Epiphone EJ-200

Lots of cool cosmetic features. Deluxe inlays, etc.
No factory electronics but they usually don't sound that good anyway.
Very well made

I've always loved the sound of the Gibson Jumbos but the price was out of my range since I only play acoustic occasionally. I saw this at Guitar Center and dug it. I was able to do a side by side comparison with the Gibson J200. There was suprisingly little difference in tone. The Gibson had a touch more low end but the Epiphone had a little more high end clarity. The Gibsons construction was better-flamed maple - solid sides instead of laminated but the sound of the Epiphone was VERY close to the Gibson and cost $2000 less!!!

The setup off the rack is very good, especially for a $375 guitar. I almost always have to tweak a guitar when I first get it but this one was fine right away. The action is low (better than most of the Martins and Taylors I played at the store!) The frets and fingerboard are very well dressed. The finish is clear, glossy and flawless.
This really is a great value for the $$$.

It's still pretty new but it seems like it should hold up very well. I have worked as a guitar tech for several local musicians (some now have gold records) and have built several custom solidbody guitars so I know my way around and this Epiphone is built quite solid.

Haven't had to call on this Epiphone but have called in the past about Gibson products and they were very helpful

I can't believe this guitar was so inexpensive. I would deffinately try to replace it. even if I had unlimited funds I would actually choose this over most of the guitars I tried that were in the $1000 range

This is Epiphone's version of the classic Gibson J(SJ)-200.
I would love to own the real thing someday, but I came across this and got a good deal on it (new)and have used it as my main acoustic for live gigs for nearly five years now. I believe these were made in Korea.
I had a Martin gold line transducer and bone nut and saddle installed right off the bat. The finish is very nice and even. The grain is also eye-catching. Nothing about it looks second rate and it should age nicely. The neck is fairly fast for an acoustic and is almost too easy to play, compared to some of the others I have. I belive the top is spruce and the sides and back are maple. It is a laminate, but I've been told this is more stable for live situations.

In the living room or mic'd in the studio it sounds very good, esp the highs and mids. In live situations a good sound man can really make it come to life from highs to lows. Solo onstage it can have a very full sound; as rhythm with a band is can be dialed in for what I seen called "the sound of a really good ride cymbal". That is kind of odd, but accurate. Maybe it's the spruce top, but this thing sounds pretty vibrant, even when you play darker stuff like drop D tunings.

In live settings I have also run the signal to an A/B box with one signal going to the DI and the other to my amp rig (Tube Driver/Tremodillo/Crystal Chorus/Echoplex (sometimes Proctavia) into my amp. Stomping on this at certain points really accents the mood of a song like howling into a canyon at the end of the world. Just be sure not to overdo it. You cry wolf and it's not as effective.

Frets needed to be dressed a little, new nut and saddle; set the action. Pickup added. Nothing unexpected.
Grain throughout, esp back, is very eye-catching.

I have been playing this out and in the studio for five years and it's been pretty durable. Broken strings and new batteries is all the maintenance I've done. Initially thought it would be more delicate due to the light weight, but it is light and tough. A few dings of my own doing, but only minor cosmetic stuff. I did splurge and buy a high quality hardshell case right away. Can anyone explain the concept of a gig bag to me?
PT Barnum was right. I love my guitar so much I'm gonna protect it with a nylon bag -- come on.

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Other acoustics include '65 Epiphone Caballero (B-25 style), Ibanez version of J-200 (prob lawsuit era), Washburn, other mid 70s Epiphone 6 & 12s with bolt necks (these are surprisingly cool -- try the smaller body ones), dobro.

Lost or stolen, I would definitely keep this in mind - depending on my financial situation. I have written enough songs on it to know it has a very cool personality. Recording it has been very easy.

The love affair with these things is the body shape and the sound -there is a true aesthetic quality to the J-200 style. I'll stop short of comparing it to a good woman.

I played an old Gibson J-200 and an even older Epiphone Texan in stores and they sounded like angels singing. Both were far beyond my budget -- the Epiphone is my reality. If one turns up cheap and youare in the market, give it a try.

