gibson j 200 standard

7La GIBSON J-200 Standard est le fer de lance de la gamme GIBSON acoustique Montana avec la J-45 et la Hummingbird. Dès son introduction en 1937, la GIBSON J-200 ‘King of the Flat-tops’ s’est installée comme un standard dans le domaine de la guitare acoustique, répondant à la demande des musiciens de l’époque pour une acoustique puissante et chaleureuse pouvant naturellement s’imposer au milieu des autres instruments dans les orchestres. 
Elle est encore à ce jour une des plus populaires et convoitées. Ses plus illustres utilisateurs(trices) ne sont pas moins que Emmylou Harris, Roy Rogers, Gene Autry, Gram Parsons, ou encore Pete Townshend.
La GIBSON J-200 Standard est livré en étui GIBSON Montana. 

Lutherie & conception
Comme la plupart des guitares acoustiques de standing, la table d’harmonie de laGIBSON J-200 Standard est fabriquée dans de l’Epicéa Sitka (famille des conifères originaire d’Amérique du Nord-Alaska), cette essence ayant un ratio résistance-poids optimal. Sa dureté naturelle la destine plus particulièrement aux guitares avec cordes acier.
Le Sitka possède un caractère vivant et robuste, équilibré, avec des médiums particulièrement limpides. Il est extrêmement vibrant, assurant également une transmission sonore très dynamique et punchy. 

Toutes les acoustiques GIBSON produites à Bozeman-Montana ont une table d’harmonie légèrement bombée (Radiused-Tuned), procédure permettant de modérer le stress engendré sur celle-ci (en particulier au niveau de la jonction avec les éclisses) par la tension des cordes. Cette technique requiert l’utilisation d’un outil spécifique et d’un profilage particulier des barrages.
En plus de protéger la table, cette méthode de fabrication provoque un effet haut-parleur, maximisant la projection sonore et boostant de façon significative les fréquences médiums.
Les barrages ‘lightweight bracing pattern’ sont une reproduction de ceux utilisés parGIBSON sur la première Super Jumbo de 1937; leur conception permet de supporter la tension des cordes sur la large surface de la J-200, tout en laissant la table vibrer et projeter le son librement.

Le dos et les éclisses sont élaborés en Erable massif de grade Curly, un bois incontournable dans la conception des guitares acoustiques de type Jumbo. 
L’Erable Curly est essentiellement originaire d’Amérique du Nord et Canada; abstraction faite de ses qualités cosmétiques, il possède de part sa dureté moins de fréquences basses et de volume que l’Acajou ou le Palissandre mais propose en contre partie plus de punch et de mordant. Ceci ne l’empêche pas de faire preuve de chaleur et velouté.

Le manche est confectionné lui aussi en Erable massif et associé à une touche en Palissandre de haut grade sélectionnés, dont la résilience assure stabilité et équilibre et de ce fait un son plus clair et mordant.
Il est relié au corps par la technique vintage ‘Dovetail Neck Joint’ qui reste à ce jour une des meilleures et plus sûre méthode de fixation. Réalisée à la main par des luthiers aguerris, elle est complexe et coûteuse, mais assure une connexion précise et stable avec un angle optimal pour l’équalisation et la transmission des vibrations de l’instrument. 
Son profil ‘Comfort Contour’ est vraiment agréable, d’autant que les bords de touche sont arrondis (‘Rolled Edges’), améliorant encore le contact dans la paume de la main

gibson j200 used


Gibson J-200 (Super Jumbo 200) is an acoustic guitar model produced by the Gibson Guitar Corporation.

Gibson entered into production of this model in 1938 as its top-of-the-line flat top guitar, initially called the Super Jumbo, changing the name in 1939 to the Super Jumbo 200. It replaced the Gibson Advanced Jumbo.[1] It was made at the Gibson Factory in Kalamazoo, Michigan. The SJ-200 was named for its super large 16 7/8″ flat top body, with a double-braced red spruce top and rosewood back and sides, and sunburst finish. In 1947 the materials used for the guitar changed to maple back and sides. Gibson changed the name to the J-200 in 1955. Due to the weak post-depression economy and wartime austerity, demand for this high end guitar was very limited and production quantities were small. Early models made from rosewood are highly prized by collectors.

