HISTORIC HARDWARE Gibson J-200
The J-200 is Gibson’s most iconic flat-top and these vintage examples include one of the first ever made and the very last acoustic Gibson to be manufactured in Kalamazoo
Sometimes referred to as a ‘narrow waist jumbo’, the J-200 is the model that unites Roy Rogers with Elvis, Pete Townshend, Bob Dylan, Emmylou Harris, Yusuf/Cat Stevens, Noel Gallagher and countless others. Since the very first one was presented to Ray Whitley in December 1937, it has been a constant in Gibson’s product line barring a brief pause during America ’s participation in WWII.
Ray Whitley was a singing cowboy film star during the 1930s. When appearing at the Madison Square Garden rodeo, he got together with Guy Hart from Gibson to discuss ideas for anew acoustic guitar model. Ray’s dream guitar was a flat-top version of Gibson’s flagship 17-inch L-5 archtop, and he spent aweek at the factory helping to design it. As a stage performer, Ray also wanted his guitar to be eye-catching and Gibson obliged with a sunburst finish, gold hardware, a fancy ‘moustache’ bridge and multi-layer black/ white binding applied to the body. The neck and headstock were also bound and the ‘cloud’ fretboard inlays were specially made. The celluloid pickguard’s shape was derived from the Super 400 and adorned with an engraved border and flower motifs.
At first, the model designation was ‘Super Jumbo’, which differentiated Ray’s guitar from the smaller ‘Advanced Jumbo’ model that Gibson made between 1936 and 1938. In 1939, the name was altered to Super Jumbo 200, and the designation SJ-200 was subsequently used until 1955 when it was shortened to J-200.
Pre-WWII SJ-200
This model’s case screams jazz-age Gibson and its tweed covering and contrasting black-and-red stripes resemble an EH-185 amplifier. Inside is a pink velour lining and a metal name badge reading ‘Geib, Chicago’. Assuming this is the original case, it’s still in great shape and it’s kept this rosewood and spruce SJ-200 in remarkable condition.
Amystery over the exact manufacturing date arises because no serial number or FON stamp can be seen and certain details don’t conform to the usual feature timeline. Up until 1941, Gibson fitted ebony fretboards with a pointed shape at the soundhole end, and this example has both. They also changed to pearloid tulip-buttoned tuners, but here we see the earlier ‘stair step’ Grover imperials. The bridge confuses the issue because pre- 1941 SJ-200s should have six individually adjustable threaded bone saddles. Instead, this example has the later straight bone saddle. There is no evidence of the bridge having been altered, but the lightness of the sunburst may offer clues.
The SJ-200 sounds utterly huge with very deep and punchy bass, strong mids and clear highs
Very early SJ-200s tend to
