Close-up #53: Tailpieces, part 2 – from “Compensating” to “Frequensator”
In December 1935, Epiphone announced two new archtop guitars – the Emperor and the Super DeLuxe. These models were not only bigger in body size than previous models, but also introduced a new tailpiece type – larger and fancier than those previously used.From now on, Epiphone would use two different types of tailpieces on their archtops: While the traditional "trapeze" units – as discussed in Close-up #42 – continued to be standard on lower-end models, all higher-end archtops typically received a larger and fancier tailpiece.
In this overview we discuss the development of Epiphone’s high-end tailpieces which underwent various design variations.
Above: The Emperor in the announcement advert, December 1935 – note the new, large tailpiece.
General note:
When looking at vintage Epiphone guitars equipped with one of the tailpieces discussed here, we have to keep in mind that hardware pieces often wore out and got replaced during the lifetime of an instrument. Moreover, high-end instruments were mostly owned by professional musicians who were keen to keep their guitars in best playing order – therefore often swapping out older hardware with the latest, improved products.
It is often difficult to tell if a tailpiece is truly factory-original to a guitar. We also notice that many surviving guitars are equipped with repro tailpieces that imitate the Epiphone style but are not vintage. This chronological overview may also help to better identify original units from repros.
“Compensating” tailpiece (1935–1937)
In Epiphone’s 1936 catalog, the large, flat tailpiece unit featured on higher-end archtops was referred to as the “new compensating tailpiece” – however without explaining what exactly the new unit tried to “compensate”... Anyway, compared to the previously used “trapeze” tailpieces, the compensating tailpiece was significantly bigger, heavier and fancier – made of a flat sheet of brass, plated in gold (on Emperor, Broadway, DeLuxe) or nickel (on Triumph).It seems fair to suggest that Epiphone probably introduced the compensating tailpiece in response to Gibson’s tailpiece on their Super 400, launched a few months earlier – the similarity in design is pretty obvious.
Above: Tailpiece of 1935 Gibson Super 400.
Although the compensating tailpiece was in use for less than 2 years only, it underwent a few minor design changes – there are 3 basic versions known:
1. Compensating, arrow-shape (late 1935 – early 1936)
In the earliest version, the flat metal sheet is cut out to form an arrow-shaped center. This tailpiece was shown in the December 1935 advert of the Emperor and Super DeLuxe (see picture above). This version seems to have been short-lived – only very few original examples of this tailpiece variation are known to have survived.
Note that the angled bracket – with a large triangular shape and a hole for the endpin – was joined to the main plate by a pin hinge. Interestingly, one gold-plated example features “Epiphone” in a delicate script on the crossbar – missing on other documented examples.
Above: Compensating tailpieces, earliest version with arrow-shaped plate. The gold-plated example (left) with "Epiphone" in script, the nickel-plated version (right) as used on the Triumph model.
2. Compensating, straight top slot (early–mid 1936)
In the model illustrations of the Epiphone catalog published in 1936, the tailpieces of high-end archtops looked slightly different: In this second version, the arrow-shaped design was changed to slots.
The image of the Emperor model showed “Emperor” in script on the crossbar, while the DeLuxe, Broadway and Triumph were blank. This second tailpiece version seemed to have been pretty short-lived, too – only a handful of surviving examples are documented.
Above: Compensating tailpieces with slots. The gold-plated example (left) on a Broadway, the nickel version on a Triumph. Note the different hinges: The ring-type hinge (right) was shown in the 1936 catalog.
Above: The Emperor pictured in the 1936 catalog. Note crossbar with "Emperor" in script, and ring-type hinge.
Above: A gold-plated example with engraving on the plate and "Emperor" in script on the crossbar.
3. Compensating, curvy top cutout (mid 1936 – mid 1937)
Version 3 of the compensating tailpiece was probably introduced around mid-1936. It was in use until succeeded by the “Frequensator” tailpiece after summer 1937 (see below).There are two main differences to the previous designs: Firstly, the top cutout below the crossbar was changed from straight to a curvy shape. Secondly, “EPIPHONE” is stamped in sans-serif on the crossbar – on all models. Furthermore, the joining hinge between tailpiece plate and angled bracket was now standardized.
This third and final design variation is by far the most commonly seen among surviving examples of the compensating tailpiece.
Above: Compensating tailpieces with slots and a curvy top cutout, nickel-plated (left) and gold-plated. Note "EPIPHONE" in sans-serif on the crossbar, and redesigned bracket hinge.
Above: Illustration from Emperor flyer (c. late 1936), showing compensating tailpiece version 3.
“Frequensator” tailpiece (1937–1956, and beyond)
In an advert of September 1937, Epiphone announced the “Frequensator” – a new tailpiece design based on an invention for which Epiphone employee Herb Sunshine had filed a patent application on June 12, 1937 (see pictures below).The name of the new product was short for "FREQUENcy compenSATOR": The invention aimed to improve tone by varying the lengths of the string ends below the bridge – claiming a "frequency compensating" effect between bass and treble strings. A prototype unit (with two trapeze shaped forks) appeared in a July 1937 advert on Tom Morgan’s Emperor.