elvis gibson j200

Music historians have thoroughly documented how blues and country came together with an extra shot of energy and a dash of panache to give birth to rock and roll. You could define one of the genre’s biggest stars, Elvis Presley, in precisely the same terms, then turn around and apply the formula to Elvis’s all-time favorite acoustic guitar — the Gibson J-200. Developed as the ultimate punchy, cutting rhythm machine for country stars of the late 1930s, the J-200 (originally, and again today, called the SJ-200) offered the maximum volume and clarity available from an acoustic guitar in its day, while also stepping out in the bold, flashy looks that really helped a performer stand out on stage. Both its look and sound translated perfectly to rock and roll, and Elvis embraced his own Gibson J-200 with a passion that The King rarely, if ever, displayed for a musical instrument.

You can see — and hear — Elvis’s blonde J-200 in the movies Jailhouse Rock, King Creole and G.I. Blues, as well as on surviving concert footage from the period, where he puts it to good use cranking out the rhythm chops in his own inimitable and under-sung style. It’s interesting to consider, though, that this enormous star came to his instrument, very likely, out of his admiration for those who had played it before him, and who had already established it as the pinnacle of its breed.

The forefather of the J-200 hit the scene in 1937 when “Singing Cowboy” Ray Whitley ordered a 17”-wide flat-top from Gibson with a unique, rounded profile and deluxe cosmetic appointments. The original one-off was labeled “L-5 Special” for the similarity of its neck and body proportions to those of Gibson’s L-5 archtop, and other early examples of the design were made on a custom-order-only basis. C&W crooners Gene Autry, Tex Ritter, Roy Rogers and Ray “Crash” Corrigan commissioned their own customized versions of the instrument (some historians believe Corrigan’s to in fact be the first SJ-200 built). The guitar appeared in the Gibson catalog a year later as the Super Jumbo, and was soon known simply as the SJ-200.

Aside from being the grandest looking flat-top on the planet in its day, the SJ-200 had the goods to get these stars heard, too. The prewar model had a solid spruce top and solid rosewood back and sides for a full, rich voice that could really fill a room, partnered with a maple neck and 25 1/2” scale length. After the war, however, the SJ-200 (soon shortened for a time to J-200) returned in 1947 with back and sides of solid maple, and this is the most famous incarnation of the model, accurately represented inthe SJ-200 TV made today by Gibson’s acoustic craftsmen in Bozeman, Mo. A crucial ingredient of many large-bodied archtops, maple helps to add brightness and definition to a guitar that already produces plenty of warmth from the sheer breadth of its dimensions. (At least one maple-bodied SJ-200 is documented as having been custom-ordered prior to WWII, as is a custom-ordered rosewood-bodied J-200 in the 1950s).

Elvis came into his own J-200 just as he was approaching the early peak of his career, and Presley lead-guitarist Scotty Moore’s memories of those days provide some interesting insight into how his employer acquired the instrument. As Moore tells it, Elvis was given a 1956 J-200 in October of ’56 (actually a J-200N, the “N” denoting the natural finish on this model) thanks to Moore’s own endorsement deal to play a Gibson Super 400CESN. Ever tight on the reins, however, Presley manager Tom “The Colonel” Parker wouldn’t let his star accept endorsements, so Elvis was invoiced for the guitar, and purportedly paid in full (further fascinating details of the story of this guitar and others are available in Scotty Moore’s own words).

Elvis’s Gibson J-200 quickly became his favorite instrument, and he sought protection for it a year later in the form of a custom-made tooled-leather cover, which the guitar is frequently seen wearing in live concert photos and film footage. Originally a stock-factory model, the guitar received the custom appointments that it was later known for after being sent out for restoration upon Elvis’s return from Army service in 1960. In addition to getting it back into playing condition, the famous “ELVIS PRESLEY” inlay was added to the fingerboard, and the original pickguard was swapped out for a pointy, black custom affair, first prominently seen in the movieWild in the Country.

