Here is a vintage 1950 Gibson SJ (Souhtern Jumbo) flattop acoustic guitar. This particular example, FON 3810 23, is in very nice all original condition. Well-preserved with absolutely no cracks, no breaks, nor any structural repairs, this also happens to be one of the best sounding 1950’s Gibsons I’ve ever owned. The surprisingly shallow profile neck makes it incredibly easy to play, and the dry environment in which it spent the entirety of it’s life rendered the guitar ultra transparent and light. Resonant and with beautiful breath, my fellow guitar collector friends have all strummed in awe of this guitar’s sonic superiority to others from the same era. Though clearly the guitar exhibits pick wear on the treble side of the sound hole, in addition to, significant fingerboard wear, it has otherwise been surprisingly well-maintained, with no evidence of abuse. This same version SJ was famously used by Hank Williams, his was a ’51, and was documented as being one of his favorite guitars. Other legends, such as Woody Guthrie and Bob Dylan, also gravitated toward Gibson’s flagship dreadnought-sized acoustic, and this slope-shouldered SJ embodies exactly why a group of musical geniuses would appreciate such an acoustic guitar.
The light-bracing, round shoulder body design, small tortoise pickguard, Brazilian Rosewood bridge, and crisp maple bridge plate, all contribute to the utterly impeccable tone and balanced projection of this ’50 Gibson Southern Jumbo. Weighing literally a hair over 4 lbs., this guitar is virtually featherweight. The neck is perfectly straight, the neck joint is solid, and the neck angle is pristine. With low action the entirety of the fingerboard, this guitar plays like your favorite electric when strung with .011 light gauge acoustic strings. With ever-lasting sustain, and immense volume, this SJ embarrasses new boutique-made scalloped-braced Martin copies that list for more than twice what this guitar costs.
This 1950 Gibson SJ also features; a spruce top with sunburst finish, mahogany back and sides with walnut finish, a slope-shouldered body shape, a mahogany neck with bound Brazilian Rosewood fingerboard, split parallelogram inlays, original frets, original single-line Kluson Deluxe tuning machines with no-post through the case, small tortoise pickguard, a 1 11/16″ nut width, original nut and saddle, original bridge pins and strap pin.
While there are no cracks, no breaks, and no repairs whatsoever, there was one minor finish touch-up to the top of the headstock, where supposedly a small arrangement of rhinestones had adorned the logo, and there appears to be a very small filled strap pin hole on the top of the neck heel. Both are cosmetic flaws, both of which are very difficult to see and were performed by a very skilled luthier.