Inspired by the coveted WWII war-era guitars, the Gibson Southern Jumbo Banner features a period-correct, vintage sunburst finish and gold script Gibson logo, with the famous banner decal that reads “Only a Gibson is Good Enough.” This was the attitude of the most prominent guitar builders of the time, and there is a reason collectors want to get their hands on the flat tops from this era.
This “Banner” reissue really delivers, offering the key specs that have made some of these vintage guitars sound so amazing. With a J-45 series body style, it features an Adirondack red spruce top, mahogany back and sides, and a mahogany neck that is carved into a period-correct “V” profile. Every build detail was taken into account to make this Southern Jumbo a historical reproduction, with 1930’s advanced scalloped x-bracing, a compound dovetail neck joint, hide glue construction, open-back vintage style tuners, and a traditional rosewood rectangle bridge with an open-slot bone saddle. All these specs add up to a guitar that sounds full and warm, with boisterous dynamics; a guitar we just couldn’t put down! Gibson Authorized Dealer Vintage Sunburst Nitro Finish J-45 Body Style Compound Dovetail Neck Joint, Hide Glue Construction 1930s Advanced Scalloped X-Bracing Adirondack Red Spruce Top Mahogany Back and Sides Mahogany Neck Rosewood Fretboard with Mother-of-Pearl Parallelogram Inlays Period-Correct „V“ Neck Profile 24.75″ Scale Length 12″ Fretboard Radius 1.77″ Nut Width Bone Nut Nickel Open-Back Vintage Style Tuners with 15:1 Ratio Traditional Rosewood Rectangle Bridge with Open-Slot Bone Saddle Multi-Ply Body Binding and Rosette Traditional Teardrop Pickguard
Gibson Acoustic’s SJ-100 acoustic-electric guitar is a stunning re-creation of one of the company’s rarest flattops. Introduced in 1939 as a more affordable and less ornamented stablemate to the SJ-200 „King of the Flattops,“ the SJ-100’s tasteful, simple appointments and solid spruce/mahogany construction delivered a massive dose of premium tone and playability. And it still does. To bring that rich tone to the stage or the studio, this superb American-made instrument is fitted with a Baggs Element pickup system. Own a piece of music history – the Gibson Acoustic SJ-100.
The Gibson Super Jumbo Rosewood bodied acoustics are where it’s at for recording Classic Gibson Craftsmanship The Gibson Super Jumbo Gibson’s Super Jumbo guitars were originally built to cut through the loudest acoustic ensembles, allowing them to compete with the mandolins and banjos that were prevalent in „pre-amplified“ times. It’s still a thrill to hear the well-balanced sound of a Super Jumbo ring out loud and clear, the maple sides and spruce top pumping out a throaty tone that’s equally great for high-octane strumming and delicate fingerpicking. Everyone from arena rockers to country artists to blues greats choose these guitars for their incredible sound, projection, build quality, and, let’s face it, stunning looks. Mahogany bodied acoustics are where it’s at for recording When it comes to recording flat-picked acoustic guitars, professional recording engineers prefer instruments with a mahogany back and sides, rather than rosewood. If that surprises you, understand that it has to do with the preponderance of low end inherent in rosewood-bodied guitars (that must dealt with) – versus the perfection with which a properly-recorded mahogany-bodied acoustic sits within a track. The Gibson Acoustic SJ-100 is a cannon – very loud, but superbly balanced. It’s a great choice for tracking in a thick mix – yet it sounds rich and full-bodied on its own. Just aim a small-diaphragm condenser mic at the 12th fret and you’re good-to-go. Record the Baggs Element pickup output to another track and you’ve got beaucoup mix options. Classic Gibson Craftsmanship Gibson’s reputation as a fine guitar builder dates back to the late 1800s. Handcrafted since day one by some of the most skilled luthiers around, Gibson acoustic guitars have inspired countless players around the world. When you pick up a Gibson acoustic, you know you’re getting the finest tonewoods, quality hardware, and incredible attention to detail – these instruments are built to sound great and stand the test of time. After moving from Kalamazoo, MI, to Nashville, TN (where Gibson electric guitars continue to be made), Gibson finally settled their acoustic operation in Bozeman, MT, where they continue making some of the finest guitars on the planet by hand. Gibson Acoustic SJ-100 Acoustic-electric Guitar Features: 100% American-made; quality Gibson handcrafted construction All solid wood: spruce top and mahogany back/sides deliver superb tone MOP dot inlay on bound fretboard; unique firestripe pickguard Historic rosewood, hand-finished bridge Baggs Element pickup Hardshell case included
The legacy of Gibson’s line of celebrated Jumbos is not lost in the J-185 EC. This eye-catching model builds on the traditional foundation of Gibson’s Jumbo body style, and moves into the present vanguard with a cutaway design for easier playability, along with several elegant, modern appointments for increased aesthetic appeal. The sound is everything you expect from a Gibson Jumbo: warm, huge low end with ringing, harmonically rich treble response, capable of achieving a pure dynamic contrast, which makes it the perfect acoustic for just about any musical genre.
