This semi-hollow 1967 Sheraton embodies the "wow" in John Lee Hooker's "how, how, how, how"—and much more.
It might seem unlikely that one semi-hollowbody guitar would appeal to a list of players as wide ranging as John Lee Hooker, Noel Gallagher, and Mick Cripps of L.A. Guns, but the Epiphone Sheraton has done service in all six of those hands—and many, many more—since its introduction in 1958. This month, we're focusing on a classic, cherry-finish 1967 Epiphone Sheraton E212T.
The model's backstory starts with Gibson purchasing Epiphone, its longtime rival in the hollowbody guitar market, in 1957. The next year, production of new Epiphones at Gibson's factory in Kalamazoo, Michigan, began, using leftover parts from the old Epiphone plant in Queens, New York—where many of the company's parts had been destroyed in a suspicious fire. Familiar Epiphone model names were used on many guitars in the new Gibson-built line, including Triumph, Deluxe, Zenith, and Emperor. But the brand's new electric thinline guitars aptly got new names, including the Sheraton (developed in 1958) and the Casino (introduced in 1961).
Beginning in 1961, Sheratons began sporting Seth Lover-designed mini-humbuckers. Dig the triple-ply binding on the pickguard and around the fretboard.
Debuting the same year as Gibson's ES-335 and ES-355, Epiphone's Sheraton—with gold hardware, multi-ply binding, and other upscale appointments—was a fancy counterpart of those semi-hollows. Until around the end of 1961, the Sheraton was equipped with so-called "New York" pickups—leftovers from the pre-Gibson inventory. At that point, they were replaced with Seth Lover-designed mini-humbuckers. The unique, two-tiered Frequensator tailpiece designed by Epiphone in the late 1930s remained an option on the model, even after the Trem-o-tone vibrato tailpiece was introduced on the Sheraton in '61.
Until around the end of 1961, the Sheraton was equipped with so-called "New York" pickups—leftovers from the pre-Gibson inventory.
The 1967 Epiphone Sheraton E212T you're looking at has the typical features used in the year it was made, but it's nonetheless quite handsome. These include a 1-piece mahogany neck with a 5-ply bound-rosewood fretboard, pearl block inlays with V-shaped center wedges, an elaborate flowering-vine-inlay headstock surrounded by 3-ply binding, and a multi-ply bound, laminated maple body. The two mini-humbuckers, Frequensator tailpiece, and Grover Rotomatic tuners are gold-plated. The control set is standard: a 3-way pickup selector and two volume and two tone dials. The original list price for a cherry-finished, Frequensator-equipped Sheraton like this was a then-princely $580 plus $60 for a hardshell case. The current value for one in excellent all-original condition is $5,000.
Here's a close-up on that flowering vine headstock inlay—certainly a classy embellishment—as well as ol' one-knob's control panel: volume dial, a fuse, an on/off toggle, and a jewel light. The rest is pure tone.
Our Sheraton rests against a 1959 Epiphone EA-35 Devon amp. The name, Devon, had been used for a budget Epiphone archtop before the Gibson buyout, and was recycled for this now-rare combo. The original information sheet included in the back of this particular amp reads: "Its unbelievable value includes top-mounted four-tube chassis, top-mounted control panel, 9-watts output, two instrument inputs, Jensen 10" speaker, volume control, on/off switch, jeweled pilot light, protective fuse. Large professional size 20" wide, 16" high, 9" deep, weight 20 lbs." The original price was $95, and the current vintage market value is $500.
Sources for this article include Epiphone: The Complete History by Walter Carter, Gibson Electrics: The Classic Years by A.R. Duchssoir, and The Gibson 335: Its History and Its Players by Adrian Ingram.
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This full-amp-stack-in-a-box pedal brings a new flavor to the Guitar Legend Tone Series of pedals, Missing Link Audio’s flagship product line.
Adding to the company’s line of premium-quality effects pedals, Missing Link Audio has unleashed the new AC/Overdrive pedal. This full-amp-stack-in-a-box pedal – the only Angus & Malcom all-in-one stompbox on the market – brings a new flavor to the Guitar Legend Tone Series of pedals, Missing Link Audio’s flagship product line.
The AC/OD layout has three knobs to control Volume, Gain and Tone. That user-friendly format is perfect for quickly getting your ideal tone, and it also offers a ton of versatility. MLA’s new AC/OD absolutely nails the Angus tone from the days of “High Voltage” to "Back in Black”. You can also easily dial inMalcom with the turn of a knob. The pedal covers a broad range of sonic terrain, from boost to hot overdrive to complete tube-like saturation. The pedal is designed to leave on all the time and is very touch responsive. You can get everything from fat rhythm tones to a perfect lead tone just by using your guitar’s volume knob and your right-hand attack.
- Three knobs to control Volume, Gain and Tone
- Die-cast aluminum cases for gig-worthy durability
- Limited lifetime warranty
- True bypass on/off switch
- 9-volt DC input
- Made in the USA
MLA Pedals AC/OD - Music & Demo by A. Barrero
Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters are designed to offer a fat midrange and a smooth top end.
Billy Corgan was looking for something for heavier Smashing Pumpkins songs, so Joe Naylor designed the Railhammer Billy Corgan Z-One pickup. Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters have a fat midrange and a smooth top end. This pickup combines the drive and sustain of a humbucker with the percussive attack and string clarity of a P90. Get beefy P90 tone plus amp-pummeling output with the Railhammer Billy Corgan Z-One.
Patented Railhammer Pickups take passive guitar pickups to a new level with rails under the wound strings lead to tighter lows, and poles under the plain strings offer fatter heights. With increased clarity, the passive pickup’s tone is never sterile.
Railhammer Billy Corgan Signature Z-One Pickup Demo
For more information, please visit railhammer.com.
Designed for utmost comfort and performance, the Vertigo Ultra Bass is Mono’s answer to those who seek the ultimate gigging experience.
Complete with a range of game-changing design features, such as the patent-pending attachable FREERIDE Wheel System, premium water-resistant and reflective materials, shockproof shell structure and improved ergonomic features, the Vertigo Ultra Bass takes gear protection to the next level.
The Vertigo Ultra Bass features:
- Patent-pending FREERIDE Wheel System that allows for wheels to be attached on the case in no time, giving you the option to travel with it seamlessly
- Upgraded materials, including a water-resistant 1680D Ballistic Nylon outer shell, plush inner lining and new reflective trim for maximum backstage and night visibility
- Enhanced protection with a shockproof shell structure and heavy-duty water-resistant YKK zippers for protection from the elements
- Improved ergonomics and functionality including added back support and load-lifting detachable shoulder straps with side release buckles
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