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The Egmond Solid 7 (standard type) to the left, with two cut-outs. Probably 1958 or 1959.
The Egmond Super Solid 7 in the mittle, with the new style double cut-out. Probably 1960.
The Egmond Bass 7 (the Solid 7 family bass) to the right, with one cut-out. Probably 1960.
The Solid 7 was launched in the late 50's (around 1957). It was normally an ES113/22M2CA with 2 pickups. When having 3 pickups (and mostly a tremolo) it was an ES113/23M2CA and was also called the Super Solid 7. The name makes you think it was a solid body guitar, but it wasn't, it was a hollow body guitar without any sound hole. That made it lighter and more sloshy than a solid body guitar. The Bass 7 was the complementary bass to the Solid 7 and was an EB113/32M2CA. The body shape was, at first, as the one to the left above, i.e. with two symmetric cut-outs, on the guitars. And the bass had one cut-out, as the one to the right above. Then Egmond came up with the new style double cut-out, as the one in the middle above and that shape was later on all guitars in the Solid 7 series. These guitars had no truss-rods, so their necks were bent after some time. Later (maybe around 1964) the Solid 7 got a truss-rod, and then (probably 1966) it was renamed Flash.
The Egmond Solid 7 series, as they looked like in the 1965 catalog.
The Flash could be bought with a standard setup, as a Flash 2ES1 or a Flash 3ES1, having two or three pickups. And there was the bass version Flash 2EBS1. As shown here in the 1966 catalog:
The Egmond Flash series, as they looked like in the 1966 catalog.
Then it could be bought in the luxury version called Flash 2EL2, that can be seen tested, the very last few seconds in the 1966 movie clip from the factory, that you find in "The Egmond story" tab:
An Egmond Flash 2EL2 production document.
Inspection during the manufacturing of Egmond Flash 2EL2 in Best.
Egmond also made the Rosetti Solid 7 version, for the UK market. Here is an example of another luxury version, i.e. the Rosetti Sheerline 7:
The Egmond Rosetti Sheerline 7. The picture belongs to Bernd Stähler (www.rockawaybeat.de) .
And here is the Rosetti Super Solid 7. Having the same setup as my guitar originally had. However, this Rosetti has a sunburst and is more decorated:
The Egmond Rosetti Super Solid 7. The picture belongs to The Twelfth Fret (www.12fret.com) .
Another Egmond Super Solid 7. The most common colors were this green, my red, and "sunburst" as the Rosetti above:
An Egmond Super Solid 7. The picture belongs to Fab-guitars (www.fab-guitars.com) .
In 1968, Egmond replaced the Flash design with a new and completely different Flash:
The Egmond Flash 2EBS1 and Flash 3ES1, as they looked like in the 1968 catalog.
This is how my Egmond Super Solid 7 looks like now. It is probably made in 1959 or 1960:
This is what it looked like when I got it. A fast look and it seems OK. But a closer look reveals some issues:
The neck was severely bent, so it was not really playable.
The pickguard with integrated pickups, was cracked and almost into two pieces. All three pickups had broken windings, so they had to be rewound or replaced.
The original bridge was a special Egmond design. It was simple but yet quite handy. Its action was that it lifted the strings, i.e. increased the tension, and so sharpened the tone. This kind of bridge/tremolo can not lower the tone.
In the 1962 catalog it looked like this:
The combined Egmond tremolo arm and bridge, as it looked like in the 1962 catalog.
I already had two Egmond pickups, of the same kind as on the Rosetti Sheerline 7, above. I also already had an Egmond 6/319 tremolo tailpiece:
The Egmond tremolo tailpieces, as they looked like in the 1968 catalog.
I decided to use the pickups and the tremolo tailpiece. So I had to make a new pickguard, but I wanted it to look similar to the original pickguard. I used a cutting-board as raw material and the broken pickguard as a template. I cut out a suitable hole in the body for the tailpiece, and I replaced the DIN connector with a standard 1/4" connector, of Stratocaster style. I also straightened the neck and re-glued the fretboard.
The holes for the tremolo tailpiece and for the connector is made.
I made a new bridge of aluminium and re-used the potentiometers, knobs and switches from the broken original pickguard.
One tuning-key was broken, so I replaced all of them.