Epiphone FT-145

I received my FT-145 from the owner of a club I was playing in 1976. It was used at the time...I have no idea how old it was when I got it. I got its twin the following week and gave it to my Dad. I've been playing it regularly since then. I've not found any other guitar with a better sound. The tuning keys are toast...after all this time, it's the only thing that has gone wrong with it. Not too bad for a guitar that went through Hurricane Ike with me. Think I'll keep it for a while.

Sound? It's fine...no question about it.

When I got the guitar some 32 years ago, the truss rod cover was gone. I put another one on it and kept going. The neck is real easy. No buzz, no weird stuff...and my fat fingers fit fine. I've never had to deal with the truss rod...I've not had any issues with the neck.

Hey, it went through Ike with me...Hurricane blew right through my house. My Epiphone was standing in the living room on its stand...not in a case. It got knocked over...I tuned it back up and she plays as good as ever.

Never had any contact with Customer Support...never a need for it.

Taking into consideration all that we've been through together, she is without a doubt the finest guitar I've ever owned. At present, I own three Epiphones, and two Gretsch guitars. She's the one that sits on the stand next to my desk and gets played most.

My Ft-145, as all, has a spruce top and mahogany sides, with a natural finish. It has a rosewood fingerboard. This guiar has aged pretty weill considering that I have owned it since 1982, play it regularly, and am not all that careful in handling it. The finish has developed cracks, but the tone hasn't changed at all.

I play everything from folk to rock to country, and this guitar sounds great doing it all. It has a full sound that's not too bright, but also clear and not muddy at all. I've played Taylors, Martins, Ovations, Fenders, Yamahas, Rainsongs - had I found one that has better tone than my old Epi, I would have bought it.

I have a Dean Markley soundhole pickup that I use when needed, and play it through either my small Marshall or large Crate - this guitar sounds good through all of them.

I haven't had to touch anything on the guitar besides the bridge saddle and the pins - normal weat items for a guitar that's been in regular service for 26 years.

The fact that this guitar hasn't dissolved into dust in the past 26 years is testament to a well-made instrument.

I've never had an occasion to deal with Epi's customer support.

I've been playing since 1972 (I was eight at the time). My cousin gave me this Epi in 1982, and it's been the only acoustic I've played besides my 3/4 size Norma that I got when I started playing (and that I have used in recording). If I ever lost this guitar, I would probably buy another FT-145 if I could find one.

The finish is perfect. Beautiful tobacco sunburst that has aged like a fine wine. Keep in mind, I bought this guitar in 1982 and still own it today. Dreadknot body, standard bridge (over time has developed a crack in the rosewood, but still plays like a dream). Tuners are no-name, but are rock solid. Guitar stays in tune for weeks (no exaggeration). Neck is straight and action is low with no buzzing. I don't know what year it was made. It was made in Japan. 20 frets, but it's acoustic.

Sound is wonderful. Even after 25 years it plays and sounds beautiful. It suits me well as I play mainly country, light jazz, alternative and folk (Fogelburg, Bread) with it. It is straight acoustic, so no electronic gizmos. Just a guy and his guitar.

I had the guitar set-up once and have not had it touched again. If this is standard for epiphone then BRAVO to them, or perhaps I got lucky and happened on a real gem. But either way, the set-up is perfect, the neck is perfectly straight and the tone of the guitar is absolutly relaxing.

The only flaws in the guitar are the ones I put in it. I bought this when I was 15. So it's seen its share of being bumped and bounced. But now being a man in his 40's, this guitar has a permanent and prominent place in my home and is treated like a new baby. Best guitar I've ever owned.

Like I said, I've owned it since 1982 and it still gets played regularly. It's a solid guitar. No hardware has been replaced or repaired since I've had it because it has never failed. The finish of the guitar is astonishing. Even today, just wipe it down and it appears showroom ready. I play alot (2 to 4 hours daily) and the finish is not worn, but I'm a finger picker so a plastic pick never touches it!!! I have played live with this guitar and would not hesitate to again. But gigging without a backup is never a good idea.

