EPIPHONE CRESTWOOD CUSTOM

85
FEBRUARY 2021 GUITARIST
reviewEPIPHONE CORONET, WILSHIRE & CRESTWOOD CUSTOM
you might think it looks a little odd –
perhaps a touch too busy – but check out
the Polaris White version and it makes
instant visual sense.
Here, the pickups are Epiphone Pro
mini-humbuckers. Gibson has used mini-
humbuckers in various forms on a variety
of instruments, from Les Paul Deluxes to
Firebirds and, of course, on the Epiphone
Riviera and Sheraton models – even jazz
guitars like the Johnny Smith. So, as you
can see, it’s a fantastically versatile pickup
with a sound all of its own – that narrow
footprint providing a brighter, clearer
voice than that of its bulkier siblings.
Control layout is as on the Wilshire, but
the big departure here is that interesting-
looking vibrato tailpiece. The ‘Tremtone’,
as Epiphone titled it (we love all those
corny monikers the electric guitar and amp
companies dreamt up), naturally evokes
thoughts of Paul Bigsby’s classic unit, and
there are certainly elements of that in how
it operates. However, unlike the former
contraption, which is notoriously tricky
to load (with the strings’ ball-ends having
to hook onto tiny posts on a wrap-around
bar), here the strings simply load through
rearward-facing holes and pull up and over
without the ‘popping off’ problem that
afflicts regular-style Bigsbys (some recent
versions have addressed this, of course).
What also sets this tailpiece apart is the
Indian laurel insert, with the attractive
Epiphone ‘E’ emblem making a second
appearance. And check out the two extra
holes in the vibrato arm: these are for
relocating its pivot point should you prefer
it shorter for a more positive action –
simple but cool, and just the kind of clever
hack that our own Trev Wilkinson might
dream up.
Feel & Sounds
The guitars all came with slightly different
setups out of the box, mostly a little on the
high side for this particular player. But a
few minor tweaks soon brought them into
line – and bear in mind we often do the
same on instruments far higher up the food
chain. All three necks are exactly the same
medium C profile, thickening slightly from
approximately 21mm at the 1st fret up to
23mm at the 12th. Scale length is a uniform
628mm (24.72 inches) and nut width is a
ubiquitous 43mm (1.69 inches). Frets are
medium jumbo – pretty much par for the
course these days and likely to provide a
fuss-free playing experience on the 305mm
(12-inch) radius fingerboard.
The necks join the body at the
last of their 22 frets, leaving the
entire fingerboard available for your
explorations. On a strap it’s a little like
a Gibson SG with its strap button also
located behind the heel, so there’s a
tendency for the necks to drop when not
supported. The popular fix was usually to
add another button on the top horn, as on
a Strat, and that might be worth doing if
this top-heaviness offends.
Otherwise, each guitar’s neck is an
enjoyable playground, and the Gibson-
style scale length makes for easy string
bends, while the medium jumbo frets and
laurel ’board do indeed contribute to that
comfortable and familiar feel.
Sonically, the Coronet’s bridge P-90 Pro
is a killer. Even with the tone wide open
it’s fat but very present, cleaning up a treat
when you knock the volume back to 3, or
Each neck is an
enjoyable playground,
and the Gibson-style
scale length makes
for easy string bends
8. Epiphone used the short
three-a-side headstock
for these reissues, rather
than the ‘batwing’ design
found on later models.
Quality plastic button
Kluson-a-like tuners
complete the picture
7. The great Steve Marriott
played an Epiphone
Crestwood with Humble
Pie. Our Chinese-made
reissue retains all the
original’s coolness, with
great sounds and a
vibrato that works!
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VIDEO DEMO http://bit.ly/guitaristextra
GIT468.rev_epi.indd 85 18/12/2020 11:39