For many guitarists chasing the iconic tones of a semi-hollowbody, the Gibson ES-335 stands as the holy grail. However, its price tag often places it out of reach for many players. Enter the Epiphone Sheraton Guitar, a long-admired instrument that offers a compelling alternative, delivering classic semi-hollow vibes at a more accessible price point. Having spent years playing and experimenting with various guitars, including both Gibson and Epiphone semi-hollow models, I recently revisited the Sheraton, specifically the Epiphone Sheraton II Pro, to see if it lives up to its reputation and how it stacks up in today’s market.
My Journey with Semi-Hollows: From Sheraton to ES-335 and Back
My first foray into the world of quality guitars wasn’t actually a semi-hollow. It was a modified Gibson Les Paul Deluxe from the early 70s – a guitar with its own set of quirks and charms. But the semi-hollow bug bit me hard, and the legendary ES-335 was my target. Unfortunately, a genuine Gibson ES-335 was financially out of reach at the time. That’s when I discovered the Epiphone Sheraton guitar. Brand new in the mid-nineties, it was a stunning instrument that scratched that 335 itch perfectly.
There’s no denying the allure of a Gibson headstock, especially when you’re younger and perhaps more susceptible to brand prestige. About three years after acquiring my Sheraton, I traded it in for a 1963 Reissue ES-335 dot in cherry. While the ES-335 was undoubtedly a beautiful guitar, it required significant work – including expert setups and a pickup swap to Lollar Imperials – to truly shine. It took years and additional investment to get the Gibson to a place where it could compete with my memory of that original Epiphone Sheraton guitar. For a long time, I genuinely regretted trading the exceptional and more affordable Sheraton for a Gibson that, initially, felt lacking in comparison.
Recently, I conducted a comparison between the Sire Larry Carlton H7 and the Epiphone Inspired by Gibson ES-335. Both were commendable guitars, yet neither quite captured the magic I associated with my ’63 Reissue ES-335 – now finally dialed in to its full potential. This review process sparked a thought: in my recollection, that old Epiphone Sheraton guitar surpassed both of the review instruments. And with my ES-335 now upgraded and refined, it felt like the perfect time to revisit the Sheraton and see how the modern versions hold up.
Alt text: Close-up of the vintage sunburst finish on an Epiphone Sheraton II Pro guitar, showcasing its elegant aesthetic.
Black Friday Serendipity: Rediscovering the Sheraton II Pro
As luck would have it, Black Friday rolled around, and while browsing local guitar shops for deals, I stumbled upon an Epiphone Sheraton II Pro in vintage sunburst. It was in pristine condition, likely because semi-hollows aren’t always the first guitars players grab for a quick test in a store. I saw it on two separate occasions, each time briefly played by another customer before being returned to its hook. This was a good sign for me.
On Sunday, I called the store and asked if they still had the Sheraton II Pro and if they could hold it for me. Upon arriving, I was initially disappointed as it was missing from its display spot. However, a little searching revealed it in another section of the store – a fortunate rediscovery! With the Black Friday discount applied, the price became very appealing. After a brief acoustic playtest, I knew I had to take it home. Even with the factory strings, it resonated beautifully, hinting at its true potential. My first order of business was to replace those stock strings with a set of D’Addario NYXLs 9.5-44, my preferred gauge and brand when I’m not using my custom sets from Curt Mangan or Stringjoy. While the debate about boutique strings versus standard brands is subjective, I personally appreciate the quality and personalized service from smaller string makers like Curt Mangan – even receiving a direct call from Curt himself about an order detail is a testament to their dedication.
Factory strings, especially those that have traveled across the globe and endured countless players in a shop environment, are rarely at their best. But even with those less-than-ideal strings, the Sheraton II Pro impressed me immediately. While auditory memory can be unreliable, my initial impression was overwhelmingly positive. Some argue that an electric guitar’s sound is solely determined by the pickups, dismissing the wood’s influence. I respectfully disagree and won’t delve into that debate here, but the inherent resonance of the Epiphone Sheraton guitar body was undeniable from the start.
Epiphone Sheraton II Pro: Delving into the Details
The model I acquired boasts a vintage sunburst finish – a classic look that, in my older parlance, would be called tobacco sunburst. Mirroring the construction of its higher-priced cousin, the Gibson ES-335, the Sheraton II Pro features a laminated body. In this case, it’s crafted from laminated maple for the top, sides, and back. This laminate construction contributes to the guitar’s stability and reduces feedback. The gloss finish is a welcome touch, enhancing its visual appeal.
The neck profile is a comfortable 60s slim taper, making it easy to navigate. While newer Sheraton models might feature Pau Ferro fingerboards, the darker hue of this particular guitar leads me to believe it has a rosewood fingerboard – a personal aesthetic preference of mine, although I perceive little difference in feel between the two woods. I own an original Fender SRV Signature Strat with a Pau Ferro fingerboard that plays exceptionally well, further illustrating this point. The Epiphone Sheraton guitar employs a set-neck construction and is equipped with medium-jumbo frets. The fretwork is excellent, with no sharp ends protruding from the bound fingerboard. It features a 24 ¾ inch scale length with 22 frets, adorned with stunning mother-of-pearl and abalone block inlays, and a Graph Tech NuBone nut. The tuners are Grover 18:1 Rotomatics, known for their reliable and precise tuning. The bridge and stopbar are Epiphone’s versions of the classic Gibson hardware. Out of the box, the intonation needed minor adjustment, easily rectified. The action and neck relief were well-set from the factory, requiring no immediate tweaks.