With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability. Crown Peghead Logo Gibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including today’s J-185 EC. Over the years, it has also been called a „thistle“ because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a „crown.“ Pickguard The tortoise pickguard for the J-185 EC is Gibson’s standard 1950s-style Jumbo shape. As with all of Gibson Acoustic’s pickguards, the coloring, inlay, and binding are all crafted by hand. Abalone Rosette A rosette is the beautiful, hand-crafted circle around the soundhole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-185 EC is a double-ring rosette with an abalone-filled middle. The main ring consists of seven-ply binding, and the second ring is three-ply binding, adding a stylish, understated elegance to the J-185 EC. Rosewood Fingerboard with Rolled Edges and Split Parallelogram Inlays The fingerboard of Gibson’s J-185 EC is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson’s team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-185 EC’s split parallelogram inlays are made of genuine mother of pearl, and are inserted into the fingerboard using a process that eliminates gaps and doesn’t require the use of fillers. The fingerboard also sports a rolled edge—instead of the usual right angle where the fingerboard surface meets the neck, Gibson Acoustic’s rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-185 EC. Body Tonewoods (back, sides and top) The top of the J-185 EC is made from AA-grade Sitka spruce, while the back and sides are constructed from AA-grade Eastern curly maple, giving the J-185 EC a warm, huge low end with ringing, harmonically rich treble response, capable of achieving a pure dynamic contrast, which makes it the perfect acoustic for just about any musical genre. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with „the most durable, elastic, and sonorous qualities,“ and today’s guitars from Gibson Acoustic are no different. Fishman Aura Pro Acoustic Pickup System Gibson’s J-185 EC comes equipped with a built-in Fishman Aura Pro, featuring Fishman’s popular Aura Acoustic Imaging Technology. This ground-breaking pickup system reproduces the natural sound of the J-185 EC as miked in a professional studio, and onstage, thus eliminating the complicated setups of expensive microphones. Auro Pro uses digital algorithms to create images of various microphones‘ captured sounds. Players can then blend these images with an acoustic guitar’s pickup to produce an immediate and dramatic improvement in amplified sound. The Fishman Aura Pro’s preamp includes a tuner, and is mounted on the bass side rim of the upper bout. Bracing Every acoustic guitar made by Gibson features hand-scalloped, radiused top bracing inside the body, a feature normally found only in limited-run, hand-made guitars. By scalloping each brace by hand, the natural sound of the acoustic is focused more toward the center of the body, enhancing the instrument’s sound projection. The bracing pattern inside the J-185 EC was created in 1951 as a smaller version of the design used in the Gibson’s legendary Super Jumbos. This traditional „X“ pattern delivers an exceptionally balanced tonal palette ideal for both the stage and studio environments, making the J-185 EC a standard choice among today’s discerning players. Gibson Logo The Gibson name has graced the most innovative and revolutionary acoustic guitars of our time—the Super Jumbos, the J-45, the Hummingbird, the Dove. There is no mistaking the classic mother-of-pearl logo pressed onto the face of the headstock. It represents more than a century of originality and excellence. There is simply no equal. Tapered Dovetail Neck Joint The dovetail neck joint is one of the oldest—and best—ways of securely joining the neck to the body of a guitar. It is also a complex and expensive neck joint to build, but the result is a tight, locking connection that supports the neck at the proper neck-pitch angle, allowing the body and neck to become one solid piece of resonating wood, with no metal to impede vibration. This process is done entirely by hand, requiring patience and skill. Radius Top The top of many „flat-top“ guitars are under a lot of stress from the pull of the strings, which can eventually compromise the top. So, while most acoustic guitars are true „flat-top“ guitars, each of the acoustics produced by Gibson in Bozeman, Montana has a radiused, or „tuned,“ top. Instead of being perfectly flat, a radiused, or „tuned,“ top is raised slightly, and a special instrument is used to shape the top braces to the radius of the top. This process adds tension and strengthens the top, creating a less stressful joint where the top meets the sides and reduces the stresses of string pull. It also results in a „speaker cone“ effect that maximizes sound projection, adding a significant boost to mid-range levels for a more balanced acoustic tone. Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson acoustic guitar—including the J-185 True Vintage—is one of the most labor-intensive elements of the guitar-making process. Unlike the polyurethane finishes used by many guitar manufacturers, a nitrocellulose lacquer finish is porous when cured, allowing the wood to naturally „breathe“ and mature. Microscopically thin, many finish colors require up to seven evenly applied layers to complete, each of which is inspected, leveled, and wet polished between coats for a glass-like finish. The time-consuming nature of a nitro finish has been employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish means there is less interference with the natural vibration of the instrument, allowing for a purer tone. It’s also a softer finish, making it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. Body Binding In general, a guitar’s binding serves as a cosmetic feature, adding a subtle elegance to any Gibson acoustic while hiding the joints between the top, back, and sides, and helping to protect the guitar’s body from any nicks or dings. But to see the process of putting the binding on a Gibson acoustic is to really appreciate the effort and attention put into each instrument. After the body has been glued together, the excess from the top and back are trimmed off and a groove is cut for the binding. The binding is then glued on and held on to the body using tape, and hung to dry. When the tape comes off, any excess glue is removed and the body is moved into the next phase of production. It has been done the same way for over 100 years, and is a fundamental part of Gibson Acoustic’s rich guitar-making history. Check the drop-down menu to the right to select colors and/or other options. Features Nickel Grover Rotomatic Tuners Crown Peghead Logo Abalone rosette Rosewood Fingerboard with Rolled Edges and Split Parallelogram Inlays Fishman Aura Pro Acoustic Pickup System Gibson Logo Tapered Dovetail Neck Joint Radius Top