I have never needed warranty help, but in my opinion customer support took care of me at the time I purchased. I got a guitar that was built well, with solid woods and great craftmanship. So I'd say they supported this customer from the get-go.

I've been playing for 25 years. I own a variety of other guitars solid body electrics, jazz box, classical) for various styles, but this one is my favorite. If it were lost I'd cry myself to sleep. If it were stolen, I hunt down the dog that took it and make him cry himself to sleep!! I love everything about this guitar. How would it compare to other guitars? In my sole opinion, I've heard and/or played Fender, Gibson and Taylor, my Epi sounds just as sweet and clean and plays more smoothly. I got a guitar for $250 in 1982 that should have been much more expensive.

FT-145SB Laminate spruce top, mahogany (laminate?) back and sides stained a rosewood shade. SB suffix means Sun Burst. When new in late 70's the burst was red like a Hummingbird. Now, the top has aged to a reddish/brown burst and clear finish has aged beautifully to a pleasing yellowish color. 3 to a plate tuners, MOP logo on head stock. MOTS nut, saddle, body binding. Rosewood fingerboard.
This vintage of Epiphone has a bolt-on neck like a solid body. Small blue label Epiphone Kalamazoo FT145SB, "Texan", "Made in Japan". No mention of Norlin on the label but it was definitely made in the 'bad old' Norlin years.

Tone to absolutely die for! Has a yummy woody tone. The highs are not plinky, but the lows could be a bit boomier, in my opinion. But for me she sounds great!

This guitar has a zero fret. The factory used the same fret wire at zero as for all the others. Consequently, this made fret 1 nearly the same height as the zero fret. The factory had to severely file the first 3 frets to prevent buzzing. If you ever have frets replaced. Have them put on a taller fret at the zero fret position.

3 to a plate tuners are serviceable.

2 strap buttons a bonus. Bottom one in usual position. Top one under the neck where the heel would be if it had a heel, which it doesn't because it has a bolt-on neck.

I love the MOP head stock logo. Later versions were silk screened on. The scratch plate Epsilon logo is holding fast to the scratch plate. Later scratch plate logos had a habit of rubbing or peeling off.

Truss rod cover is blank and poorly installed. Screws were not installed perpendicular to the cover. Plate not installed butted against the nut. I've since re-installed it correctly. A minor issue, but other evidence of the Japanese's poor manufacturing techniques on this vintage of FT guitar.

The bolt on neck arrangement was a money saving attempt in the late Kalamazoo / Early Japanese (Norlin) era. I've seen this type of set-up on earlier Fender acoustics as well. Fender added a pipe like brace between neck-block and tail block to support the neck. High action on this one was caused by the neck block breaking loose from the soundboard. This allowed the neck to be free to move up and down. Tuning was next to impossible. As the neck moves forward, the short fretboard extension bears down on the sound board. This caused mine to develope a ripple and crack around the sound-hole. I've seen some where a chunk of soundboard between the neck and hole is missing. I consider myself lucky. This is a common problem with these Jap made FT models of this vintage. While the bolt-on neck created a cost savings, it severely shortened the life of these guitars.

Since she is my first guitar, I've kept and repaired her over the years. I've hit upon, what I think, is the final solution. I've detailed the repair on Epiphone's forum as 'TommyK'. Just search Neck Block repair in the acoustic section and you'll undoubtedly find it. There's pictures as well.

Some of these loose neck Epis were repaired under warranty. Some, like mine, were not. I was too new to the guitar and naive to realize the guitar was broken until years later. Later FTs were built better and the necks have been solid.l If you find one of these check the neck block for security and make your offer accordingly.