This is the guitar Elvis again turned to for his live performance comeback of 1969-’71, a period that is well documented in photos and on film — a great proportion of which beautifully shows off his modified 1956 J-200. The guitar is now on display with other Elvis Presley memorabilia at the artist’s Graceland mansion in Memphis, Tenn.

gibson j 200 custom

5The Gibson J-200 has been around for over 70 years and is one of the most popular flat-top acoustic guitars ever made. It’s also one of the biggest, measuring a full 17″ across the lower bout, and as a consequence produces more volume than a regular-sized guitar. Currently there are three choices of appointments for the J-200 – Standard, Studio and Custom. They all feature triple A-grade Sitka spruce tops, but the Standard has Eastern curly maple back and sides while the Studio has a plain maple back and sides. The Custom is a much fancier affair, featuring gold Grover Imperial machine heads and a ‘script’ Gibson logo on the peghead. All three models feature the Fishman Ellipse Aura electronics package including the Aura Acoustic Imaging Technology. Loaded onto  the system are four ‘images’ that best match the instrument’s natural tonal characteristics. You can make adjustments to any of them using the system’s pickup/image blend or volume controls, or use the switchable ‘natural I’ and ‘natural II’ low frequencies for tone shaping. You can also control feedback with the Phase switch and automatic anti-feedback device control. The pickup’s soundhole-mounted design puts slider controls at your fingertips, so you can maintain a natural playing position at all times When Martin introduced its dreadnought flat-top acoustic in the early thirties, Gibson had nothing to put up against it. Although the company’s big semi-acoustic archtops and jazz guitars were sizeable affairs, they were no good for anyone playing country music, which was all over the airwaves at the time. It took Hollywood singing cowboy star Ray Whitley to custom order a new guitar from Gibson, which would eclipse rival Gene Autry’s big old Martin.  So the SJ-200 was born (the S was dropped from the name after WW2) in late 1937 with a $200 price tag.  Since then, the Gibson J-200 has been used by some reasonably well known,  sorry legendary, artists. Elvis and Pete Townshend – who currently have Artist models – and Emmylou Harris, have elevated the guitar to iconic status, and it has become a bit of a legend in itself. Back in the sixties, the Everly Brothers had some J-200s made in black with star inlays on the fingerboard and oversized double pickguards (which somewhat ruined the tone). If you have the Love album Forever Changes, that’s an Everly Brothers J-200.  If you have any Who records, the acoustic guitar is a J-200. I could go on. When you pick up a J-200 for the first time, the sheer size of it is surprising and it takes a while to settle into a comfortable playing position. However, the necks are surprisingly slim, and the actions are always easy going – at least on all the J-200s I’ve played – new and old alike. It is iconic, and I don’t think I’m out of place describing the guitar as one that’s firmly established at the heart of the acoustic tradition and one of the most important guitars ever. What’s more, I don’t think Gibson are going to be discontinuing the J-200 anytime soon. – See more at:

gibson j200 review


Now entering its 76th year, the Gibson J-200 – the “King of the Flat-tops” – is as much of a legend as ever. The current crop of J-200s, made in Gibson’s Bozeman, Montana shop, is helping the company keep pace with a lot of stiff competition in the guitar industry these days.


The J-200 has long been a favorite of professionals, used by early guitar stars like Gene Autry and Roy Rogers, as well as more modern legends like Jimmy Page and The Edge. The guitar doesn’t sound like a Martin or a Taylor, but then, they don’t sound like this Gibson. The new J-200 we played presented excellent craftsmanship, the result of Gibson’s strict inspection regimen. With superbly even balance and tone, the guitar fretted like a dream all the way up the neck, and unplugged barre chords sustained forever, almost as long as open ones.


The guitar is gorgeous both sonically and aesthetically, featuring the old Gibson crown peghead logo (sometimes called the “thistle” logo), which has since been used on the pegheads of many Gibson models. The tortoise pickguard is Gibson’s standard Super Jumbo shape with the traditional floral and vine design, and the guitar has the love-it-or-hate-it moustache bridge. The J-200 comes with built-in Fishman Ellipse Aura electronics, with a switch for selecting four tonal images. The controls are pretty convenient, just inside the top of the soundhole, but working the several switches can take some practice unless you find just one tone combination you like and stick with it, adjusting your tone with the controls on the PA or amp as needed.


