Gibson’s J-200 Studio proudly maintains the tradition and excellence of Gibson Acoustic’s Super Jumbo line, offering a remarkable combination of features that deliver all the sweet tone, clarity and p... Read More
Gibson’s J-200 Studio proudly maintains the tradition and excellence of Gibson Acoustic’s Super Jumbo line, offering a remarkable combination of features that deliver all the sweet tone, clarity and presence expected from a Super Jumbo. The simple elegance of the J-200 Studio is evident in every detail, including its premium Sitka spruce top and attractive maple back and sides, releasing a rich, full, and balanced high end and grand projection.
Nickel Grover Rotomatic Tuners
Grover’s original Rotomatic tuners are an engineering marvel, with style and performance exactly suited for the J-200 Studio. 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 the J-200 Studio. 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.”
The pickguard for the J-200 Studio is Gibson’s standard plain tortoise Super Jumbo shape, enhanced with an engraved cream-colored border. As with all of Gibson Acoustic’s pickguards, the coloring, inlay, and binding are all done by hand.
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-200 Studio is a double-ring rosette, with the main ring consisting of seven-ply binding, and the second ring three-ply binding, adding a stylish, understated elegance to the J-200 Studio.
Rosewood Fingerboard with Rolled Edges and Graduated Crown Inlay
The fingerboard of Gibson’s J-200 Studio 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-200 Studio’s graduated crown 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 edge is slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-200 Studio.
Body Tonewoods (back, sides and top)
The top of the J-200 Studio is made from AA-grade Sitka spruce, while plain maple is used for the back and sides, giving the all the deep, rich tone, clarity and presence expected from a Gibson Super Jumbo. 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 Ellipse Aura Electronics Package
Gibson’s J-200 Studio comes equipped with a built-in Fishman Ellipse Aura electronics package, which combines Fishman’s most sophisticated onboard preamp design with the power of the popular Aura Acoustic Imaging Technology. The result is acoustic sound that is exceptionally accurate and true to life. Already loaded onto the system are four images that best match the instrument’s natural tonal characteristics. You can make adjustments to any of them using the system’s Pickup/Image Blend or Volume controls, or use the switchable Natural I and Natural II low frequencies for tone shaping. You can also control feedback with the Phase switch and automatic Anti-Feedback device control. The pickup's ergonomic soundhole-mounted design puts slider controls at your fingertips so you can maintain a natural playing position at all times. The Fishman Ellipse Aura is used by such noted musicians as Brad Paisley, Pete Townshend and Travis Tritt.
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 lightweight bracing pattern inside the J-200 Studio —the same pattern used in Gibson’s first Super Jumbo in 1937—is constructed to support and strengthen a very large surface, thus allowing the top more freedom of movement to vibrate and project sound. The placement of the braces inside the J-200 Studio also creates powerful, deep lows with full frequency range, producing the incredibly balanced, huge sound Gibson’s Super Jumbos are so noted for.
Reviewed by 7 customers
Displaying reviews 1-7
I was on the fence about this model(was taken in by the fancy appointments of the J200 Std. (put off by the price) but decided on the Studio instead. I was not disappointed. Yes, the wood choice is AA rather than AAA, but that's more of a visual than tonal thing to me. The Studio I got still has some of the beautiful figuring; the top is a nicely bookmatched Sitka. I also like the simple pickguard as compared to the fancy one...still, with the simple appointments, this guitar is a 'looker', as many have commented on it(Looking like a beautiful woman!) And the price is substantially less than the std. model. The sound is well-balanced; defined highs and bass that is not too boomy as you might expect. I put mediums on it and have it tuned 1/2 step down(for songs I sing in that register). It's got a great sound 1/2 step down and on capo 1 for std. tuning. The action is nice and low and plays smoothly. Well intonated up and down the neck. I also like the feel of the neck, which is slim and not as wide as a 1 3/4" neck---just slightly narrower. The Fishman pickup system has a good sound to it and balances well tonally.
