To say that the Lloyd Loar-built F-5 Mandolins put Gibson Mandolin and Guitar company on the map, subsequently altering the course of 20th century culture, is an argument I could get behind. To call the Epiphone MM-50E Professional Acoustic-Electric Mandolin ($699 street) "Truly Revolutionary!" as does Epi's March 17th, 2010 Press Release is to go begging for an argument. What, exactly, are they on about?

Epiphone claims the MM-50E Professional Mandolin is the first to solve "the inherent mandolin problem of unbalanced string pair volume"; to bolster their claim, I'll allow that this can be an issue with magnetic-field pickup systems in any instrument, but the challenges inherent in converting a mandolin into an acoustic-electric instrument don't stop there. Mandolins are far more percussive and high-mid-frequency present than guitars or even other small bodied instruments; coupled with the fact that mandos are almost never played without a pick, attack-emphasizing piezo transducers are ill-suited for their amplification. Contact mics are an alternative solution (L. R. Baggs makes a mandolin-specific one called the Radius that I'd be interested in checking out) but they require an external preamp in order to achieve adequate levels for feeding acoustic amps and PA systems. And magnetic pickups more often than not don't reproduce an instrument's acoustic character (in addition to the aforementioned output balance problems). That's a lot to overcome on the path to designing a "revolutionary" instrument.

Who Knows What Evil Lurks In Hearts Of Mandolins?
The MM-50E is equipped with a Shadow Electronics SH 927 NMG-4 Pickup System (see Fig.1). Gibson/Epiphone has been installing Shadow pickup systems in their instruments since 1994; the Chet Atkins SST (as paradoxically popularized by Dave Matthews featured a Shadow system, as does the Epiphone Les Paul Ultra II.

The SH 927 NMG-4 features Shadow's new NanoMag samarium-cobalt magnetic-field pickup in a unique mounting and wiring context. Like a classic Epiphone Jazz Box, the NanoMag element is connected to the pickguard and floated over the arched-top of the MM-50E. Like the first-run Gibson Grabber Basses, the NanoMag element can be slid flush with the end of the fingerboard or down to about an inch from the bridge or anywhere in between for a variety of response types. The preamp electronics are housed in a beefy pickguard assembly along the outer edge of which are situated controls for Volume, Treble, and Bass. You'll also find the battery compartment on here (the SH 927 NMG-4 is powered by a 2032 watch-style lithium battery) and, if you're looking for them, controls for the individual output levels for each string pair. Four unassuming holes toward the upper area of the pickguard assembly provide access to four recessed trimpots; output is adjusted with a flathead screwdriver. The 1/4-inch output jack is flush-mounted along the instrument's underside.

The Horse It Road In On
Lest this turn into a review of the SH 927 NMG-4, let me say that the Epiphone MM-50E is an interesting instrument even without the electronics. I've been burned by bad Epiphone mandos in the past (I'll have nightmares about twisted necks for years) but the look of this guy—as well as the continually improving quality of Chinese-made acoustic instruments—intrigued me.

The MM-50E (there's an acoustic-only version of it, too: the MM-50) is based on the F-Style mandolins of Gibson's pre-WWII glory days. F stands for Florentine, and the MM-50E exhibits the dramatic silhouette, carved top and back, and other aesthetic flourishes that bespeak the style. The headstock even features an inlaid flowerpot and "The Epiphone" logo as nods to the storied Loar era. The instrument's top is solid Sitka spruce, the back (see Fig.2) is laminate maple with a flame cap, and the neck and sides are mahogany (we're guessing; no Epiphone-produced literature says for sure). The "vintage natural" finish looks great in contrast to the large black pickguard and ebony-capped headstock, and the headstock, fingerboard, and top and bottom edges of the mandolin's body are four-ply bound. The MM-50E is a classy looking instrument all-around.

Closer inspection, however, reveals finish flaws (see Fig.3) that make the MM-50E look a bit "shop class": the carved body scroll on the instrument's back doesn't follow an even curve; the binding isn't even with the body in many spots; the complicated structure joining the neck to the body looks like a rush job. Thankfully these aesthetic imperfections appear to be non-structural. Will the MM-50E be a collector's instrument? Not likely. Will it last for years of satisfying playing? My impression is yes.