Older J-200s are in high demand, especially ones from the days when the guitar was typically called the Super Jumbo, and ones made before the Norlin years when many Gibson products went south. Since new ownership took over in the 1980s, the quality of all Gibson products has improved, and the company is staying as viable as any guitar maker out there because of the craftsmanship on guitars like this one.


List price for this axe is $4,925, but it can easily be had for more than a thousand dollars less. Whether you buy one or not, you owe it to yourself to try one out, as this is one cool historical guitar. With its new J-200s, Gibson is continuing to hold its rightful place as one of the great guitar makers.


In a b

gibson j200 studio


The Gibson J-200 Studio is another member of the super jumbo line of gibson guitars. Like the Standard member of the line, the Studio has a rotomatic tuner, a nickel grover one that has a gear ratio of 14:1 and heavy duty housing for gear and string post protection. To minimize the possibility of slippage the moving parts are cut for exact meshing. The Gibson J-200 Studio comes with a hand-crafted, double-ring rosette with two rings: a second ring built with three-ply binding, and a main one built with a seven-ply binding. Like other guitars in the line, the Studio is built with a bracing pattern that is the same as the first 1937 Super Jumbo, only it is a lighter weight. The placement is designed to deliver lows with a deep sound and a frequency range that is fleshed out and full.

  • Tapered Dovetail Neck Joint
  • Nitrocellulose finish
  • Body Binding
  • Gibson Logo
  • Radius Top
  • Hand-crafted rosette
  • Classic binding
  • AA-Sitka Spruce and Plain Maple
  • Fishman Ellipse Aura Electronics Package
  • Super Jumbo pickguard

gibson j 200 for sale


The Gibson J 200 debuted on the American music scene, and indeed, the entire world in 1937, during the era that had been called “the golden era” of American acoustic guitars. It’s said that the J 200 is the most famous acoustic guitar in the world. That might be true, or it could be that the Martin D 28 is the most famous acoustic guitar in the world. I think the answer here is more a matter of opinion than fact.

The Gibson Guitar company has always competed with C.F. Martin & Co. for top slot in quality, reputation, and sales of acoustic guitars in America, and the entire world. When it comes to competition with Martin guitars, the Gibson J 200 is the one guitar that they produce that really CAN compete as a fine, high quality instrument for flatpickers. But the J 200 is much more than that.

So what is a J 200? Well, visually, just look at the thing! The “J” stands for “Jumbo,” and the J 200 is certainly one of the largest, if not THE largest standard production model guitar in modern acoustic guitar manufacturing.

I considered for about a half a second that someone might wonder why I put James Patrick Page, and his picture above the pictures of Elvis Presley, and John Lennon. Are You Kidding ME? If you are reading this, then I assume that you are a guitarist, and no guitarist would question the order in which I placed those pics.

gibson j200 for sale


Description: Gibson J-200 flat top guitar
Available: 1938 to present.
Case: Brown hardshell case with a pink lining was the top-end Gibson case. The mid-line case was a brown hardshell with a green or brown lining. Also sold a cardboard aligator case for those on a budget. 1938 to 1940s model could also have a black case with a red strip around the outside lid.
Collectibility Rating: Rosewood models: A+, Maple models: B+, 1961 and later models: C
Production: 1938:25, 1939:20, 1940:21, 1941:30, 1942-1947:unknown, 1948:166, 1949:111, 1950:101, 1951:204, 1952:201, 1953:201, 1954:250, 1955:131, 1956:181, 1957:229, 1958:131, 1959:172, 1960:167, 1961:125, 1962:139, 1963:259, 1964:277, 1965:204, 1966:214, 1967:285, 1968:404, 1969:392
General Comments: A very fancy Gibson flattop. Unfortunately, because of the maple design (maple back and sides and neck) the Gibson J200 guitar does not have the warmth in sound of the J-45 and other mahogany or rosewood models. Lots of treble and bite to the sound. This is why rosewood Gibson J200 guitars are so nice (warmer tone). I love the rosewood versions, but the maple ones are still a beautiful guitar.

If you need to figure out the exact year of your Gibson J-200 guitar, use the serial number. This is located inside the body, on a white or orangle label inside the body’s sound hole. See the Gibson Serial Number Info web page for help determining the exact year.