If you find this or any other Norlin built (1970s-80's) 'FT' guitar, besure to check the neck block and make your offer accordingly. I made the repair myself for less than $10.00. To have a lutier do it should cost less than $100.00, but that depends on the luthier. If your FT is a family heirloom, by all means get her playable again. If you're thinking of purchasing one, but the neck is loose... pass on it nless you can get it for less than $100.00 or are going to do the neck restoration yourself.

Also, if you're looking at one of these, be aware that some disreputable sellers sometimes cut the 'Made In Japan' off the bottom of the blue label to mask it's age. The 'Kalamazoo' remains and they try to pass it off as a Kalamazoo made guitar. If it doesn't say 'Made in USA', it wasn't.

I rate this low because of the ill conceived cost savings measure that doomed many a beautiful sounding guitar.

Other than the neck block issue, This guitar is rock solid.

I've done all my own repair work. I didn't know there was an issue with the neck until years after I'd received it. I've never dealt directly with Epi or Gibson.

25+ years. I own 3 other acoustics and one electric acoustic. I'd buy another Norlin era FT in a skinny minute if the price was right. I like this FT145SB because she's my first and because she looks a bit like a Hummingbird with a plain jane pick guard.

Her sultry, woody TONE is my favorite feature. That's all that matters.

I got the guitar used at a pawnshop and LOVE IT. It is I believe of 1970's vintage and in great condition. Made in the heyday of very good quality Japanese built acoustic guitars. Not sure, but believe it is of all solid wood construction. Spruce top,mahogany back & sides. Gloss finish.
Only flaw might be the bar type tuners. Individual tuners would "Look" better. But the ones it has work fine.

Great Guitar for my types on music (IE: Acoustic southern rock,bluegrass & country)
Great full sound that can be effected by choice of strings. The heavier the strings,the better it sounds.

Guitar has a great low action. No construction flaws that I've found.

I believe it could withstand liveperforming very well.

N/A

Hobbiest/couch picker for 35+ years. Over the years I've owned literally dozens of guitars, both acoustic and electric, from nearly all major (and minor) brands. This guitar is off ALL the acoustics,the one I like BEST. One of 2 guitars Inever intend to willingly part with. (THe other is a 70's vintage Yamaha FG 340) If it were stolen,I'd DEFINANTLY get another one. It IMO doesn't sound as good as the Martin copy Yamaha. It understandably (given it's Gibson roots) has a more Gibsonish baseier tone. (not that there's anything wrong w/that).
My favotite feature is the bolt on neck that is 1 3/4" wide at nut. With the low action,this neck makes this a GREAT guitar for up-neck acoustic picking (such as blues riffs etc).

This guitar belongs to my best friend. He purchased it new in 1969, on sale, for $69.00 dollars along with a nice hardshell case. It has a spruce top, mahogany back,sides and neck and a rosewood fretboard. Dot fret markers. Neck was thin and comfortable although the heel appeared to be the weakest point and the area that would,IMO, present the the area for most potential problems He replaced the original tuners with grovers umpteen years ago. Label indicates Kalamazoo Michigan but,made in Japan. We have known each other for 32 years and I played it for the first time the weekend of March 18th,2006. All the years we jammed together we never jammed acoustically. It was always his Les Paul and whatever I happened to own at the time.

My musical tastes run the gamut from mid-60's pop,R&B and folk (Bob Dylan, Phil Ochs etc)to blues and jazz. It seemed capable of handling them all, although perhaps a bit to bright for some of my jazz noodlings. The sound overall is reasonably bright.My wife even commented on how "nice"it sounded.

Set up was very good. Action was low and just right for my personal taste. I could not detect any noticeable flaws.

