It's no wonder they were favored by many rock, folk, pop, and country legends over the years. If you ever want to try a guitar that makes you feel like you could perform the 'Hallelujah Chorus' or Beethoven's Ninth all by yourself, get your hands on a real SJ-200.

Gibson added a unique bridge shape sometimes called the 'mustache.' They eventually went to maple back and sides, which some people believe produces a brighter tone. The SJ-200's profile looks a little like a parlor guitar on steroids. The Super Jumbo (later called SJ-200) was the result. According to some sources, Whitley himself proposed the original design. Gibson went back to the enormous profile of the L-5. 'J' stands for 'Jumbo.' The J-35 was the immediate ancestor of the ever-popular J-45 which Gibson still calls a Jumbo, but everyone else (including us) classifies with dreadnoughts.ДЄbout 1936, Ray Whitley, the early Hollywood 'Singing Cowboy' who wrote 'Back in the Saddle Again,' asked Gibson to build him a really loud flat-top.

However, when Gibson decided to make a 'Jumbo' model to rival Martin's ' dreadnought' line, they chose a profile closer to Martin's, introducing the J-35. In 1922, Gibson's L-5 archtop guitar set a new standard for sheer size, being seventeen inches wide at its widest part. So demand for louder guitars led to continued experimentation. In the early 1900s, guitar began to replace the banjo in American popular music orchestras. (Super) Jumbo Guitar Buyers's Guide, from Riverboat Music(tm) (Super) Jumbo Guitar Buyers's Guide, from Riverboat Music

Gibson j 200 super deluxe