost $179.50. The only real way to tell these guitars apart was the headstock shape and branding.

Epiphone Olympic body styles

Like the Melody Maker, the Olympic started out with a Les Paul style single cutaway body (see the 1961 Epiphone Catalogue), both models changing to the same double-cutaway design, most-likely in late 1961 (see the 1962 Epiphone Catalogue). The two superb examples shown below come from 1961 and 1963 respectively, before changing again in late 1963.

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Prior to mid/late 1963, all other Epiphone solid body guitars and basses had the same almost-symmetrical body style. The Olympic was very much the exception. Then in 1963, the (now) better-known non-symmetrical body style (with 'batwing' headstock) was introduced to all models, including the Olympic. But the 'old' (double cutaway) Olympic continued, as a single pickup guitar only, with the name Olympic Special. The only difference between a 1962 single pickup Olympic and a 1963 Olympic special was the date it was built! The Melody Maker ultimately changed body style too, (though not until 1966) when it became another guitar in the SG line.

For the rest of the decade, the Olympic kept the same familiar 'Epiphone' body style of the rest of the solid body series, though the Olympic special did change cutaway shape everso subtley.

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Of course, the changes in body style made for a very different looking instrument, but more importantly, a very different playing instrument. The first, single cutaway had quite limited neck access and only 19 frets. The neck joined the body at the 12th fret, making access to the highest notes quite tricky. The second double cutaway version had a 22 fret neck, joining the body at the 16th fret. Note how much further forward on the body the bridge is in this second version. It is overall a longer guitar. Finally, the last style has a neck/body join at the 21st fret, giving by far the best access to the top end of the fretboard. With the extra headstock length, this version had, by far, the longest total length.

Epiphone Olympic and Olympic Double specifications

The Epiphone Olympic was Epiphone's best selling (Kalamazoo-built) guitar, shipping almost 10,000 instruments between 1960 and 1969. Of course there were several variants in specification, with single (SB722) and dual (SB722D) pickups, with and without a vibrola, and (between 1960 and 1963) 3/4 scale (SB722 3/4) student models, just like the Gibson Melody Makers - though the Gibson student model remained in production right through the decade. For a break-down of the production stats, and comparison, see the Epiphone Olympic shipping totals and Gibson Melody Maker shipping totals.

The specifications for the different models are summarised in the table below.

ModelOlympic SB722Olympic Double SB722DOlympic SB722 3/4
Available1960-19691960-19691960-1963
PickupsOne Melody Maker style PU380 single coil pickupTwo Melody Maker style PU380 single coil pickupsOne Melody Maker style PU380 single coil pickup
Scale24 3/4"24 3/4"22 3/4"
BodySolid mahogany.
1960-1961 Les Paul style single cutaway: 12 3/4" wide, 17 1/4" long, 1 3/8" thick
1961-1963 Les Paul style double cutaway: 12 3/4" wide, 17 1/4" long, 1 3/8" thick
1963-1969 Wilshire / Crestwood style double cutaway: 12 3/4" wide, 15 5/8" long, 1 3/8" thick
NeckOne-piece mahogany, rosewood fingerboard with dot inlays. No binding. Early models had a double sided headstock, changing around late 1963 to the Epiphone batwing one-sided headstock
Frets19 (1960-61)
22 (1962-69)
19 (1960-61)
22 (1962-69)
19
Hardware1 volume and 1 tone controls. Metal offset bridge with optional vibrola tailpiece. Plastic enclosed strip tuners.2 volume and 2 tone controls. Metal offset bridge with optional vibrola tailpiece. Plastic enclosed strip tuners.1 volume and 1 tone controls. Plastic enclosed strip tuners.
FinishesCherry, Sunburst and custom colours: Sunset Yellow, California Coral, Pacific Blue

Epiphone Olympic catalogue appearances

Epiphone 1964 full line catalog
1964 full line catalogue

The Olympic shown in this catalogue still has the old symmetrical Epiphone body style - unlike the other solid-bodies which are all shown with the 'new' style
Epiphone 1966 full line catalog
1966 full line catalogue

