Gibson had taken the easiest path to becoming a flat-top guitarmaker by simply putting a flat top on the body outline of the L-1, their lowest archtop model. ![]() When it reappeared after the war, it was essentially the J-200 we know today, but it was fundamentally different from the pre-war version – with maple back and sides replacing the original rosewood, making the pre-war version one of the rarest and most highly sought of all Gibson acoustic guitars.ĭespite Gibson’s late start, the company’s flat-top designs came a long way in a relatively short time. The Super Jumbo, as the model was originally called, barely got off the ground before World War II reduced Gibson’s guitar production to a trickle of inexpensive models. The Gibson company was founded on the belief that carved-top guitars were superior to flat-top designs, and consequently, Gibson was a reluctant entrant in the rising flat-top market of the 1920s.Īdd the fact Gibson, more than any other company, was still determined to make the world’s best mandolins, banjos, and archtop guitars, and it’s not surprising that the ’30s had almost passed before Gibson turned its full attention to flat-tops and designed a model that would rank with such legendary Gibsons as the Super 400 archtop, the F-5 mandolin and the Mastertone banjos.
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