GIBSON J 200 EMMYLOU HARRIS FULL

The body shape was easily recognizable because, like all Gibson guitar models going back to Orville GibsonвЂ™s original creations, it had a circular lower-bout outline that did not flatten around the endpin. It was a small-bodied guitar, only 131/2вЂі wide. 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 вЂ“ 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.Дespite GibsonвЂ™s late start, the companyвЂ™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 GibsonвЂ™s guitar production to a trickle of inexpensive models.

GIBSON J 200 EMMYLOU HARRIS FULL

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.ДЄdd the fact Gibson, more than any other company, was still determined to make the worldвЂ™s best mandolins, banjos, and archtop guitars, and itвЂ™s not surprising that the вЂ™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.

Gibson j 200 emmylou harris