Epiphone is proud to present solid body instruments that offer the depth, the sharp treble, the biting tone and the virility that all guitarists seek from a solid body instrument

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All Sales Final. The only exception is internet sales. Please make sure you get an in-hand description for guitars purchased via the internet. 24 hour approval period on internet sales. After 24 hours, no returns. Buyer assumes all shipping charges. If we agree to a return, as in an internet sale, instruments must be returned in the condition they were sent. Shipping costs will be deducted from the return, and buyer will assume these costs. If we accept a return there will also be a 5% re-stocking fee. All merchandise sold is in used - as is condition. All sales final. If there is an exception made on any return over 24 hours, there will be a 15% re-stocking fee to the customer. No returns whatsoever on guitar parts.

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Guitar of the Day: 1966 Epiphone Olympic - Norman's Rare Guitars

1965 Epiphone Olympic Double - Cherry

1965 Epiphone Olympic Double - Cherry

1965 Epiphone Olympic in excellent condition and all original. It´s a full scale version with a scale-lenght of 625 mm, solid mahagony body and 1-piece neck with a big c-profil. The guitar came from the factory with a wrap-over tailpiece, so it has much more punch and sustain as most other Oly´s who came with the Epiphone-Maestro trem-tailpiece. Lightweight with almost no fading, nice strong cherry finish. Nice and comfortable to play, ...affordable vintage guitar! Comes in a non-original hardshell case.

Techn. details:

  • Solid 1-piece mahagony double cutaway body,
  • 1-piece mahagony neck (setneck)/fullscale = 62,5cm,
  • Rosewood fingerboard with dot-inlays and 22 frets,
  • 2x Gibson singlecoil pickups,
  • 2x Tone-, 2x Volumen control,
  • Compensated wrab-over bridge,
  • Single-layer white pickguard,
  • 4x orig. black Epiphone knobs,
  • incl. non original hardshell case.

Art.Nr.

Vi65EpiOlyCH266137

Art.Nr.

Vi65EpiOlyCH266137

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Sours: https://guitarpoint.de/en/product/1965-epiphone-olympic-double-cherry/

Olympic double epiphone

1965 Epiphone Olympic :: head to heel, double neck break

Epi_Olympic_01.jpg

Here by far is the nastiest neck break to come across my bench to date.  It is a 1965 Epiphone Olympic.  The neck is cleanly broken free of the body and then some.  This came into the shop in three pieces (body, neck, headstock) with a few loose / missing pieces to boot.  The back story is that this player was at a rehearsal where he backed up and tripped over some gear.  On the way down he caught his head on a counter top and was knocked out cold just before he and the guitar hit the ground.  Ouch! 

Epi_Olympic_02.jpg

The plan of attack is to start at the body of the guitar and work towards the head (save the best for last).  First the guitar needs to be stripped of all parts before the neck repairs can begin.

Overview: 

  1. Strip off hardware
  2. Rebuild neck pocket
  3. Glue neck to body
  4. Glue headstock to neck
  5. Prep for finish
  6. Spray / rub / buff out finish repairs
  7. Reinstall hardware and set up

:   :   :   :   :   :