J.Spann’s book on FON numbers shows us some pre-war examples of SJ-200 batches:


    • 13d = SJ-200
    • 15d = SJ-200
    • 44d = SJ-200
    • 76d = SJ-200
    • 116d = SJ-200
    • 865d = SJ-200
    • 981d = SJ-200
    • 999d = SJ-200


    • 423e = SJ-100
    • 546e = SJ-100
    • 206e = SJ special experimental


    • 168F = SJ-200
    • 711f = SJ-200
    • 1124f = SJ-200
    • 167f = SJ-100
    • 669f = SJ-100
    • 683f = SJ-100
    • 696f = SJ-100
    • 896f = SJ-100
    • f910 = SJ-100
    • 1218f = SJ-100


    • 1102g = SJ-200
    • 3168g = SJ-200
    • 4102g = SJ-200
    • 4261g = SJ-200
    • 4804g = SJ-200
    • 5005g = SJ-200
    • 2671g = SJ-100
    • 4098g = SJ-100
    • 4467g = SJ-100
    • 5155g = SJ-100

1938 Gibson SJ-200 guitar introduction specs:
17″ wide, jumbo shape, Indian Rosewood back/sides (Brazilian was not used for the back/sides), three piece laminated maple neck (with a rosewood contrasting center stripe), large open moustache shape ebony bridge with cutouts at bridge ends, 4 semi-rectangular pearl inlays on bridge, 6 individual height adjustable saddle bearings, celluloid pickguard with engraved flower motif and engraved border around pickguard, mutliple bound top (9 layers) and back, single bound ebony fingerboard with pointed end, crest fingerboard inlays, triple bound peghead, 20 frets total, crown peghead inlay, pearl logo, stairstep tuner buttons, strap-fastening bracket on back of peghead, gold plated parts, “zipper” stripe down center of the back, two “X” top braces (lower 128 degree “X” bracing 7/8″ from the soundhole, upper 128 degree “X” brace 3/4″ from the soundhole), sunburst finish. Retail price was $200. For an additional $50, you could have your name inlaid in the fingerboard!
1941 Gibson SJ-200 guitar specs:
One piece saddle (no individual string bearings), Brazilian Rosewood fingerboard (instead of Ebony), pearloid tulip-shaped tuner buttons.
1942 Gibson SJ-200 guitar specs:
single “X” brace top pattern used. Note no examples seen from 1944 to 1946 (war time).
1947 Gibson SJ-200 guitar specs:
Maple back and sides (Indian rose back/sides halted except by special order), single bound peghead, no strap bracket on peghead.
1948 SJ-200 specs:
Natural finish optional, body depth increased from 4.5″ to 4.75″.
1952 SJ-200 specs:
Body depth increased to 4 7/8″. Changed the bracing pattern from single X-brace with two transverse tonebars, and reinstated the wide-angled double X with two ladder style tonebars and long bridge plate.
1955 Gibson J-200 guitar specs:
Model name shortened to “J-200”, laminated back and sides, molded pickguard with flower motif changed slightly with no engraved border around pickguard (the molded pickguard was less expensive to make than the previously engraved pickguard).
1959 Gibson J-200 guitar specs:
Grover tuners, large frets.
1961 Gibson J-200 guitar specs:
Tune-o-matic adjustable metal bridge, 4 pearl bridge inlays replace bridge cutouts in addition to previous pearl bridge inlays (“closed” moustach bridge replaces “open” moustach bridge). Bridge pins repositioned to imitate the now missing bottom cutaway in the bridge. Larger one piece neck block now wraps around under the fingerboard extention, and a really large maple bridge plate is used, with 4 metal bolts (two for the tunematic adjustment, two as bridge bolts.) The strangest change is the addition of a large, suspended wooden brace under the top, between the bridge and the soundhole. In the middle of the brace is a large metal screw, held against the top. Apparently this brace was added to keep the front of the bridge from sinking. two versions of this brace were used. But both totally killed the J-200’s tone, so many owners removed this brace.
1963 Gibson J-200 guitar specs:
triangle metal tuners used, five piece laminated maple neck.
1968 Gibson J-200 guitar specs:
Grover tuners again used.
Gibson J-200 guitar still in production today with slightly different specs.