Well it has lasted 37 years, then again this guitar is owned by an individual that purchased a Pontiac Gran Prix new in 1977 and put over 300,000 trouble free miles on it before he bought another vehicle. I know for a fact this Epi has never seen hard playing (mostly living room stuff) but, I believe it is dependable and would withstand live playing if needed. The strap buttons seem solid as does the rest of the harware. Back in my day none of the players I knew or performed with could afford more than the guitar they brought with them. I never had a back up and don't believe you would need one with this guitar. That is not meant to be a criticism of anyone that brings a backup. If I could have afforded to do so in my "live" playing days I would have. As for the finish holding up, any instrument, even one properly maintained, is going to show some wear and tear eventually if played hard and consistently. My friend left his guitar with me overnight and it probably saw the hardest 4-5 hours of playing it has ever seen in 37 years yet it held up fine. Stayed in tune and never complained.
I am giving it a nine only because I have a problem rating anything a 10.

I have been playing off and on since 1963. Since this review is for an instrument that does not belong to me I am not certain how applicable it is to list the gear I own or have owned but over the years I have played or owned Martins (acoustic) Gibsons (acoustic and electric) Epiphones(acoustic & electric), Guilds(acoustic), Fenders and Squires (electric), Kramers(electric,) Tradition(electric),Abilene (acoustic),Arias (acoustic) and Cort(electric) If it were my guitar and it were lost or stolen I would be extremely pissed off and if I could find another in appproximately the same condition for a reasonable price yes I would buy it (again). However since it belongs to my buddy he would probably shrug and dig out his ($1500.00) Takamine even though he doen't like it as much as the Epi.Overall I feel this is a good solid instrument.

According to the serial number she's a 1963 or 1967 - blue label inside the sound hole - still indicating Kalamazoo Michigan as the companies home.
Made in Japan.
Nice dark body with a beautiful clear solid spruce top
adjustable saddle height.
original closed tuning pegs
Slim neck, nice action
No accessories included with the guitar

Suits my musical style to a "T" - my "style" goes from intense fingerpicking (think Paul Simons "American Tune") to driving alt/country (Jay Farrar's "Moonshiner")
No effects - use a microphone pointed at the soundhole
Very rich sound - not as "bright" as my PR720 on the top end but very deep rich tones on the lower scale.
What kind of sounds? Seems capable of making whatever sounds I want it to.
Really grove to the sound and tone -

Set up was spot on.
Only flaw was a crack in the bridge (which I was aware of when I bought it) - hey - it's 43 years old - something is bound to happen in all that time.
Fit and finish are top drawer

Very well built, well braced guitar
Hardware seems to be high quality
Finish (again, 43 years old) seems very durable -
Srap buttons are solid
I used it last night - 40 minutes after it arrived via UPS - at a gig - without a backup - broke a string (pretty normal for me) other than that - rock (and roll) solid.

Bought it "as is" from Gruhns in Nashville - sight unseen - staff (Travis) very helpful - the description I received from Travis was spot on the money - an absolute bargain - I've been to Gruhns before and know others who've bought instruments through them - and yes - I'd deal with them again in a heartbeat.

I've been playing for 36 years - I own two amps, seven other guitars and a banjo made in 1898.
All my questions were answered before I bought the guitar.
Even if it's NOT stolen or lost I'd buy another one just like it if I was presented the opportunity.
What do I love about it? It's a twin of the first (and only) new guitar I ever had (used it as partial trade on a Martin D-35 12 string slothead) - so there's sentimental value - but aside from that the feel, action and tone are fantastic.
I'll add a soundhole pickup for performance in the near future -

I was astounded when I purchased this guitar (second-hand) a few weeks ago. The owner said he hadn't played it in at least 25 years, and my god, does it show. I haven't a clue about when the guitar was made, but the previous owner recalls purchasing it in '76, the era in which all the FT series, as far as I know, were built in Japan.

Equipped with a rosewood 20-fret fretboard bolted on the mohogany body (sides/back) with a laminated spruce top, the guitar retains its original beauty. The bridge is rosewood and is adjustable via 2 screws. There is cream binding around both front and back sides of the body; Mine is now dull-yellow, as the guitar has aged in its case, without play, for 'umhteen' years - very beautiful. The guitar has a gloss finish, and the tuners are open just like the old 'Klusons'. As mentioned the neck is bolt on, and from what I've learned, many players refer to it as the most fragile piece of the guitar. It was a great idea from Epiphone, but just wasn't executed properly. Luckily for me, mine is perfectly straight and plays remarkably well.

