1951 Epiphone "Broadway Regent"

This Broadway has some nice quilted maple on the back. Being sort of an intermediate model, the broadway was never very popular hence very low numbers can be found in blonde with a cutaway. It is in a bit rougher condition compared to the other guitars in my possession which means I don’t have to feel guilty to play it hard. And when strummed with a thick pick, this example has that typical midrange that makes Epiphone the best jazz guitar ever (the previous owner had advertised it as a "Jazz guitar with ooomph !"; which I can attest is exactly how it sounds).

The guitar was refretted with a tall wire and plays excellent. It has a super comfy neck, with a slight V-shape too it. This is my to-go-to instrument.

As seen on this Broadway, in the late 40s/ early 50s Epiphone sometimes used a light pearwood base on the bridge, to match the top on natural finished guitars. Since the tops are lacquered however, they tend to discolor over time, whilst bridges do hardly, now 60 years later making the bridge stand out very bright. Also noticeably, the tailpiece is not stamped with the word Frequensator, which dates this part to 1946. Frequensators have a tendency to break at the 90 degree bend across the rim, and thus on many older instruments are replaced by a part from another instrument. This is absolutely unnecessary. Luthiers seem to be unaware how to repair, and thus are immediately inclined to replace, broken hardware. But any brass instrument shop can invisibly weld and replate a broken tailpiece. 

According to the pot codes, the guitar was sent in the late 1970 to Gibson to have a neck-mounted early variety BJB pickup installed. This pickup was the successor to the Johnny Smith PU, and also used on Gibson’s best offerings such as the Kalamazoo Award, Citation, LeGrand,  and Super 4000. It has a whopping 14,7 Kohms output and sounds great in combination with the guitars acoustic voice.

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