In the post-war era of innovation and progress, the story of Fender Electric Instrument Company emerges as a pivotal narrative in the evolution of modern music. Founded by Leo Fender and Doc Kauffman in Fullerton, CA, in the autumn of 1945, the company quickly positioned itself at the forefront of musical instrument innovation. This article delves into the history, impact, and legacy of Fender, exploring the key events and decisions that shaped its journey from a small workshop to a global musical icon.

The Early Years: Foundation and Innovation

The partnership of Leo Fender and Doc Kauffman, albeit short-lived, marked the beginning of what would become a legendary name in music. By early 1946, Kauffman had left, leaving Fender to single-handedly drive the future of the Fender Electric Instrument Company. The introduction of the Esquire and Broadcaster models in 1950, which would soon evolve into the iconic Telecaster, marked Fender as the first company to successfully market solid body electric guitars. This innovation was not just a commercial success but a cultural revolution, laying the foundation for a new era in music.

Revolutionizing the Music Scene

The release of the Precision Bass in late 1951 was perhaps even more revolutionary than Fender's solid body guitars. As the first commercially successful solid body bass, the Precision Bass offered musicians unprecedented volume, clarity, and ease of playing. This innovation, followed by the introduction of the Stratocaster in 1954, cemented Fender's reputation. These instruments were not merely tools of music but catalysts for the birth of new genres and the evolution of music as we know it.

Fender Amplifiers: The Unsung Heroes

Parallel to the success of its instruments, Fender's amplifiers played a critical role in the evolution of music. The rich, clear tones produced by Fender amps enabled artists to explore new territories in sound, contributing significantly to the rock and roll revolution of the 1950s and 1960s. The amplifiers, with their distinctive sound and reliability, became as integral to music as the guitars they were paired with.

The CBS Era: Expansion and Challenge

The acquisition of Fender by CBS in 1965 marked a new chapter for the company. Initially, the infusion of CBS's resources allowed for expansion and the introduction of new lines. However, this period also saw a perceived decline in the quality of Fender instruments, a sentiment that lingered through the 1970s. In an effort to modernize and revitalize the brand, CBS appointed Bill Schultz as president in 1981, leading to significant changes in production and the introduction of Fender Japan.

Rebirth and Global Expansion

The sale of Fender to a group led by Schultz in 1985 was a turning point, marking the beginning of the Fender Musical Instruments Corporation. Despite initial challenges, including the absence of US production facilities, the company rebounded with the launch of American Standard models and consolidated amplifier production. Today, Fender instruments are produced in facilities around the world, continuing the legacy of innovation and quality.

Legacy: The Pre-CBS Era and Beyond

For many collectors and players, instruments from the pre-CBS era represent the pinnacle of Fender's craftsmanship. The demand for these vintage instruments, particularly those in custom colors, extends even into the late 1960s models. While lower-end models and certain lines like the Coronados have not garnered the same acclaim, rare models such as the Montego and LTD archtops hold a special place among collectors.

The Evolution of Fender Basses

The Precision Bass set a new standard for electric basses, a legacy that continued until the Jazz Bass emerged as the preferred sound in the 1990s. Early models of both the Precision and Jazz basses are highly sought after by collectors, reflecting the enduring impact of Fender's innovations on music.

Material Innovation: Bakelite and Beyond

Fender's use of materials like Bakelite, or Phenolite for early pickguards, and the transition to rosewood fingerboards on maple necks, exemplify the company's innovative approach to instrument design. These material choices not only influenced the aesthetic and functional aspects of the instruments but also contributed to their distinctive sounds. In conclusion, the history of Fender Electric Instrument Company is a testament to the power of innovation, vision, and resilience. From its humble beginnings in a small California workshop to its status as a global icon, Fender has left an indelible mark on the world of music. Through its pioneering instruments and amplifiers, Fender has not only shaped the sound of generations but has also played a central role in the evolution of musical expression itself.

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Epiphone traces its history to Anastasios Stathopoulo, who began making violins, lutes, and lioutos (traditional Greek instruments) in Sparta, Greece in 1873 (according to company literature from the 1930s, although he would have only been 10 years old). Stathopoulo’s family relocated to Smyrna, Turkey, in 1877m where he eventually established an instrument manufacturing business. To escape persecution, Anastasios moved his family to New York in 1903.

Stathopoulo’s instruments were labeled A. Stathopoulo. After his death in 1915, his sons Apaminondas (epi), Orpheus (orphie), and Frixo carried on the business, introducing the House of Stathopoulo brand in 1917. They incorporated in 1923 and concentrated on banjos, introducing the Epiphone Recording Series banjos (named after Epi) in 1924. They changed the company name to Epiphone Banjo Corporation in 1928.

Epiphone was best known in the 1920’s for highly ornamented Recording banjos. In the 1930s Epiphone became virtually the only banjo company to make a successful changeover to guitars as its primary product. Epiphone also supplied guitars for other distributors under the Sorrentino and Howard brands. The name of the company was changed in 1935 to Epiphone, Inc.

Epi Stathopoulo died of leukemia in 1943, and the company never fully recovered from his death or from the effects of World War II. C.G. Conn, a band instrument manufacturer and instrument distributor, acquired some control over Epiphone distribution and production in 1953 and moved production in part to Philadelphia, although labels continued to say New York. Orphie Stathopoulo regained control in 1955, but few instruments were made from 1956-57.

