Collectors know well the desirability of Epiphone guitars from the years after Gibson acquired the brand. Further off the radar, however, are the amplifiers that accompanied them – especially the debutante range of 1959, which wrap the virtues of Gibson circuits in their own beguiling aesthetic.
Wander back to the 1930s and we find an Epiphone company rivaling Gibson for the title of leading manufacturer of archtop jazz guitars. However, the war years that followed, and deaths within the Stathopoulo family (which founded the company in Manhattan around the turn of the century), imposed hardships from which the storied maker could not recover. In 1957, Gibson president Ted McCarty struck a deal to purchase Epiphone for $20,000.
After moving Epiphone from New York to its headquarters in Kalamazoo, Michigan, new Epiphone guitars began emerging in ’58, using many Epi parts. These were followed in ’59 by a line of amps. While Epi guitars broadly resembled some of their Gibson counterparts, the amplifiers were part-for-part identical – inside, at least. On the outside, they were dressed in unique cabinets and coverings, presenting what some collectors consider superior styling compared to the parent company’s amps. Sometimes dubbed “bikini logo” for the shape of their triangular logo badges, early Epiphone amps are a near-obsession for Boston resident Dan King and his brother, Jesse, of Scarborough, Maine. Their collection stands at 13 amps from ’59 and early 1960, representing a sizeable proportion of the total stock considering the small number of these that were made.
“Gibson made them like this for a very short period of time, and shipping totals are very low in comparison to Gibson amps,” Dan King tells us. “Once we recognized this, we knew it would be a challenge to find them. That’s part of the appeal, to some degree – the thrill of the hunt. You have to develop unconventional methods of searching these out.
“It has taken us nearly eight years of intense searching and two have eluded us thus far – the EA-5 Emperor and EA-10 Deluxe,” he added. “There were around 50 Emperors shipped, and just over 20 Deluxes, so we’ve got our work cut out for us. I know of one Emperor in the midwest, but years of investigation have left us with absolutely nothing on the Deluxe. It’s possible there are no surviving examples.”
Their collection includes the EA-50 Pacemaker, EA-35 Devon (version 1, version 2, and an EA-35T/tremolo), EA-30 Triumph, EA-25T Century, and EA-15 Zephyr. The Pacemaker mirrors the Gibson GA-5, the Century Gibson’s GA-20T, and the Zephyr the GA-40 Les Paul amp, one of the more-desirable of the era. The latter two use the fat-sounding 5879 pentode preamp tubes that enhance the appeal of these circuits. Given their relative scarcity, however, they no longer provide the affordable alternative they represented before the bikini was out of the bag.
For the King brothers, the appeal of early Epiphones is equal parts sound and style.
“What drew us, initially, is that they don’t look like anything else from that period,” says Dan. “They’re a little quirky, but elevated, in a way. The slightly iridescent diamond-pattern vinyl covering combined with the metal Epiphone badge and Daka Ware knobs just gives them a unique aesthetic that my brother and I found really attractive.”
The rapidity of Epiphone’s transition means this version of its amp lineup was only manufactured for about a year and a half. In 1960, Epiphone changed the diamond-pattern fawn vinyl for a mid-gray covering. Not long after that, the distinctive “T” shaped bikini badge vacated the upper-right corner of the grille, replaced by the mundane script “Epiphone” badge. Fans of Gibson’s amps of the era will find familiarity in such a speedy evolution. Rarely did the maker’s style sit still for more than a year or two, as update followed update in a race that some historians believe was inspired by the massive competition presented by Fender’s very successful amp line.
Much like the Gibsons that they parallel electronically, the Epiphone range runs the gamut from extremely simple point-to-point creations to more-complex circuits. The EA-50 Pacemaker (a Champ-like student amp akin to the GA-5) and EA-35 Devon (originally a one-knob amp, it gained a Tone control to match its sibling GA-8 Gibsonette later in ’59) are wired not unlike the earliest of guitar amps, with direct connections between components and no circuit board. The EA-15 Zephyr, EA-25T Century, and EA-35T Devon Tremolo, on the other hand, are more-advanced creations with neatly wired circuit boards.
Initially confusing, too, Epiphone model numbers run downward from least powerful (EA-50) to most (EA-15), unlike their Gibson compatriots which run upward according to output. But for the buyer of 1959, there was little to differentiate them, other than looks.
“If you looked at the circuit in one of these amps and had the same-year Gibson next to it, they’d be virtually indistinguishable,” King tells us. “Gibson was very clever about how they managed the Epiphone line early on. They essentially manufactured the same exact Gibson models and dressed them in a different suit. This allowed them to sell Epiphone amps in music shops in close proximity to Gibson dealers without cannibalizing Gibson sales.”
As for sounds, players familiar with Gibson amps of the late ’50s will know what to expect.
“Their tone leans more into the sound Fender was known for during this period,” King related. “But most of them break up a little earlier than comparable Fenders, in part due to the smaller transformers and less-efficient Jensen speakers. They have a particularly satisfying grind when pushed, a little more aggressive than a Fender. They’re excellent for raunchy slide tone!
“The Century and Zephyr are unique in what they offer, tonally. The 5879 preamps are thicker-sounding, with a fatter overdriven tone that sounds really big when you get the amp going. They’re both two-channel amps, as well, sporting a Tremolo channel that is heavenly sounding.”
Ultimately, like their Gibson counterparts, Epiphone amps of 1959 and early ’60 offer their own twist on the early archetype, rather than providing a “poor man’s” anything. Given their scarcity, they also guarantee a significant hunting trip if you hope to find one.
This article originally appeared in VG’s April 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