Having played many different Epiphone acoustics through the course of my playing years (classic/light rock), I've realized that the FT-145 is quite unique in sound and playability. Although the highs aren't bright like a Martin/Takamine/Taylor, there was a lot more sound depth overall than I had expected. It has a mellow-brash sound, which somehow is able to incorporate an open ring of the individual notes when it comes to light-medium strumming. When strummed hard, the openess of the sound is depleted, but remains responsive and loud - very suitable for rhythm-playing. It also responds well to fingerpicking, but can improve on overall brightness; otherwise, the individual notes have reasonable clarity, with the "A" and "B" strings being the most pleasing to the ear.

When I first purchased the guitar, I strung it with Elixir lights. At its lowest bridge setting, I still thought the action could've been lower. So I brought it to a nearby shop where they lowered the action by about 1.7 mm. It played well until I realized the guitar was easily getting out of tune. So I raised the action slightly, enough to increase the tension between the pins and saddle, as I presumably thought there was enough slop between strings/saddle to cause detuning. Shortly thereafter, the FT and I became very good friends.

The frets on the FT are wide, as so is the neck; so playability is very easy. After several hours of playing, I've realized that the FT-145 likes to be played close to the front frets - that's if you want to stay away from very-minimal buzzing. Since setting the guitar up properly, it's been very difficult to lay it down. Ya gotta love it!

Although my FT-145 looks practically brand new because the previous owner never really played it, I still say that it can be a very durable guitar, as its indicative in just its weight. The guitar is heavy, leading me to believe that the top is supported with quality x-braces. The soundboard alone probably contributes to its weight signficantly. Strap buttons are metal and are located on the top/bottom of the guitar's body.

I've only contacted Epiphone (Gibson) once, and they were able to assist me in tracking down the year of my Epiphone EJ-160e. So I really can't say much about their customer service.

This guitar is an absolute keeper. My friend, who's a 'lefty', happens to own the same guitar, and I remember falling in love with it shortly after strumming a few simple chords. In fact, I was enticed to find a luthier in town to convert his into a 'righty', as he didn't mind selling it to me at the time being. But everything came to a halt, after spotting a right-handed FT-145 out of state. Yes, I went this far just to find one. And luckily for me, this guitar was in top-notch condition. In a few weeks time, I'm going to have an internal pickup installed at the same shop where I had the action adjusted. This guitar will soon be my companion in future gigs. I still can't get over the ring that it has and how easy the playability is. And she's all mine!

Mid-70s Epiphone FT145 with a spruce top, mahogany sides and back and a mahogany neck with a rosewood fretboard. Dot fret markers with the word Epiphone inlaid in abalone (?) on the headstock. Pearloid binding on the body (top and bottom)is yellowing nicely. There is no binding on the fretboard or headstock. When I got the guitar the saddle stock (the ivoriod piece supporting the strings) had been replaced with a blue piece of what looks like heavy duty weather stripping. It's T-shaped so it actually sits very well in the saddle groove! I'll replace it next time strings are needed. If the new saddle ruins the sound I'm going back to the blue plastic! Not fancy - slightly austere except for the headstock inlay of the name.

I also own a 1948 Martin D18, so that is my available benchmark. The Epiphone is more fun to play (i.e. wider fingerboard and easier to fret)and is more resonant. It has a pronounced and profound "A" string. It is almost as if the guitar was built to showcase that one string. Not particularly bright on the B and E, the focus is a little lower - nothing wrong with that. Not as loud as the Martin (needed in bluegrass) but lots of fun to sing with.

