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In the mid‑1930s, Gibson was in a size/volume arms race with competitors and trying to push the boundaries of loud, ornate flat‑top acoustics. One of their earlier big flattops was the Advanced Jumbo (1936‑38), which itself was a response to demand for more projection and richness.
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Then came the SJ‑200 (Super Jumbo 200). Originally conceived in 1937, it was built to be Gibson’s top‑of‑the‑line flat top, with a very large body (approximately 16 7/8”) designed for volume, presence, and a kind of visual showmanship.
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The name “Super Jumbo” was used initially; later it was called the “Super Jumbo 200,” and in 1955 Gibson officially changed the name to J‑200.
What Makes the SJ‑200 Special
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Wood / Construction: Early SJ‑200s used red spruce tops, rosewood back and sides. Post‑WWII (around 1947) the back and sides material often switched to maple.
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Bracing / Bridge / Scale: It had double braced tops to support the larger soundboard. It also featured Gibson’s famous moustache‑shaped bridge and large ornate pickguard (vine and flower decorations) that became part of its aesthetic identity.
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Tone: The large body gives powerful low end and a broad dynamic range. Over time Gibson altered bracing, materials, construction details, which shifted the voice somewhat—some vintage collectors prefer pre‑1957 builds for their projection and richness.
The J‑185: A “Slimmed‑Down Jumbo”
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The Gibson J‑185 was introduced in 1951. The idea was to offer something “jumbo‑like” but a little more approachable/less cumbersome than the full SJ‑200.
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Key differences from the SJ‑200 include a slightly narrower body, shorter scale (24.75″ vs longer scale on some J‑200s), and somewhat simpler, “less blingy” appointments. It still retained high quality tonewoods (spruce top, maple back & sides) and Gibson craftsmanship. The “parallelogram” split inlays, body binding, crown headstock, Maltese cross bridge in some variants give it character even if not as ornate as the SJ‑200.
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Because of its body size, scale, and construction, many players find the J‑185 to have a slightly tighter, more controlled low end, especially useful if the full SJ‑200 feels a bit boomy for certain styles or playing situations.
Evolution & Reissues
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Over the decades Gibson made many variants, reissues, custom shop runs etc. Bracing designs changed, finishes varied, and appointments were simplified or more ornate depending on the era. The Bozeman shop and later historic reissue programs have aimed to recapture the tone and feel of the old pre‑war / post‑war “golden age” instruments.
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The J‑200 line has seen multiple models: Standard, Studio, Custom, Historic, etc. Some reissue models attempt to replicate specific years.
Famous Players & Moments
Here are some of the artists and stories that made the SJ‑200 / J‑200 and J‑185 famous.
|
Player |
Guitar / Model |
What they did with it / How they used it |
|---|---|---|
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Ray Whitley |
The original SJ‑200 |
He requested Gibson build a large, ornate super‑jumbo in 1937; his custom prototype became the first SJ‑200. His guitar is in the Country Music Hall of Fame. |
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Gene Autry |
SJ‑200 |
One of the early cowboy film / western stars to use it, adding to its image as the “king of flattops.” |
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Bob Dylan |
SJ‑200 |
Used it notably during the Nashville Skyline era; also featured in photos and live appearances. |
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George Harrison / The Beatles |
SJ‑200 |
George Harrison used a ’60s SJ‑200 on songs like “While My Guitar Gently Weeps”, “Here Comes The Sun”, etc. John Lennon also played one of Harrison’s in certain sessions. |
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Jimmy Page |
SJ‑200 |
Borrowed or used SJ‑200(s) on early Led Zeppelin tracks (“Babe I’m Gonna Leave You”, etc.). |
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Emmylou Harris, Pete Townshend, many others have used J‑200s in their acoustic sets. |
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Everly Brothers |
J‑200s in 1950s; later the Everly Brothers Flattop which has a J‑185 style body in some respects. |
As for the J‑185, while it didn’t have quite the same star power originally as the SJ‑200, it has been treasured by collectors and players for its tone, playability, and character. Some players associate it with more intimate shows or studio work, where the balance and clarity of the J‑185 prove especially useful.
There are anecdotal mentions of players such as Skip James playing a J‑185 in the early 1960s.
Also more modern musicians have adopted it, but the J‑200 remains more widely recognized due to its historical visibility and spectacle.
Why These Guitars Matter
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Cultural Iconography: The SJ‑200’s big body, ornate aesthetics, and association with western films, country stars, and major recording artists made it more than just a guitar—it became a visual symbol.
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Tone & Projection: For many years before modern amplification, acoustic guitars needed to fill rooms, accompany singers, sometimes even project over brass and drums. The Jumbo body shape of the SJ‑200 responded to that, delivering volume and presence. The J‑185 offered a slightly more refined take with slightly less bulk but still strong projection.
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Balance of Playability vs Size: The J‑185 is sometimes seen as a compromise between the full power/size of the SJ‑200 and something more manageable. Many players like its scale and depth for sustained playing without fatigue.
