The silver reflector caps on the control knobs are missing and someone has used a silver pen to, at least in part, mimic the look. The finish on the back of the neck has numerous small dings. There are two circular indentations around the heel. The finish on the body is in otherwise good shape with only a few small scuffs/dings. One of the holes has been filled with a perloid dot and the other with some kind of filler. There are screw holes from a previously fitted bigsby (most are not visible becasue they are covered by the Epiphone vibrato) and 2 holes on the tip of the upper horn, presumably from someone re-positioning the strap button. It has the wide nut, two P-90 pickups with black covers and nickel hardware.

I've also swapped B3s over to B7s and noticed a significant improvement in sustain, probably because there was so little downforce on the saddles it was dampening string vibrations.1962 Epiphone Casino E230TD, Sunburst finish in fair/good condition with the original case. I've installed a couple with no problems, a couple that were just about ok with some fiddling, and a couple where I've measured up and told the owner forget it, let's do a B7.

In practice, on 330s/Casinos sometimes a B3 works and sometimes it doesn't - it depends on the neck pitch of the individual guitar. The reason is break angle, if there's not at least a little over the bridge a B3/B6 won't work for because a top mounted ABR style bridge is typically low to the body you're likely to run into problems. When Gibson first introduced the 330 they offered it with a B3 rather than a B7 but switched to a B7 within 18 months or so, probably because they couldn't consistently get the B3 to work on them. The rule of thumb is if the bridge is raised up off the body on a wooden base, use a B3 or B6, if it's directly mounted onto the top use a B7.

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