Mine was made in 2000, in Korea. Spruce top with maple back and sides, finished in Natural. Rosewood retboard. The finish is a beautiful high-gloss with no flaws that I could find. The grain of the various woods is very nice, although not quite as eye-catching as the flame on the real Gibson SJ-200s. The body is a "Super Jumbo" acoustic with split back. The neck and body are multiple bound, and there is extensive inlay work on the fretboard. The tailpiece is an Epiphone version of the Gibson "moustache" bridge that has inlays where the outside holes are on the Gibson. The tuners are Gotoh gold/chrome plated

The sound of this Jumbo acoustic is one of the best off-the-rack guitars I've ever played. I played several Gibson jumbos before buying the Epiphone, and the sound of the Epiphone compares favorably with the much more expensive Gibson that it is a copy of. My wife said she "couldn't tell the difference." It is strong and resonant, with rich full bass, and bright treble, and responds well to variations in attack.

My guitar came with 12s and the action is not as low as it could be. It doesn't buzz at any fret, and the frets are nicely polished. Overall the finish work is excellent. I own about 30-some guitars, several of which are Epiphones, and the EJ-200 is far and away the best finished Epi I own.

This guitar feels sturdy and inspires confidence. The hardware, tuners and the like are high-quality. The finish better than any other acoustic that I own, including Yamaha, Fender, Epiphone, Rogue, and Washburn. It has one feature that is really nice -- two strap buttons, one at the heel of the neck, with nice felt pads. As for whether I would use it without a backup - when they make strings that don't break, I'll consider ever playing anything without a backup!

Have had no occasion to need factory support, but the local Epi dealers are great guys, so I don't predict any problems.

I have been playing for over 30 years (yikes, how did I get so old?) I own too much gear to list, but a short version would include 16 tracks of ADAT decks, ProMix 01, 30+ guitars - including a bunch of Strats, Teles, Les Pauls, SGs, Ric 340-12 string, Sheraton, Zephyr Blues Deluxe, Wildkat, MM-50 Epi mandolin, acoustic 6&12 strings, keyboards, etc, etc... You can check out my setup and sample some of my tunes at http://home1.gte.net/wlburn. If my EJ-200 were lost or stolen, I just hope I could find another one (they're pretty hard to find!) So far, it's my favorite "sit-around-and-strum" guitar. I love the way it "feels" and the sound is very conducive to long sessions of jammin'. The only thing I could say I don't like about it is it has so much bass that it is hard to record, but I have several smaller-bodied guitars to use for acoustic tracks. This guitar works great for un-amplified live performance. I can't believe it's possible to get a guitar that looks this nice, has this quality of construction, and sounds so good for so little money.

My guitar was made in Korea in either '99 or 2000. It has 20 frets, and a solid, book-matched Englemann spruce top. At least it looks like an Englemann grain. The sides and back are a laminate with a natural finished maple veneer showing on the outside. The entire laminate may be layers of maple, but it's hard to tell. The neck is a solid piece of maple, and very pretty. The instrument is finished in a high-gloss polyurethane that looks like glass. I expect it to wear like iron.
The body style is a "jumbo." This Epiphone is a Gibson-authorized replica of the Gibson SJ-200 you've seen Emmy Lou Harris play. In fact, Pete Townsend is roaring away on the $4,000 Gibson version on the cover of the September 2000 Guitar Player magazine. My replica has the trademark "moustache" bridge, and a nicely compensated cast plastic bridge saddle. The tuners are locking "gold" Gotoh tuners.
The neck is one of the more interesting features of this guitar. Like most set-neck flat tops, it has a compound profile so that, up near the headstock, it's flatter and thinner from front to back of the neck. At the other end, near the body, it grows thicker as it curves down into the heel where the glued joint attaches to the body. What's distinctive in the EJ-200 neck is the profile over the middle of the neck, where you actually play the guitar. It's got a "V" profile, much like some 50s Stratocasters, with very little "shoulder" to get in the way of short fingers or a thumb curling around the edges of the fret board. I have small hands, so this is a big plus for me.
The neck is also fairly narrow for such a big guitar; 1.68" at the nut. This makes it easy (for me) to playwith minimal problems switching between my electric (a new Gibson ES-446s) and the EJ-200. If you play in a finger picking style, the neck may actually be too narrow, since the narrow nut puts the strings fairly close together. I'm a student of rock, R&B, folk, and country flat picking styles, so this neck is just fine for me.
I bought it with an Epiphone deluxe hard case, an Allen key for the truss rod, and a bunch of picks. Standard "extras," I supppose. The EJ-200 has one otherneat feature I've not seen on other acoustic guitars. It comes from the factory with two strap buttons so you don't have to pay someone to drill the neck and mount a second button. Also, each strap button is cushioned with a felt washer between the base of the button and the beautiful finish on the guitar's body. What a nice touch. I had my guitar tech make and install felt washers on my electric too. It's a great idea if, like me, you plan to keep your guitars for a long time and want to keep them pretty.

