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Student of the Old School, a Foot in the New…
The Epiphone Bonamassa model is very much a traditional Les Paul, built around a solid mahogany body, a hard maple cap, and a thick mahogany neck with an old-style long tenon that extends well into the neck pocket for strength and sustain. Other traditional appointments on the Bonamassa include a rosewood fretboard with pearloid trapezoidal inlays and single-ply crème binding around the neck and the top of the body.
The Bonamassa departs from tradition a bit too. It’s got a black-painted back where the original Goldtop’s is natural mahogany. And while a ’50s Les Pauls has crème pickup surrounds, pickguard, toggle-switch washer and tip, those parts on this guitar are all black. Instead of Kluson tuners, with their green plastic buttons, the Bonamassa is equipped with higher-performance 14:1 Grovers. Other modern touches include Epiphone’s LockTone Tune-o-matic bridge, stopbar tailpiece, and strap locks. And the control panel includes the eccentric combination of two amber ’50s-style top hat knobs and two gold ’60s-style reflector knobs (though in this reviewer’s opinion, the guitar would look better with a matched quartet of black reflector knobs).
Electronics include Gibson’s Burstbucker 2 and 3 pickups in the neck and bridge positions, respectively. The 2, which has a medium output, is wound in the range of Gibson’s ’57s Classic and patterned after the original P.A.F. humbucking pickup. The 3 is over-wound for a slightly hotter sound that works well in concert with the 2. Both pickups are controlled by a standard three-way switch.
Bonamassa’s Epi comes inside a very cool case patterned after the classic Lifton “Cali Girl,” brown on the exterior and pink on the interior, but featuring sturdy modern construction—a scheme that Gibson Custom ought to use in its Historic line of ’50s reissues. It also includes a certificate of authenticity hand-signed by Bonamassa himself.
Craftsmanship on our Chinese-made test model is quite good. The fretwork is super tidy and the slots for the nut and saddles are cleanly cut. The neck is situated solidly in its pocket and the binding is tight and flush throughout. A hint of an orange-peel effect can be found here and there on the finish, which seems just a bit thick, but then again it is not uncommon to find this subtle irregularity on guitars at many times the price.
Heavy Feel, Heavy Sound
When I removed the Epiphone Bonamassa from its case, the first thing I noticed was that it was pretty heavy at 9.5 pounds. (Most Gibson Historics, for reference, weigh in at less than nine.) The neck, with its rounded ’50s “D” profile—the contour that Gibson Custom features on the 1959 Historic Reissue—also felt pretty massive. I generally find this neck to be exaggeratedly large and not very comfortable, but it didn’t take long before it felt pretty natural given the overall heft of the guitar.
The guitar came from the factory with smooth, low action. The 24.75-inch scale neck was comfortable from the open position to the 22nd fret and was hospitable to barre chords with big stretches and rapid-fire single-note lines alike. However, the guitar felt slightly stiff when I bent some strings more than a half step, and the tuning was sometimes negatively affected by the bends.