There was a separate chunk of the body that had to be re-glued first before gluing the neck back in.  The spring clamp is holding the loose section while the C clamp locates the piece against the edge of the neck pocket.
Here the neck is being glued in with epoxy.  I used epoxy as there were some missing pieces and epoxy has great gap-filling properties.  Plus it should not sink when it comes time to buff out the finish repairs.
Note the saw cut in the main clamping caul over the body.  I needed to put extra pressure on the bass side of the neck at the body joint to close that area.  The saw cut allows that portion of the caul to flex independently of the rest of …
Now that the body and neck are glued up, time to move onto the headstock.  Here you can see how nasty this break is.
This is a compound break where the bass side is a short break and the treble side is a long break.  The long break on the treble side will make aligning this joint much, much easier.  Short breaks are the worst-case scenario as you have mi…
And here is the back of the head break.  Note the long split running up the rear of the headstock - that is going to need to be glued as well.
I am also going to use epoxy to glue up the headstock break.  Epoxy at room temperature is rather thick and I need it to be able to flow it into some tight spots.  Here I'm using a hot water bath to heat  the resin and catalyst separa…
While the epoxy warms in the hot water bath, I decided to shrink wrap the truss rod threads to protect them from the epoxy.  A little prevention up front will save you extra clean up later.
The clamping rig is assembled and I made a couple cauls for the top and rear.  Both cauls use LDPE plastic to keep the epoxy from sticking to them.  The top one uses MDF for rigidity and to keep the face flat.  The rear is just plasti…
Once in three pieces, the guitar is now whole again.  But there are a slew of missing pieces in both the head and heel breaks that need to be addressed before prepping for the spray booth.
Larger batches of epoxy generate quite a bit of heat when curing.  So much in fact that it distorted the baby food container.  In the background you can see that the break transition has been filled and the transition smoothed.
The headstock is glued up and getting ready for the spray booth repairs.  Here I will be blacking out the break to match the rest of the headstock.
Fresh out of the booth with the repairs blacked out.  I had to be careful to not get overspray near the silkscreened "Epiphone" logo.  This logo is proud of the surrounding finish so any sanding or buffing would risk burning through.
Now to the rear of the neck.  I tried to take the curse off of the breaks by shading the area without going totally opaque.  In bright light you can see the repairs, but in normal lighting conditions it looks like a burst.
Both ends of the neck were tinted to help hide the breaks.
Here the finish repairs are buffed out and guitar all strung up.  You can see that I had to extend the finish shading on the bass side of the neck joint to hide the blown-out neck pocket.
The Seymour Duncan single coil-sized humbuckers were custom mounted as their holes do not line up with the original pickup mounts on the pick guard. I used the original bass side holes and had to add mounting tabs to the treble sides.  The blad…
The face of the headstock was buffed out but I wanted to leave some imperfections to match the rest of the headstock.  It would look odd for a 49 year old guitar to have a half-perfect black gloss finish on a portion of the headstock.
And here is the rear view of the guitar with it's neck repairs.  Look at the flame in the mahogany body!

I am really pleased with how this repair came out.  It took me a few days of staring it down to come up with a game plan.  Initially I thought thought the head break was going to require the sometimes popular use of splines installed through the head break (channels routed through the break and wood keys inlaid).  I never liked the look of splined headstock repairs and question how much (if any) strength they add.  After talking with a good friend and fellow repairman Chris at Black Cat Guitar, he confirmed that he has glued similar repairs without the use of splines with excellent results (thank you Chris!).

Most neck breaks that come across my bench are either from a guitar not properly stored on a stand or coming free from a strap.  This was the first time neither was a factor as the player fell to the ground as well.

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Sours: http://www.chubbuckguitars.com/blog/2014/8/18/1965-epiphone-olympic-head-to-heel-double-neck-break
Guitar of the Day: 1966 Epiphone Olympic - Norman's Rare Guitars

Olympic

In 1957 in an effort to bolster their stand up bass business Gibson purchased their arch rival the Epiphone Guitar Company and moved production to Kalamazoo, Michigan. Along with the sought after bass tooling Gibson acquired access to many storied models and a brand name with a history of quality and prestige. With plans to expand retail distribution by differentiating Epiphone dealers from Gibson dealers, Gibson began production of a new line of "Kalamazoo-made and designed" Epiphones in 1959.

For over a decade from 1959 through early 1970 Epiphone solid body guitars and basses were produced in limited numbers right along side some of the greatest Gibson's of all time. These Epiphone guitars represented some of the highest quality and best sounding instruments of their generation. They provided unique shapes, pickup arrangements, and tonal signatures not seen on comparable Gibson models of the day.


The Epiphone Olympic started out looking similar to a Les Pauls Special Doublecut From 1960 until 1962. In 1963, Epiphone redesigned the Olympic to match its other solid body guitars such as the Coronet and Wilshire. The original Olympic body shape became the Olympic Special with slight modification to the lower horn, which was shortened and re-angled slightly.

The Olympic, Crestwood, Coronet and Wilshire guitars are often confused with the ET-Series, which were a Japanese-made amalgamation of the older Epiphone body shapes and designs.

Sours: http://www.epiphonewiki.org/index/Olympic.php

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