Fig.1: The Shadow Electronics SH 927 NMG-4 Pickup System. Note the four recessed trimpots for adjusting each string pair's output level.

Plays Like A Professional
If the MM-50E's name doesn't drive the point home already (NB: "Professional Mandolin") picking the thing up and playing it will: this is a working musician's mandolin. My fears about Epiphone's neck work were laid to rest with the MM-50E; the action was low and fast, yet there was nary a buzz to be found. Should you prefer higher action, the rosewood trapeze bridge features two hand-turnable screw adjusters. My only reservations about the MM-50E's status as a truly professional mando are related to the stock tuners — they seem to slip out of tune fairly easily, especially on the low G and high E strings. They're handsome-looking machines with their mother-of-pearl knobs, but I still want to replace them with after-market tuners; I shouldn't want to do that at this price-point.

A Couple Of Tones To Pick
But back on a positive note, the MM-50E is a very good sounding instrument. Thanks to its solid top and good structural build quality, The Epiphone's tone is loud, clear, and rich, if not mind-blowingly complex. Pick attack sounds beefy as opposed to clicky, chordal playing is articulate, and rhythm strumming is authoritative and fun. Single-note lines, too, sound good, though overall the MM-50E lacks a little in the lower frequencies; I wish the G strings sounded as full as the D, A, and E.

This above-average acoustic tone sets the stage for a truly impressive amplified voice. The Shadow pickups system delivers on its promise to reproduce a—as the Shadow website puts it—"faithfully acoustic and pure mandolin sound. . . Annoying clicks, hissing, humming and feedback belong to the past, now. . . It is electro mando time!"

Played through a Fishman SA220, the Epiphone MM-50E produces some of the most even-sounding, pleasant, and articulate electric mandolin tones I've ever had the pleasure of playing. While it doesn't sound quite like a miked instrument, the amplified voice of the MM-50E is certainly more acoustic-sounding than I would have supposed its magnetic pickups would deliver. I didn't even touch the EQ controls while playing, the tone was so nice. Nor did I have to experiment with the output balance trim pots; the MM-50E was balanced enough right out of the box.

Fig.2: Violin-like flame maple cap; looks pretty. . . from a distance.

The movable NanoMag pickup provided more than enough EQing for my tastes. Sliding it closer to the fingerboard mellowed out the sound, effectively moving the instrument back in a mix for supporting playing. Sliding the pickup closer to the bridge emphasized attack and presence, of course, but never did the Epiphone sound hard through the PA. My only gripe is that the NanoMag isn't mounted on the smoothest sliding mechanism, which is a shame, because I'd like to be able to switch tones like this in the middle of a song.

I've read on message boards other mandolin players complaining about the size of the MM-50E's pickguard, saying it will hinder or has hindered their particular style of playing. I didn't find that to be true for me, but the thing certainly is bulky. If you're the type who prefers a pickguard-free mandolin, the MM-50E might not be the way to go. Nor, it follows, would the SH 927 NMG-4 (which is available separately; there also a version for A-style mandos called the SH 928 NMG-4).

It Is Electro Mando Time!
So, is the Epiphone MM-50E a revolutionary instrument? If the company upped the finish-work quality, threw in a case (or at least a gig bag, I mean c'mon) and kept the price the same, I'd be more amenable to coup-flavored hyperbole.

Fig.3: Some rough and rushed finish work is evident.

As is, however, I'm still comfortable recommending the MM-50E to any blue-collar mandolin junkie looking for an instrument they'd be proud to play on stage, solo, or in a band context. The Epiphone plays great, has some truly excellent electronics, and will probably last you for as long as you keep playing or until you're ready to drop a couple grand on a Gibson.

Pros: Good acoustic tone. Even better electric tone. Great setup and playability. Built to last.

Cons: Some poor detail work. Lame tuning machines. Price does not include case or gig bag.

Owen O'Malley is a writer / musician living in Chicago. He can play most of Pearl Jam's Vitalogy on mandolin.