Epiphone produced the Sorrento between 1960 and 1969; it really was the epitome of Gibson Kalamazoo-made guitars, both in terms of construction and hardware. The model changed somewhat over the decade, and this guitar represents the final incarnation of the instrument with it's chrome hardware, characteristic headstock shape, and redder 'shaded' finish. The 1966 price for this single pickup Sorrento, E452T, was $279.50. It is in the Epiphone Shaded finish - the equivalent to Gibsons Sunburst.
The Shaded finish used on Epiphone guitars was not always the same. Earlier examples are drabber; compare with this 1963 Sorrento, even though that example does seem somewhat faded, and had no red in the burst. Gibson would have typically labelled this finish as Cherry Sunburst. The Sorrento, like the equivalent Gibson ES-125TC thinlines, had a body depth of 1 3/4". The backs and sides of this "shaded" finish guitar are a dark translucent walnut brown, with edges highlighted by single ply cream celluloid binding. The 20 fret rosewood fretboard is unbound, but features quite distinctive rounded rectangular position markers.
This Sorrento is in good complete condition, with the exception of a missing pickguard. One-pickup models, like this, are more abundant than two-pickup models, and Shaded is the most widely used finish, with a total of 1386 one-pickup Shaded Sorrentos being produced between 1960 and 1969. 1966 was the peak year for the Sorrento, with a total of 577 instruments shipped (in all finishes and pickup configurations).
The guitar shown is equipped with typical hardware for the period: chrome trapeze tailpiece, gold bell-knobs, rosewood free-floating bride. The machine heads used are Kluson MH-320VP with "Keystone" buttons, and chrome-covered mini humbucker. The serial number is repeated (along with the E452T model designation) on the blue label within the soundhole.
The key features that differentiate the Sorrento from the Gibson ES-125TC and ES-125TDC are the headstock shape, and the pickup(s); mini-humbuckers rather than the black dog-ear P90, and mother-of-pearl 'oval', rather than dot neck position markers. These inlays hark back to the pre-Gibson Epiphone period, most recently appearing on the Devon Acoustic - a model not continued by Gibson. Although described as 'oval' they could perhaps be more accurately described as rounded rectangles.
Images courtesy of justgreatguitars.com
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