AEG-Electrolux GIBSON ACOUSTIC User Manual
Gibson Acoustic Guitars
Volume 2, Number 2
“Give me a Gibson, and I’ll give you
the smile . . . and the cares of life will
vanish through the heavenly strains
of strings.” Naomi Shamper
Gibsonite from the 1920s
WHAT DOES MASTER BUILT
MEAN?
Dovetail Neck-To-Body Joint
Photo Credits
Photography: Rob Outlaw, Bozeman, MT, unless
otherwise noted.
Cover photo: Music Villa, Bozeman, MT.
Location courtesy of Fred and Paul Decker.
The experience of becoming a Gibson
Acoustic Guitar owner is much like other
landmark “firsts” in one’s life. It’s a big
event. You will probably remember the
circumstances surrounding your purchase
exactly; how the guitar smells and the wood
grain looks, how it feels in your hands, how it
sounds as you experiment with different
notes and chords. You may experience the
thrill that comes when you realize you are
among a class of acoustic players that dates
back to the early 1900s—you are a
Gibsonite.
We want to make sure your experience in
purchasing and owning a Gibson Acoustic is
the best it can possibly be; that you are as
proud of your instrument as we are. Please
let us know by contacting us at one of the
addresses listed on the back cover (e-mail
from our web page or US mail). We look
forward to welcoming you to the Gibson
family!
A Gibson Harp
Guitar from the
early 1900s.
All models in this catalog come with a lifetime
warranty, owner’s manual, specially designed
case, and added-value humidity care kit.
See your authorized Gibson Dealer for pricing
information. Specifications subject to change
without notice.
ith the rebirth of acoustic music
and the availability of countless
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fundamental truths related to the art of fine
instrument building have become obscured.
Of these truths, the most significant is the
meaning of the designation Handmade, and
how this method of guitar building has a
profound relationship with the instrument,
its music, and the experience of its player.
The fact is, all guitars have at least some
“hands-on” assembly. But, for an acoustic
guitar, it is the extent of its hand construction
that makes the difference between hand-
made, or just merely assembled by hand.
Many modern acoustic guitar makers find
ways to build instruments more quickly,
cheaper, and in greater numbers. They
achieve this by substituting easy bolt-on
necks, prefabricated parts, quick-cure
finishes, and clone-like guitar designs that
work best in an assembly line production.
But legendary builders and players have
always known that the “handmade” quality
and individual design of an instrument
determine its ability to produce a truly
beautiful sound. A fine guitar responds to
every nuance of a player’s technique, much
like a fine car “turns on a dime.”
Consequently, when an instrument can
deliver this level of quality, a pleasurable
experience occurs for both the player and
the listener. And it is for this wonderful
effect that music lovers have praised
Gibson instruments since the early 1900s,
when they gathered throughout society and
proudly proclaimed themselves as
“Gibsonites” and “Gibsonians.” It is no
accident that Gibson instruments have
been the “artist’s choice” throughout an
entire century of music, art and culture.
Today, this passionate loyalty still reaches
deep into society, from stockbrokers to
working musicians, from Hollywood stars
to young families in the heartland of
America.
It is for all these truths and reasons that
each Gibson Acoustic Guitar is still Master
Built in the tradition handed down by a
dynasty of Gibson builders, which began
with Orville Gibson in 1894.
brands of acoustic guitars, many
This time-honored technique of attaching a
guitar neck to its body creates a cohesive
bond between these two vibrating elements
of an acoustic guitar, as if they were one
solid piece of wood. And unlike other
brands, which offer acoustics with “bolt-on”
necks to keep their production costs down,
the master builders at Gibson know that a
superior dovetail neck-to-body joint assures
each Gibson Acoustic truly transforms all of
the string vibrations into the beautiful
sound of vibrating wood!
“Violin-Like” Lacquer Finish
Today more than ever, guitar manufacturers
find additional ways to “cut corners” in their
building time and processes with inferior
coatings that shine, but do not sing. Unlike
these other companies, Gibson still uses the
tried and true “lacquer finish” on all its
acoustic guitars. This finish is more complex
in nature and will continue to merge with the
wood as the years go by. Much like the old
master finishes of fine violins, this traditional finish will age like a fine wine and
will continue to sweeten the tone of the
instrument as time goes on.