I like thesound of this guitar. It's as balanced and resonant as you can get in a laminate guitar. And much better than I expected. I traded my old ('67) Guild F-212 and some cash for this EJ-200.
The Guild as a solid wood guitar with an Englemann spruce top and mahogany back and sides. It was also beat up. Cracked back seam. Cracked top. Loose top bracing. Needed a new bridge and saddle. I could have taken better care of it. At any rate, a solid wood guitar, especially one that's 33 years old, is bound to have better balance and resonance to its tone than a new plywood guitar, and my Guild did. In fact,even beat up it rang like a piano. But time, the tide, a family, two dogs, and a mortgage can eat away at your willingness to hassle with 12 strings, know shat I mean? And, the Epiphone fills up a room, righs as long as you letg it after a good strum, and sounds just great too. Nice balance, good volume. In short, it works just fine for me.

Three words describe the factory-set action on this guitar. "High and Hard." It had a set of strings on it that must have been at least .o12s. The string tension was amazing. We're talking big game cross-bow pull weights here. Coupled with a nut that was as hight as an elephant's eye, and a saddle that needed a severe shave, it was nearly impossible to play anything except the most rudimentary chords on the top three frets. I paid $32 for a pro set up including a set of D'Adarrio .010s (bronze woound acoustic extra light strings) and the problem is solved. The action is now very easy; alsomst like an electric guitar.
I recommend a professional set up for any new guitar, electric or acoustic. Before you develop cramps in your fretting hand, or a bad case of post-purchase depression over your new baby's playability problems, let a pro optimize your new axe. The factory doesn't do this; in fact, they leave 'em hight and hard on purpose. They expect you to have someone who knows what they're doing adjust the guitar to fit your own techniques and preferences. so, they leave in plenty of extra space and material to allow for adjustment. Precision Guitar, here in Phoenix, does a great professional job of a set up, quickly and cheaply. They filed the nut, lowered the saddle, adjusted the truss rod, and put on the extra light strings. NOw the EJ-200 is a pleasure to play, as nay new guitar should be, right? An the solution to the problem action only cost $32.
As for fit and finish, with two exeptions both are very nice. This guitar is a real beauty. Even my lovely and forgiving wife, who thinks I spend too much on my hobby, remarked about what a pretty thing this guitar is. In fact, other non-guitarists say the same thing as soon as the case is opened.
There's just yards of this pretty yellowed-ivory colored binding everywhere on this guitar. The body edges, top and bottom. The neck. the head stock. The stuff is everywhere and it makes me feel like a rich guitar ace just to pick up and play a guitar that's this pretty.
That being said, let me point out two flaws. Neither is a big deal. First, the carved "moustache" bridge was a mess when I got the guitar new, but only in a cosmetic sense. It was well installed and properly positioned so, as I said, the guitar now plays beautifully.
But, there was a scratch on the bridge that must have beeen a production mark. It wasn't big. I didn't even notice it until I looked at the photos I took to show my brother and to send to my insurance agent.
Also, the bridge is stained to a dark mahogany color, but the stain had been applied unevenly. Parts of the bridge were definitely ugly. I mean, they were "Oops! Somebody didn't do their job on this part of the production line" UGLY.
I fixed both of these things myself. I bought a permanent markerwith a fine point in a dark brown color and touched up the scratch and the thin areas of the stain until it looked like it should. The fatory's errors are now invisible, and that's all I require. I used to work as a commercial artist, so I know that fixing or covering your blunders is part of the "art" of the artist. I don't care if there's been a mistake. But I don't want to have to look at it. Especially at these prices.
The second flaw is, in retrospect, probably not a flaw at all. Some things get done better on more expensive instruments than they do on mass produced economy models like the EJ-200. I know a man, John Reuter of the Robert-Venn School of Luthiery, who make custom acoustic guitars by hand here in Phoenix. I've seen his mother of pearl and abalone inlays up close. They have a fit that is breathtaking. It looks like you couldn't really get the inlaid material in there because there seems to be no clearance around the edges. Now, there has to be clearance, right? And the illusion of seamless fit is achieved with se