Alt text: Detailed view of the Epiphone Sheraton headstock, highlighting the ornate tree of life inlay and Epiphone logo.
Electronically, the Sheraton II Pro is equipped with a ProBucker 2 humbucker in the neck position and a hotter ProBucker 3 in the bridge. Both pickups feature push-pull volume controls that activate coil-tapping, significantly expanding the tonal palette beyond the traditional three-way selector switch. While I initially overlooked the coil-tap function until reviewing the specifications, it adds a surprising layer of versatility to this semi-hollow. The only minor imperfection was a loose neck tone control, easily fixed with a wrench in seconds. The tone controls offer a decent range of adjustment, although rolling the neck tone knob fully off resulted in a somewhat muddy tone reminiscent of early ES-335s – a characteristic that can be addressed with a wiring harness upgrade if desired. While I currently see no need to replace the stock ProBuckers, if I were to do so in the future, I would also upgrade the potentiometers from the standard 250K to a higher value. The output jack is robust and secure, avoiding the overly tight grip found on some import jacks that can feel like they might damage the guitar upon unplugging.
Amplified Performance: From REVV to Tonemaster
My initial amplified test of the Epiphone Sheraton guitar was through my REVV D-20 amplifier. While primarily used as a recording preamp, I connect it to a Fender Deluxe cabinet for a more traditional amp experience. The Sheraton sounded impressive through this setup. Interestingly, I initially found the REVV lacking when paired with its own branded cabinet, but the combination with the Fender Deluxe 1×12 cabinet proved much more sonically pleasing. For recording, the REVV’s built-in Two Notes Torpedo allows for a wide range of amp and cabinet emulations.
The real revelation came when I played the Sheraton II Pro through another recent acquisition: a Fender Tonemaster Deluxe Reverb in blonde. Having previously tested the standard Tonemaster models, which are virtually indistinguishable from tube Deluxe Reverbs in blind listening tests, I was particularly intrigued by the blonde version. These limited-edition blonde Tonemasters feature a Neodymium Celestion Creamback speaker instead of the standard Jensen neodymium speaker and have the bright cap removed, resulting in a noticeably different and, in my opinion, superior sound. Despite being a digital amplifier with only two speaker impulse responses for recording, the Tonemaster Blonde Deluxe Reverb sounds phenomenal as a standalone amp. It’s my first foray into pure DSP amplifiers, having historically been a dedicated tube amp enthusiast. I’ve written a more comprehensive review of the Tonemaster separately.
The semi-hollow construction with a center block of the Epiphone Sheraton guitar effectively mitigates feedback issues typically associated with fully hollow instruments. While you can intentionally induce feedback, it’s not prone to unwanted howling. In contrast, my older Casino can become feedback-prone simply by mentioning the word “Marshall” near its f-holes. The Sheraton II Pro is not a lightweight guitar. The laminated maple construction contributes to a substantial feel, and while Epiphone doesn’t specify the exact weight, I estimate it to be around 8.5 pounds, slightly heavier than my ES-335. Paired with my preferred Right-On strap, it sits comfortably and securely. The factory strings were 10-46 gauge, and the switch to 9.5-44 required no setup adjustments. However, the feel with the lighter gauge strings is significantly improved.
Sonic Proof: Recorded Samples
To capture the sound of the Epiphone Sheraton guitar, I recorded direct into Studio One v6 on a Windows machine using the Fender Tonemaster Blonde Deluxe Reverb’s DI output into an Apollo Twin X interface, bypassing any UA plugins at the input stage. The guitar signal chain included an EB volume pedal, a Source Audio Atlas compressor, an Origin Effects Halcyon, an MXR Duke of Tone, an Eventide TimeFactor, an Eventide ModFactor, and a TC Electronic Hall of Fame 2 reverb. For the initial part of each recording sequence, no pedals were engaged. For the latter sections, I incorporated the TimeFactor and ModFactor, keeping the effects subtle. In mixing, a UA LA-2A Silver Compressor was added, with no other tonal alterations.
Two recording sequences are included. The first utilizes the Tonemaster’s first IR, emulating a Shure SM57 positioned at the edge of the speaker cone’s center cap. The second sequence employs the second IR, simulating a Sennheiser MD421 aimed at the same speaker cone position. Each sequence is divided into two parts. The first part showcases the neck, middle (both pickups), and bridge pickup positions without any effects pedals. The second part features a simple chord progression using both pickups and incorporating the Eventide TimeFactor and ModFactor to illustrate the subtle sonic nuances between the two built-in IRs. (Note: While audio samples are described, they are not included in this text-based review.)
Final Verdict: The Epiphone Sheraton Guitar – A Semi-Hollow Star
The Epiphone Sheraton guitar, particularly the Sheraton II Pro, has reaffirmed its place as an exceptional semi-hollow instrument. It delivers a rich, resonant tone, comfortable playability, and impressive versatility thanks to its coil-tapping pickups. While it may not bear the Gibson headstock, the Sheraton stands on its own merits as a high-quality guitar that captures the essence of the ES-335 at a fraction of the cost. For players seeking that classic semi-hollow sound and aesthetic without breaking the bank, the Epiphone Sheraton II Pro is undoubtedly a top contender and a guitar I wholeheartedly recommend. It’s a testament to Epiphone’s commitment to crafting instruments that offer incredible value and performance, making the dream of owning a great semi-hollow guitar attainable for a wider range of musicians.