Carved and Scalloped Bracing
For over 100 years, the Gibson artisans have
known the truth that the top of an instrument
is not just a “vibrating wall.” Gibson
carefully scallops and arches each top brace
to focus the sound to the center of the guitar
top. This technique is one of the reasons
why artists, sound engineers, and listeners
have acclaimed the sound of a Gibson as the
world’s finest. Close your eyes and listen to
a Gibson Acoustic. The distinctive “Gibson
Tone” is like the sound from a fine audio
speaker.
Artistic Craftsmanship and Quality
Each Gibson Acoustic model is full of
expression, character, and exquisite beauty.
None is ordinary, and no two are alike. A
Gibson Acoustic stands out among the
thousands of “look-alike” acoustics
flooding the market today.
A Gibson Acoustic sets you apart from the
regular crowd with the finest sound,
playability, and appearance, which only a
Master Built instrument can offer.
©2003 Gibson Guitar Corp., Nashville, TN.
All rights reserved.
Which Gibson Acoustic is Right for You?
Super Jumbo Body
Excellent for creating a giant chordal background for vocal accompaniment.
Capable of a rich, full sound with a deep bass and crystal clear highs.
Has been the “Artist’s Choice” for all styles of music, from rock to country.
The world’s ultimate acoustic in its appearance and tone.
Round Shoulder Body
Well known as the “Workhorse” acoustic that is ideal for group ensemble performances.
Delivers a sound with incredible dynamic range, warm mids, and a tight and punchy bass.
Great for blues, folk, and bluegrass.
A powerful, traditional body design with the cutting power needed for professional performance.
Square Shoulder Body
A finer quality and beauty than other square shoulders on the market today.
Very wide range of sound, from gutsy and loud to soft and sweet. Famous warm wood tone.
Superb for all contemporary styles, whether just for chording, or for intricate solo music.
Gibson Square Shoulders are distinctive, artistic, finest in craftsmanship, and superior in sound.
J-180 Jumbo Body
A more compact Jumbo with all the beauty and style Gibson has to offer.
Unsurpassed balance of lows, mids, and highs, with equal response to every note on the fretboard.
Perfect for powerful rhythm guitar, studio recording, and live acoustic-electric performance
(for those models with pickups).
Acclaimed as the most “perfect” body size and shape for large, small, male or female players.
Small Body
The most unique and artistic small-body acoustics of this century.
A very vibrant sound in the midrange, combined with finely balanced bass and highs.
A top choice for blues and fingerstyle guitar performance.
World class acoustic suitable for home, studio, live stage, or high level professional
performance.
...A Gibson Acoustic is—Perfect in Every Way...
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J-200 Super Jumbo Line
~King of the Flat-tops~
he Gibson Super Jumbo 200 is the world’s most famous acoustic guitar and has earned its
designation as the “King of the Flat-tops.” Since its release in 1937, its wide use by American
T
acoustic guitar of our time. So much so, that this magnificent acoustic has truly become an icon for
players of all musical styles including blues, folk and country, as well as for the world’s most legendary rock and pop performers from Elvis to the Rolling Stones.
The most striking features of today’s SJ-200 Reissue (pictured at right) include its carved Moustache
pickguard; its Mother-of-Pearl crown fretboard and headstock inlays; and its exquisite
flamed maple back and sides.
Bearing nothing in common to all the ordinary, “look-alike” acoustics in today’s guitar market, the
Gibson SJ-200 remains superior in its unique look, quality craftsmanship, and powerful sound.
In the words of superstar Emmylou Harris: “It is simply a thing of beauty—an Ameri-
can original with its shape and appearance. Nothing else even comes close.”
artists of this century has made the Super Jumbo 200 (SJ-200 for short) the most widely played
®
bridge, with its double bar Mother-of-Pearl inlays; its engraved, multicolor SJ-200
Gibson is proud to offer this ultimate acoustic along with a full line-up of other fine Gibson
Super Jumbos, each with their own specific design and features. These guitars are
offered in a wide range of prices suitable for any walk of life.
The “King of The Flat-tops,”
The SJ-200 Reissue.
Ray Whitley–The Envy of His Peers
The first appearance of this original Gibson Super Jumbo was in 1937, when it was presented to Hollywood singing star Ray Whitley as the world’s biggest and fanciest acoustic
guitar. Ray became the envy of his peers, and other Hollywood singing celebrities of the
era soon obtained their very own Super Jumbos, including cowboy legends Roy Rogers and
Gene Autrey.