Will it withstand live playing? Yes, I think so. I was in a band in college. We played "out" 3 or 4 times a week. Ever hear of Might Yasha and the Pearls? We once opened for Jay Walker and the Pedestrians. Never heard of either one, eh? Actually, I didn't think you had. And it's just as well.
But I have played live in front of rowdy drunks and, yes, this guitar would cut it. One thin you can say for laminates; they're strongerthan thin layers of solid wood. The construction and hardware of this guitar could take it. Yes, I can depend on it for anything I need it to do. If I still played for money I'd useit on a gig without a backup.

They treated me right the one time I needed them. I was an easy problem and they were pleasant, courteeous, and helpful. The local warranty service is done by the shop that did my initial basic set up. I like them, and they do very good work. I expect no problems in the support area.
The warranty is a limited lifetime warranty to the original purchaser against defects in materials and workmanship. It's well documented and easy to understand. Read it. And keep it for future reference.

I'm very, very happy with this guitar. I've been playing for 32 years, and I give this guitar a 9 for what it is. It's not one of Joh Reuter's hand made Koa beauties. Nor will I ever own one of those. But when I went out to shop for this guitar, I thought I was going to have to spend $1,000 to be happy. I played a lot of Instruments in the $1,000-2,000 MSRP range that weren't as sweet as this Epiphone. I played severeal that were sweeter, of course. In general, thought, if they sounded betterthey weren't decorated at all. Now for that kind of money, I can't make myself buy Mar & Pa Kettle's guitar no mattter how good it wounds and no matterwho says it's a "fine instrument." I wand some visual buzz when I open my case. Too many years playing flashy electrics,I suppose.
Other gear? I own an electric 6-string ( a new Gibson ES-446s), a Fender Deluxe Reverb '65 reissue, and a POD 2.0.
What do I wish I'd asked before I bought this guitar? A good question, counselor. I wish I'd asked "Have yougot one this pretty with a shorter scale length?" The EJ-200 has a 25" scale. This puts the first few frets quite far apart for Mr. Stubby Fingeres here. But I can live with it. My fingers have been short since the day I was born, and I've played a lot of long scale guitars. I'm going to keep this one for a long time, and I plan to give it to my daughter orher husband when the time comes.
A word about time. Keep your acoustic guitar humidified, and keep it in a hard case. It makes them last. If you live in Sattle, Miami, or New Orleans this may not be an issue. Here on the Arizona desert it is very important. The tonal balance and volume of the EJ-200 greatly improved on a daily basis for the first two weeks after I got it home and put a humidifier in the sound hole.
Would I buy another? Probably. Though I'd have to give the Epiphone version fo the Hummingbird a try. It's a dreadnought, and I don't like that sound as well. But it has a shorter scale length and is nearly as pretty.
What do I love about it? The combinaation of good looks, playability, and low price. Hate about it? Nothing.
I compared this guitar to a new Guild JF-65 that lists for $2300 and sells for about $1200. It was just beautiful, but it sounded like someone had put a large damp sock in it. Surprising, considering the price. On the low end, I considered a Fender SJ-65 that lists for $800 and sells for about $500. It wasn't as pretty, nor as sweet sounding, and "boo" to the dark binding. I also played numerous Martins, Gibsons, Taylors and L'Arrivees. Too expensive for what you get, I figure. The EJ-200 is the one for me.
One final word. Shop for your next acoustic guitar for at least 6months. go out and play the dealer's inventory. It's fun. If you find one you like, especially if it's being kept in a humidified room, go back and play it again in about 3 days. The difference is very instructional. And, if you have my needs, habits, and budget you can get all the acoustic guitar you'll need or want for $500 or less.