The new tailpiece had its name stamped on the hinge plate: "FREQUENSATOR / PAT. PENDING”. The patent for this invention was granted on July 18, 1938. But interestingly, Epiphone never changed the stamp on the bracket: Also later units show the same “PAT. PENDING” claim – until 1956, when the original Epiphone company ended production. Well, actually even beyond... see further below.
Above: Drawing from patent application of June 12, 1937. The patent was granted on July 19, 1938.
Above: Advert announcing Frequensator, September 1937.
Above: Tailpieces in the 1939 Epiphone catalog. On the Frequensator, the triangular bracket part was larger – identical in size and compatible to the "compensating" tailpiece it succeeded.
Above: Explanation of the Frequensator in the 1939 Epiphone catalog.
The design of the Frequensator stayed unchanged for decades - basically until today. In 1937, the Emperor, DeLuxe and Broadway received the gold-plated version, while cheaper nickel-plated unit was reserved for the Triumph. After WW2, the gold Frequensator was also fitted on the electric versions of the DeLuxe and Emperor, and the new Devon archtop was equipped with the nickel version.
Occasionally, also lower models show up with a nickel-plated Frequensator as original hardware: In the late 1930s, the UK importer sold Spartan, Blackstone, Zenith and Olympic models with an upgraded tailpiece.
Above: Frequensator tailpieces, gold-plated (left) and nickel-plated.
Above: Close-up of gold-plated bracket on a 1949 Broadway. The claim "PAT. PENDING" was never changed, even after the patent was granted in 1938. Note this detail: The two lines above and below “FREQUENSATOR” have different lengths – like the two forks of the tailpiece...
5. Frequensator, no stamp (late 1945 – early 1947)
On Epiphone archtops made around late 1945 onwards, we notice that many Frequensator tailpieces are lacking the “FREQUENSATOR / PAT. PENDING” stamp – the bracket was left blank instead. Affected were most gold-plated Frequensators on Broadways during 1946 – those on DeLuxes somewhat less, and on Emperors the least. Most Triumphs came with unstamped nickel-plated units until early 1947. After that date, all Frequensator brackets were stamped again in the same style as before.
We can only speculate about the reasons for this...
Above: Frequensator tailpieces on a 1945 Broadway (left) and a 1946 Triumph. Note blank bracket plate – no stamp.
6. Frequensator, post-1957
After the original New York Epiphone company was sold to Gibson/CMI in 1957, many left-over instrument parts were shipped to Gibson's factory in Kalamazoo MI – tailpieces among them. When the reborn, Kalamazoo-based Epiphone company launched new guitar models by 1958, some of the old hardware parts were used up in these.
But the Frequensator was more than just a left-over: The new management must have realized that this iconic tailpiece had become a highly recognizable element of the Epiphone brand identity. So the Frequensator kept appearing on many new higher-end Epiphone models – such as the Sheraton and Riviera. In order to fit the thinner body of these new electric guitars, the bracket of the Frequensator was redesigned.
But one thing didn't change. The stamp on the tailpiece still proudly declared: "FREQUENSTAOR / PAT. PENDING” – and keeps doing until today!
Above: 1966 Epiphone Sheraton with gold-plated Frequensator. Note the redesigned, smaller tailpiece bracket to fit the thin body.
Above: Newer Frequensator replica with the familiar stamp – however note the slightly bolder font.
Broken brackets can be repaired
Finally, let's talk about an issue many owners of vintage Epiphone archtops are confronted with: What to do when the original tailpiece develops a crack – often seen at the bend of the bracket?
Unfortunately, no major company seems to sell truly accurate replica units for pre-Gibson Epiphone archtops. Sure, now and then a vintage tailpiece gets offered by dealers, but prices are often rather high.
Good to know: It is worth trying to get a broken tailpiece repaired by a skilled metalworker. Brass instrument repair specialists would be an ideal choice – if available in your area. Alternatively, also some jewellers may be able to do the job.
A repair may not turn out 100% invisible – but in my opinion this is honest, authentic "patina", and preferable to a replacement that looks wrong. Most important of course: The tailpiece should be able do its job again.
Above: Tailpiece brackets tend to split or break at the bend. The example on the right was mended by a brass instrument repair specialist – almost invisibly.
Summary
The table below summarizes evolution of the Compensating + Freqensator tailpieces. (Trapeze tailpieces: see Close-up #42.)
| Year | Model | Type | Version | Details |
| 1935–36 | Compensating | 1 | Arrow-shaped | Pin hinge |
| 1936 | Compensating | 2 | Straight top | Some: script "Emperor" |
| 1936–37 | Compensating | 3 | Curvy top | Sans-serif "EPIPHONE" |
| 1937–56 | Frequensator | 4 | Stamped | Model stamp on bracket |
| 1945–47 | Frequensator | 5 | Unstamped | Bracket without stamp |
| 1958– | Frequensator | 6 | Stamped | Shorter bracket |
Note: This overview is subject to updates whenever new evidence surfaces.
(Apr 12, 2026 – with later additions)