The style and features of the 1937 Ray Whitley Model have been incorporated in
Gibson’s Custom Shop Western Classic (see photo at left). Note its rosewood back
and sides; classic L-5 fretboard and headstock inlay; multiple bindings on the body,
fretboard, top, and rosette; and its bound celluloid pickguard borrowed from Gibson’s
legendary Super 400.
In 1938, the Gibson SJ-200—with its classic crown inlays and multi-flowered
pickguard—went into production, and it was promoted as the world’s premier flat-top
acoustic guitar.
Over 60 years later, this guitar has made its mark on history with its rich, full tone, its
powerful bottom end and crystal clear highs, and its highly distinctive and majestic
appearance.
The Custom Shop Western Classic SJ-200 was designed after Gibson’s original 1937 Ray
Whitley Super Jumbo model.
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....with unrivaled Sound and Playability....
J-200 Super Jumbo Line
The “King of the Flat-tops” is available in seven special model offerings, which include four
Custom Shop Super Jumbos (two of which are pictured below). See the Custom Shop section on
pages 17 and 18 for information on the Super 200 Cutaway Custom and the SJ-200 Custom Vine.
J-100Xtra.
No frills, just the essential
elements— Moustache
Bridge, crown fingerboard
inlays, transducer pickup,
Super Jumbo body and most
important, Super Jumbo sound.
J-150.
®
More affordable J-200, for the
performer who desires a “King
of the Flat-tops.” Equipped
with transducer pickup.
Antique Natural Finish.
SJ-200 Reissue.
Best-seller! Historic
1950s details and the most
popular jumbo, known as
the “King of the
Flat-tops.” Antique
Natural or Vintage
Sunburst Finish.
SJ-200 Elite Custom.
Custom Shop SJ-200 with
upgraded woods and features.
Antique Natural or Vintage
Sunburst Finish.
Western Classic SJ-200.
Custom Shop pre-war replica
fashioned after the 1937 Ray
Whitley Model. Classic
Vintage Sunburst Finish.
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J-45 Round Shoulder Line
~The American Workhorse~
hen you listen to a Gibson Round Shoulder Acoustic, you will notice that it responds exactly
to the player’s style and technique—powerful one moment, and soft and mellow the next.
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famous J-45 model, which over the years has been affectionately called “The Workhorse.”
Like the Gibson Super Jumbos, the Gibson Round Shoulder Acoustic body design is an original Gibson
innovation, which first appeared in Gibson’s 1934 catalog, and was promoted for its incredible sound.
It is interesting to note that if you review the evolving culture and music in America since the 1930s,
Gibson Round Shoulder Acoustics seem to appear in the hands of the celebrities and artists that
have significantly represented the times. Imagine a historic photo archive, marching frame by frame
in silent effigy to the last 60 years of music: young Woody Guthrie on the street corner singing of
America; Hank Williams Sr.’s music echoing in a large concert hall with Chet Atkins as his
backup; a smoky blues honky tonk guitar in the hands of Lightnin’ Hopkins; the screaming crowd as the Beatles perform at Candlestick Park in 1966, and later John and Yoko
at their historic “Bed-Ins”; and today, all over the world, and way out in front with
artists such as rock diva Sheryl Crow—all playing Gibson Acoustics.
This characteristic of these guitars is certainly one of the main attractions that players have to the
The beloved Gibson Round Shoulder Acoustics, simple in nature, have continually lured
semi-professionals and amateurs with their playing comfort, punchy bass and warm, rich
tonality.
This user-friendly Gibson guitar design is widely seen in its traditional 1940’s Vintage Sunburst
finish (another Gibson innovation), mahogany back and sides, ’40s-style tuners, teardrop
tortoise pickguard, and rosewood reverse belly bridge. These features are represented today in
the J-45 model (pictured above right). This best-selling model originated in 1942, and has remained a cornerstone Gibson
Acoustic for the past five decades.
The popular Gibson J-45.
New Rosewood Wonder
Gibson’s current Round Shoulder Line includes new variations in woods and features which
are reflected in models like the new J-45 Rosewood (pictured left). This model bears its title
due to its premium rosewood back and sides, made to please J-45 lovers who desire the
enhanced tone and look of a rosewood guitar. This model is handmade with an ebony finger-
board and bridge, and gold tuners.
Be sure to play a Gibson Round Shoulder during your next visit to your nearest
authorized Gibson Acoustic Dealer. When you do, listen to it carefully and you will
experience a sound that not only reminds you of our most memorable musical moments
in history, but also reflects the music of countless players around the world today.
The New J-45 Rosewood.
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...acclaimed by countless musical legends throughout this century.
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