Livonia, MI (PressExposure) December 22, 2010 -- But as the 1990s rolled around, Epiphone Electric Guitar still had work to do. The line was more than comprehensive - offering 43 different models across a range of styles and budgets - but the lack of historic Epiphone Electric Guitar products needed to be addressed. The legendary instruments from Epiphone Electric Guitar's past should have been leading the company's charge into the future. Without them, Epiphone Electric Guitar was still seen by some as a faceless import; a fact reflected by its modest global sales.

Taking charge of Epiphone Electric Guitar around this time, David Berryman identified the other problem that was stopping the firm from taking on the world. It still didn't have its own dedicated office or workforce. Moving fast, Berryman instigated the acquisition of an office in Seoul, appointed Jim Rosenberg as product manager and set about addressing the misconception that Epiphone Electric Guitar was secondary to Gibson.

The Seoul office was a major turning point. Instead of the long-distance relationship that the firm had previously had with its product, Epiphone Electric Guitar was now able to roll up its sleeves and muck in with the dedicated quality control staff at the factory. During the long days and sleepless nights that followed, the Epiphone Electric Guitar product changed beyond all recognition. Factory processes were assessed and refined. Manufacturers were visited and briefed on the components that would make these instruments special, with Epiphone Electric Guitar taking a hands-on role in the development of everything - from pickups, bridges, toggle switches and fret inlays to unique features like the metal E logo and frequensator tailpiece. Financially and emotionally, Epiphone Electric Guitar invested everything it had in these new models.

It paid off. One of the first fruits of Epiphone Electric Guitar's labors was a limited-edition run of electric-acoustics, and the success of these confirmed how far the company had come. By the time of the 1993 NAMM show, there were more thin-bodied electric-acoustics and a new range of PRs. It all hammered home the impression that Epiphone Electric Guitar was a leader rather than a follower.

But Epiphone Electric Guitar was looking to the past as well as the future. In 1993, a limited run of Riviera and Sheratons were produced in Gibson's Nashville factory, with the company's Montana plant also building 250 Excellente, Texan and Frontier flat tops. These Epiphone Electric Guitars were only intended as a special event (it was impractical to move production to the US permanently) but the public reaction prompted Rosenberg to reissue many classic designs via the Korean range. Those who attended the 1994 NAMM witnessed the re-introduction of legends including the Casino, Riviera, Sorrento and Rivoli bass. In the months that followed, word spread, and guitar luminaries including Chet Atkins and Noel Gallagher signed up to the Epiphone Electric Guitar cause - confirmation that these were instruments to be played through choice, not necessity.

ONWARDS AND UPWARDS

Epiphone Electric Guitar was arguably just as successful in the late-90s as at any point in its history. With confidence booming, this era saw the launch of the Advanced Jumbo Series and the release of several important signature models. The John Lee Hooker Sheratons from the USA Collection were tasteful, toneful and utterly authentic. The Noel Gallagher Supernovas had attitude and edge, and became some of the most iconic designs of the time. Then there were the John Lennon 1965 and Revolution Casinos. With their US birthright, unbeatable authenticity and sense of aspiration, these models reunited Epi with the greatest artist of all time, and underlined the company's own re-emergence as a rock legend.

As the new millennium came and went, the momentum continued, as Epiphone Electric Guitar introduced the Elitist range and strengthened its position in the acoustic market with the acquisition of veteran Gibson luthier Mike Voltz. Voltz's contribution to Epiphone Electric Guitar's development cannot be overstated. While the firm had revived its electric range to great acclaim, there was still a sense that it needed to claw back its former reputation for world-beating flat tops. All that changed with the introduction of the Masterbilt range, which - along with the subsequent 2005 release of the Paul McCartney 1964 USA Texan - consolidated Epi's acoustic credentials and reacquainted the firm with two big names from its past.

By 2003, the international demand for Epiphone Electric Guitars was such that the company had opened a new factory in China. Not only did this mark the first time that Epiphone Electric Guitar had its own dedicated factory since the initial takeover by Gibson but staffed by US managers and luthiers, it also armed them with the control over their own product that would let them take development to the next level, and give them a massive edge over the competition (most of whom continued to share workspaces).

In 2007, Epiphone Electric Guitar is all things to all players. Working musicians prize the company for its Gibson replicas, offering the quality of the most famous US models at competitive prices. Collectors of vintage guitars snap up the authentic Elitist reissues of the Emperor, Casino and Excellente (and many more). Recording artists turn to the Epiphone Electric Guitar US range for quality that rivals any guitar manufacturer in the world, while rock 'n' roll fanatics delight in the company's signature models, which include everything from the Nick Valensi Riviera to the Zakk Wylde Les Paul Customs. Regardless of budget, ability or musical leaning, today's Epiphone Electric Guitar line has it covered.

Perhaps even more important, Epiphone Electric Guitar has retained the pioneering spirit that was always Epi Stathopoulo's calling card. Whether through the 2006 'Guitar of the Month' scheme (offering a different collector's model each month) or through its unending quest to challenge tradition, this is still a firm that thrives on the risk while always delivering the result. Perhaps David Berryman puts it best. "Gibson is a traditional company, Epiphone Electric Guitar is more of a renegade. It marches to the beat of a different drum. Always has.” One suspects that it always will.

For more information on how you can own an “EPI,” visit us at epiphoneelectric.com.

About Right Now Marketing Group, LLC

In 1924, Epiphone Electric Guitar Epiphone Electric Guitar released the Recording Series of banjos to universal acclaim. Indeed, the Deluxe, Concert, Bandmaster and Artist models (plus the budget Wonder model) were so popular that by the following year, Epi had expanded production and bought out the Favoran banjo firm to cope with demand. Thanks to models like the Emperor, and the endorsement of players like Carl Kress, this side of the business continued to grow along with Epiphone Electric Guitar's reputation, to the point where the company's name was changed once again in 1928. For now, it would be known as the Epiphone Electric Guitar Banjo Company. For more information on how you can own an “EPI,” visit us at epiphoneelectric.com.

Press Release Source: http://PressExposure.com/PR/Right_Now_Marketing_Group,_LLC.html