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Two tasty semis: the AE500 (left) and SA500 (left).

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• Review
• Manufacturer's Description

While Yamaha can hardly be called a copyist company, some of its mainstay electrics fall into the 'clearly inspired by…' category. These two semis are no exception: the SA500 is an affordable ES-335-alike and the AE500 a more generic deep bodied single-cut in the Gibson/Gretsch mould.

Both, however, benefit from Yamaha's recent modern design makeover that has elevated guitars like the solidbody AES620 into a classy single-cut that stands out in its class as much by its quality and price as its unique style.

Indeed, Ibanez launched a very similar style electric in 2006, so we were perhaps not the only ones to notice these cool kids on the block.

Overview

Yamaha always maintained that the shape of the AE620, for example, was taken from their large-bodied semi (the AES1500) and was never an adapted Les Paul design.

The AE500 is, like the AES1500, a large hollow-bodied semi and you can see pretty clearly where the down-sized AES620 originated, although the upper shoulder here looks a little more square than either the AES1500 or its solidbody derivatives.

Although both of the review guitars share a 407mm (16-inch) lower bout width, at 76mm (three inches) deep at the rim (compared to the SA500's standard ES-335 depth of 45mm/1.75-inches), the AE500 feels a lot bigger than it is.

And unlike the SA500's obvious ES-335 inspiration, the AE500 is a more generic style than any specific Gibson, for example.

Indeed archtops with a rounded cutaway usually have a broader body than 16 inches (usually 17 or 18-inches – now that's big!); you'd perhaps be better off to think of this as a ES-175 in terms of width, it's slightly shallower in depth and, of course, has the rounded, not pointed, cutaway.

The actual cutaway is probably the least successful part of the design. The body depth, heel, and 16-fret neck-to-body join means there's not a lot of room – compare it with the roomier cutaway on the SA500, for example – to get to the top 22nd fret, though not all of us would need to get right up the dusty end on a guitar that's clearly aimed at jazzier for bluesier styles.

Despite its hollowbody appearance there's a substantial wooden block under the bridge area which not only adds weight but gives – acoustically at least – quite a tight resonance to the sound. In fact, acoustically it's on par with the SA500 volume-wise.

The top itself seems properly braced so perhaps this large block is intended to reduce feedback for those players who want more onstage volume but the older look of an archtop.

Broadly speaking, however, aside from the different body dimensions, everything else about the guitar seems identical to the SA500.

That said, there's a nice hint of quilt flaming on the lightly arched front and back compared to the plainer SA500 which suggests you'd be wise to check a number of guitars – you never know, you could get a nicely figured piece at the same price!