Chicago Musical Instrument Co., which owned Gibson, acquired Epiphone in 1957 and moved production to a facility near the Gibson factory in Kalamazoo, Michigan, Gibson introduced new Epiphone models at the annual trade show in 1958 and began shipping Epiphones in 1959. In 1960 production was moved to the newly expanded Gibson factory at 225 Parsons Street.

CMI was taken over by the ECL company in December 1969. Shipping records show a little over 800 Epiphones shipped from Kalamazoo in 1970. That same year, ECL (soon to be renamed Norlin) outsourced all Epiphone production to Japan. In 1979 Norlin began moving epi production to Korea, and by the mid 1980s almost all Epiphones were made in Korea.

Epiphone and Gibson (headquartered in Nashville since 1984) were acquired in 1986 by Henry Juskiewicz, David Berryman, and Gary Zebrowski. By the early 1990s, Epiphone had become a leading import brand. In 2002, Epiphone opened its own factory in China. The high-end Elitist line is produced in Japan. Occasional limited runs have been produced in Gibson’s Nashville and Montana Facilities.

Comments

Archtops: Recording models were Epiphone’s earliest high-quality guitars. They are hard to find in good condition, and are sought more by blues players and collectors than by jazz or folk players.

Pre-1937 Epis are of very high quality and generally much scarcer than later models. They are of considerable interest to collectors. They have a smaller body and a less-modern neck feel than later models and consequently are less sought by players for utility use.

Models made from 1937 (when body sizes were increased) to the end of New York Production in the mid 1950s are the most highly regarded by collectors. Most desirable are the professional-grade models on which the company built its reputation: Emperor, De luxe, Broadway, and Triumph. Hese models, along with Gibsons, are viewed by most collectors and musicians as the best factory-made archtop guitars ever produced. Low-end models are regarded as excellent instruments for serious amateurs.

Flat-tops: New York – made from flat-tops are of good quality, but they never achieved the recognition of Epi archtops or the flat-top guitars made by Gibson and Martin. Gibson-made flat-tops are fully equivalent in quality to similar Gibson models of the same period. Dreadnoughts are the most highly regarded, especially those from 1958-61 with New York-style necks and non-adjustable saddles. Most desirable is the Excellente, which is fancier than any Gibson dreadnought flat-top of its time and rivaled only in the Gibson line by the super jumbo J-200.

Electric archtops: New York – made epiphone electrics are interesting but generally are not nearly as highly regarded as the equivalent acoustics, which have solid carved tops and backs rather than the laminated construction of the electrics. Also, the electronics on New York Epis are not of high quality compared to Gibsons of the same period or to the later Gibson-made Epis. Consequently, New York Epi electrics bring less than Gibsons or equivalent Epi acoustics. Early Gibson Epis with New York pickups are of interest to collectors. Most hollowbody Epi electrics bring less than the equivalent Gibson models.

Double-cutaway thinbody electrics are the most highly sought, particularly the rare Emperor (66 total made) and the early blond-finish Sheraton. Sheratons with New York pickups are highly sought, though not for sound. The Riviera, though equal in playability and sound is not nearly as sought after. The Casino is associated with the Beatles and brings as much or more than the equivalent ES-330.

Solidbodies: Some collectors are interested in early solidbody models with New York pickups, but not for their sound. Later solidbodies with mini-humbucking pickups bring less money than their Gibson equivalents, which have standard size humbuckers. None is especially valuable, although the workmanship on Epiphones is equivalent to that of Gibsons.

Basses: Epiphone electric basses are not especially sought by collectors or players, although their workmanship and playability is fully equivalent to Gibson instruments of the same period. The embassy Deluxe is the Epiphone equivalent to the highly sought Gibson Thunderbird basses, and it has the potential to gain some of the appeal that Thunderbirds hold for collectors and players.

Epiphone upright basses are considered to be among the finest laminated-construction basses. It was Epi’s bass production capability that sparked Gibson’s interest in acquiring Epiphone in 1957. Although Gibson shipping records show a fair number of basses produced (644 total), Gibson-made Epi-basses are seldom seen.

Steel: Epiphone lap steels were good utility instruments for their time, but their pickups make them less desirable today than many Fender, Gibson, Rickenbacker, National, and Supro models. The models of greatest interest to collectors are those that are rare, aesthetically appealing, or historically interesting, such as the Model M, Rocco, and Varichord.

Mandolins: The Windsor, Windsor Special, and Artist mandolins, along with all Epiphone mandola and mandocello models, are extremely rare. They are of great interest to collectors as well as players. Of the models made in significant numbers, the relatively rare Strand garners the most interest from collectors. The Strand and Rivoli are regarded by players as quality instruments. The Adelphi is the most commonly seen Epiphone mandolin and is not highly regarded.

Banjos: Early models (pre-Recording Series) are well-made instruments, but because of their open back, short scale (tenors), large head, lighter tone ring, and lack of metal coordinating rod, their appeal is primarily historical. Recording Series banjos, particularly, those from 1927-c.35 with the metal coordinating rod and heavier flange, are regarded by tenor players to be among the finest of the period. They represent the golden age of the tenor banjo and are among the most ornate and most highly sought banjos of their period. Of the Gibson-made Epiphone banjos, only those with the Mastertone (Minstrel and plantation) have significant appeal.

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