I've always been accustomed to Gibson's line of acoustic guitars since I saw the Beatles and many other musicians playing on a Gibson. My favorite Gibson acoustic has always been the J160e in vintage sunburst. I like it, it has good sound and good feel. It was good, but almost perfect. When I saw this Gibson J200 studio version at my local Guitar Center and when i played it, I was in love. The J200 just put my favorite J160e in the dust. I was instantly please with the J200's sound, feel, and deep bassy sound. It's the finest acoustic guitar I've ever played. It's so fine that I would like to use it as a seranade instrument to the woman I would marry. This Gibson J200 has it all, sound, feel, looks, and value! As with all Gibson acoustic guitars, I prefer the vintage sunburst finish.
Bought this beauty about a week ago. I'll try to avoid all the "best guitar ever!!" and such that seem to abound on this site. I bought her at my local GC in ATL. I compaired her to several other guitars including a 615 and a northwest classic and my particular guitar blew them away. With the maple back, sides, and no doubt the maple neck helps the highs on this guitar just sing. That seems to be where most maple jumbos stop. However, we are talking about the "superjumbo" "King of the Flat tops" here. The low end is amazing! I play a lot of open movable bar type chords with the low E open and with this guitar it just sings. The mids are also respectable. And all sounded better after a proper set up and some Medium Elixer Nano's. Now for what small down sides there are. There is not a second strap button. Not a big deal I had my set-up guy throw one on the heel of the neck (treble side). I tried the attaching to the neck like I have done before but with the weight and balance of this guitar that's just really not practicle. There is a small amount of glue "left overs" from where the bridge was attached again no big deal but for the price it should have been caught at the factory. One more thing, The input jack was loose. Whether from the factory or someone playing it at GC I couldn't say. Again no big deal but for the price I think this should have been perfect from the factory. To sum it up. I do love this guitar and it is perfect for what I was looking for (bright highs booming lows and smooth mids). I won't say it will be perfect for you only you can say that but if that's what you're looking for this guitar would be a good bet to start your search with. And for the record if the "studio" logo is all that's turning you away from this guitar don't let it. I played this side by side with the "standard" and the tones were better on my particular studio. The only thing the standard has that the studio does not is fretboard binding and the design on the pickguard.
First and foremost you must play this on your own before purchasing....it's a rule of thumb with any instrument. Next this finger picking, rich, bold sounding guitar just blows you away. The first thing you notice is the overall craftsmanship that Gibson provides with the SJ. Can be used alone for acoustic sound or in a studio. It is that high quality. The on-board electronics could be better but it is pretty near top of the line. Remember before you buy go out and play it for yourself! Good luck with your shopping!
Wonderful guitar. I played several side-by-side over a weekend, in studio and on stage, and this model won hands down. The Taylors were great too, but just sounded thinner (kind of like 335s) beside this beast. It was a little stiff on the fingers right at first, but I had a tech shave a tiny amount of the saddle & now it's absolute butter! Love it, love it, love it, but... I do sometimes feel like I cheated myself by not taking the next step up. This is the kind of guitar that you only buy once or twice in a life, so don't let a couple hundred dollars dictate your choice. It's nothing but cosmetics--the sound is spot on--but I do wish I had the classic pickguard & fretboard binding.
I had heard of this guitar from so many musicians and wanted to see for myself if it truly was a trip back in time. I began to examin the guitar and admired its jumbo body, and perfectly alligned neck. I then proceeded to play it and I was blown away by its clarity and conciseness. My fingers ran up and down the fretboard so smoothly that I thought someone else was playing it. No serious folk enthusiast would pass this guitar up, it is a standard of a reinvented simpler time.
I have an Epiphone J-200, the knock-off of the real thing. For fun at the local GC store, I picked up the "Real" thing, the Gibson SJ-200. I personally like, and am used to, the size and feel of a Jumbo Dreadnaught. So, things felt right, but then I gave it a strum. Holy Mackerel! It rang out so clear and nuanced! The sound of the Gibson is full, rich, and it's no wonder this is used by so many professionals. I think I have a new goal in life, save my pennies and dimes and go for the real thing, a Gibson SJ-200!
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