![]() ![]() Now he's thinking of upgrading to a Kentucky. Weren't all prestige labels, by a long shot, but the instruments now sold with those nameplates bear no relation to those made decades ago.ĭon't know if you saw it Allen, but Capo.who's unhappy with his new Epiphone MM50 said the primary reason he bought the thing is the association with the Gibson name. none of these means what it used to mean. ![]() Epiphone, Washburn, Flatiron, Regal, Hohner, Oscar Schmidt, etc. I've spouted off ad nauseam about my dislike of taking former American nameplates and sticking them on a line of arguably inferior instruments, imported or otherwise. Interesting, though, that the "off brand" Strad-O-Lin name had enough prestige to be desirable as a label for a line of imports.Īnd Steve, needn't bite your tongue. ![]() here's a reference to a trumpet marked "Stradolin." Many of the later marked instruments were imports and the quality of the stringed instruments seems to be, by consensus, markedly inferior to the earlier mandolins which have a great "sleeper" reputation. I've seen Strad-O-Lin trombones, guitar amplifiers, etc. (I'm partially quoting a quote from the "Guitar Blue Book" whichever one that is.) Other guitars built and distributed (possibly as rebrands) were Royce, Premier, Belltone, and Marvel. A number of solid body guitars were built at the Multivox company of New York, and distribution of those and the later Japanese built models were handled by the Sorkin company of New York City, New York. The label was attached to a wide variety of instruments, not only stringed. of NY City bought or appropriated the Strad-O-Lin nameplate sometime after 1960. ![]()
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