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GIBSON SJ200 60s ORIGINAL JUMBO (MAPLE BACK AND SIDES)

VINTAGE SUNBURST

PRODUCT# OCJB2060VS

SERIAL# 22895019

WEIGHT: 5lbs 7oz

Own the Sound That Defined the 1960s

Gibson’s Super Jumbo has seen scores of variations since 1937, with this Gibson Acoustic SJ-200 ’60s Original paying tribute to the model’s heyday in rock’s most transformative era. As per traditional post-war SJ-200 specs, this acoustic-electric wears AAA figured maple for the back and sides, along with a Sitka spruce top and scalloped X-bracing. Sonically, these prestigious tonewoods deliver the booming lows, chest-rattling projection, and balanced response that have established the Super Jumbo as the “King of the Flat Tops” for nearly a century. Atop the Round-profile 2-piece maple neck, the rosewood fingerboard features a slightly slimmed-down 1.687-inch nut width — an immensely popular spec among strummers of all sorts for its optimal chording comfort. What’s more, the SJ-200 ’60s Original’s “moustache” bridge sports a classic 1960s-style solid design with mother-of-pearl hourglass and teardrop designs. This level of luxury is mirrored across the rest of the SJ-200 ’60s Original, including Graduated Crown fingerboard inlays, gold Grover tuners, and a floral-themed pickguard. Plus, you also get a set of stage-proven LR Baggs VTC electronics. From Jimmy Page to George Harrison, Bob Dylan, Pete Townshend, and beyond, the most treasured music of the 1960s was built upon the back of the SJ’s rumbling roar. The Gibson Acoustic SJ-200 ’60s Original puts that iconic sound at your command.

Tonewoods inspired by the SJ’s most iconic iteration

True to the classic Super Jumbos of the 1960s, the Gibson Acoustic SJ-200 ’60s Original is built upon a sonic foundation of Sitka spruce and AAA figured maple. Topside, the Sitka spruce top with traditional hand-scalloped bracing leverages the SJ’s 17-inch-wide surface area to boom with deep bass and unparalleled unplugged power. AAA figured maple back and sides round it all out with alluring figuring and a clear, crisp, and balanced character. It all adds up to a seamless blend of power and balance, combining thumping low-end depth that’s more than matched by the fullness of the treble strings’ projection — in short, a sound that’s equally adept at filling out the mix in the background or standing front-and-center with its crisp, commanding tone.

“King of the Flat Tops” since 1937

Introduced in 1937, the Gibson SJ-200 arrived at a time when the most common “electric guitar” was a lap steel played with a slide. In fact, Gibson’s first electric Spanish-style guitar, the ES-150, had just debuted in 1936. At the time, acoustic guitar makers were all chasing the same elusive goal: more volume — a challenge that electric amplification would soon address. In jazz orchestras, folk groups, and country ensembles of the era, nearly every other instrument easily overpowered the acoustic guitar, even with innovations like Gibson’s larger “Jumbo” dreadnought introduced in the late 1920s.

Guitarists continued to crave more volume from their instruments, leaving Gibson with only one choice: to make the big-bodied Jumbo even bigger. The resulting instrument, the Super Jumbo, boasted a massive 17-inch-wide lower bout, dishing out a volume that to this day stands unsurpassed in the world of acoustic guitars. Moreover, as the guitar was intended as Gibson’s “King of the Flat Tops,” the model was graced with attention-demanding trim, abundant inlays, floral patterns, and binding galore to match the model’s regal reputation.

Nearly a century after the SJ's inception, the model continues to reign as one of the most iconic examples of American design — guitar or otherwise. The storied instrument has shaped the sound of recorded music through the hands of legends such as George Harrison, Jimmy Page, Pete Townshend, Elvis Presley, Bruce Springsteen, Bob Dylan, and countless stars of the country music canon.

American craftsmanship at its finest

While the Gibson Acoustic factory in Bozeman embraces modern construction technologies where necessary, guitars such as this SJ-200 remain largely handcrafted by a seasoned team of skilled craftspeople. Gibson is rightly celebrated for the sound, style, and performance of its iconic “flat-top” guitars, though the term is something of a misnomer. From the company’s very beginnings, Gibson non-archtop acoustics have featured subtly radiused tops and backs, not truly flat surfaces. To honor that legacy, today’s Gibson acoustics continue the tradition with 28-foot-radius tops and 12-foot-radius backs shaped by carefully curving the hand-scalloped bracing. Why go to such lengths when a true flat-top would be easier to produce? That curvature adds stiffness to the back and sides, marking an integral element of the classic Gibson steel-string sound and contributing to its clarity, resonance, and signature note-to-note definition.

From binding installation and fingerboard fretting to neck setting and the painstaking finishing process, the Bozeman team’s expertise guides every step. They even bend the sides using traditional presses, a technique used for generations. Across every detail, Gibson Acoustic guitars represent the spirit of a traditionally crafted American instrument, built using time-honored methods that forged Gibson’s legendary reputation throughout the 20th century.

Built in Bozeman in the handcrafted Kalamazoo tradition

For more than eight decades, Gibson’s acoustic instruments were crafted in the historic Parsons Street Factory in Kalamazoo, Michigan. Gibson’s acoustic and electric guitars were built side-by-side there for much of the company’s history. Subsequently, production was relocated to Nashville, Tennessee, over the course of several years between the late 1970s and the early 1980s. Although this change of scenery worked brilliantly for Gibson’s electric lineup, it was quickly discovered that the hot and humid climate of the American South was perhaps not the ideal setting for acoustic guitar building.

Gibson’s acoustic division ultimately packed up its side presses and chisels and journeyed off to the picturesque city of Bozeman in 1989. The move was preceded by Gibson’s purchase of the Flatiron company in 1987; the latter’s immaculate mandolins demonstrated that The Treasure State’s semi-arid climate was the perfect setting to craft Gibson’s historic acoustic instruments. More than three decades down the line, the Bozeman factory comprises a well-seasoned workforce of master craftspeople — many of whom are multi-decade Gibson veterans — and produces what many musicians consider to be among the company’s finest creations.

Gibson Acoustic SJ-200 ’60s Original Features:

• A tribute to Gibson’s iconic SJ-200s of the 1960s, featuring era-accurate finishes, trim, and tonewoods
• AAA Sitka spruce top with scalloped X-bracing shaped into a massive 17-in. SJ profile delivers rumbling bass and massive projection
• AAA figured maple back and sides provide a crisp, bright, and balanced timbre
• 2-piece maple neck with a traditional walnut stringer, carved into Gibson’s full-feeling “Round” profile
• Bound rosewood fingerboard with gleaming Graduated Crown MOP inlays
• Gold Grover tuning machines keep your strings lock-tight
• Stage-proven LR Baggs VTC electronics with convenient soundhole controls
• Forgoes the TOM bridge setup of the original 1960s SJ-200s for a more player-friendly bone saddle
• Classic 1960s-style SJ-200 appointments include a solid rosewood bridge with MOP hourglass and teardrop inlays, a no-border pickguard with floral designs, and multi-ply body binding
• Nitrocellulose lacquer finish smoothly breaks in the more you play
• Slim 1.687-in. nut width provides optimal chording comfort when strumming on the lower end of the neck
• Crafted in the Gibson tradition with a dovetail neck joint secured with hot hide glue