The action is adjustable (which looks a little funky - big chrome screws)but really helps to easily focus the guitar. I have the action set a little low so that I can get a little buzz out of it by leaning on it - kind of an acoustic distortion, when appropriate. The fingerboard (I'm guessing rosewood rather than ebony) is solid all along the neck...there's a little separation of the binding near the end peg but nothing a little wood glue can not fix. A thick, shiny finish protects the wood well - no cracks or blistering. I'm guessing they used poly finishes rather than varnish.

When the overseas Epis came out in the 70s they were frowned upon because they weren't a Martin, Gibson or a Guild. They are a little heavy - more wood I'm guessing. However - that wood has now been shaped like a guitar for 30+ years and sounds great. The guitar may have been assembled more to a blueprint tolerance than to a musicians ear but that approach has withstood the test of time. Tuning pegs are still relaible, adjustable bridge a real plus. It can take any kind of playing from punch rhythm to finger picking.

Haven't needed it and don't expect to use it. I'm on my own with this one. Any major repair work (busted neck, top cave, refretting) would have to be done by a luthier. The repair would probably be more than the cost of the guitar.

I've been playing guitar for around 40 years and except for having played (not owned) an original D-45 and an original J200 this is the most fun guitar I've had. It suits my finger picking style well and I don't worry about it being an antique. It doesn't have a case so it is always out and ready to be played - whenever and by whomever. Made to be played! I was lucky with this one...

I purchased this 6 string acoustic guitar new January 20, 1975, so it is probably a 1974 model. Serial number 021888. I payed approx. $250 new including the hardshell case. I still have the case although a couple of the hinges are now off. The guitar was made in Japan. The label on the inside states Epiphone, Kalamazoo, MI. Model FT 145. It has a satin finish spruce top. After 27 years the neck is still as straight as an arrow. It has a truss rod running through the neck. The tuners are open in the back and are original and it stays in tune. The neck is Mahogony with a Rosewood fretboard and has 21 medium/large frets. The neck has dot mother of pearl inlays and also 2 dot inlays on the bridge. It has an adjustable saddle which helps in adjusting the string action. It has two strap buttons on the body (eliminating the need to tie the strap to the headstock). A feature I really like.

The guitar has aged well. Even when new, I had many people comment on the brightness of the sound. It has retained that brightness and sounds even better after all of these years. I can't find another new guitar that matches the brightness and depth of the sound of this guitar.

The major problem that I had with this guitar was the string action. It has always been higher from the frets than I like. The neck adjustment screws never really helped. My only solution was placing paper in the neck joint to adjust the neck to the right action. Not very professional, but it worked wonders. There have been no other flaws to this guitar. The frets are smooth (although worn), and the guitar stays in tune. The bridge has never come loose. The finish has cracks from years of usage and taking in and out of the case in Minnesota winters. It still polishes up real nice though.

This guitar has withstood 27 years of playing. I plan on playing it for another 27 + years. Although I would love to have an acoustic/electric, I can't ever dream of not playing this guitar. The finish is still good other than cracks as mentioned above. However, after about 10 years the neck "caved" into the top and broke out the top around the sound hole about 1/2 inch on each side of the neck. I still don't know what happened. It has been un-professionally repaired. Although it doesn't look the best it plays as good as new. The rating is not a ten because of the neck problem.

Even thought the top broke around the sound hole, I never contacted the company. I cannot recall what the original warranty was. I would be interested in knowing what the warranty was/is.

I've been playing guitar for thirty years. This was my first acoustic that I bought new. My first guitar was a 1937 Carson J. Robison signature guitar from Montgomery Wards (made by Gibson in Kalamazoo).
I also have two electrics a Carvin CM95 in 1975 and a Washburn thin line acoustic/electric.

I love this guitar for its beautiful sound. My only complaint was the very high neck action when new(although I have adjusted it to play very low with no buzzing.)

If this guitar was ever stolen or lost, I would love to get another one from the same era. I've not played any Epi's or any other guitar that sounds as good as this.