Southern Jumbo & Country Western Pickguard Shapes

[CBA713]

Hi there. This is my first real post.

 

I've been looking at a lot of 60s model / "vintage" Gibsons, and I nearly bought a 1968 J-50 yesterday. However, I played what was marked as a 1964 Southern Jumbo, which would have cost me twice as much as the J-50. I prefered the sound, feel, and look of the Southern Jumbo, and now my heart is set on that.

 

I have a question about some of the different pickguards. I really like the kind of pointy flared pickguards like what you would see on a Hummingbird or Country Western. However, a lot of what I see listed as "official" Southern Jumbos, even the new ones, have a rounded pickguard on them.

 

Were these only given to the Southern Jumbos from the 60s? I really like that look, especially on the natural finish Country Westerns. Really hot with the block inlays.

 

Would pictures be helpful? I could provide some.

 

Thanks!

 

C

[E-minor7]

Don't hesitate with pictures - they are really appreciated here.

The square shouldered Southern Jumbo saw the light of day in 1962 as I recall it and they all have the fascinating 3-point guard like the Hummingbird and the Country and Western. The latter too went square around that time. What is interesting is the thickness of the plast.

As a rule the Bird-gaurds are thicker and we have been speculating here, if that detail is behind the famous honey-glaced voice of that model.

Some think yes, others no - some don't believe a guard makes difference at all. They'ld melt it off and hear the same flavor of the instrument.

Most luthiers would disagree.

I personally think the guard (even small fragments of additional guard material) matters, but my knowledge is diffuse.

Keep posting and tell us your tale.

 

P.S. - if you see a traditional square with rounded, teardrop guard, it's a J-45. But a 'modernizid' one from approx. '68 and up.

[Hall]

CBA - I'm sure the more knowledable members will give you the exacts on things. I have a sq. shouldered SJ that is my favorite acoustic. Also, a CW I really like. They are the same instrument really if one doesn't get into the specs too deep. Both have the pickguard you like (as I do). I have a Custom HB with that style guard, but the fancies are beneath. I really dig that! I 'spose I'm old fashioned by today's standards with my sq. shoulder models. But, whatever works. Here is the HB, CW and 74 SJ. I hope the group will be along soon.

 

Steve

[CBA713]

Thanks! I do have some pictures of the actual guitars from the dealer's website.

 

Here is the J-50:

 

 

 

And here is the Southern Jumbo:

 

 

 

The J-50 was pretty good, but the Southern Jumbo had exactly the kind of thick, resonant sound I wanted. It was much louder, and felt more substantial. Nothing against the J-50, but if J-50s and J-45s are virtually the same guitar, I'd prefer a Southern Jumbo. Then again, as far as what I've read, all three guitars are supposed to have the same specs, with the SJ having the inlays and a few other adornments. These two instruments, however, felt and sounded totally different, with the SJ being much more robust.

 

Altogether, I'd prefer a guitar that looks like this, which I believe is the Country Western:

 

 

 

I prefer a 24.75" scale, as I've been playing Gibson/Epiphone electrics for most of my life.

 

 

Sloped versus square shoulder doesn't matter much to me, as long as the guitar sounds good. Seems to me also though that the Southern Jumbo originally had square shoulders, and the newer ones are sloped.

 

Thanks again!

 

C

[E-minor7]

The original SJ had slope shoulders and mop paralellograms plus neck bindings. Same with the C&W. As said they both went square around '62.

The difference between a J-50 and a C&W is the paralellograms and the neck bindings.

Not until the later half of the '80's or even up in the '90's, the SJ went back to its original shape and have stayed there since.

Then at some point came the Sheryl Crow - a re-launched C&W, , , with square shoulders as the 1964 model she played and gave rebirth when broke through.

A rather complicated landscape - hope this make grains of sense.

[EuroAussie]

The original SJ had slope shoulders and mop paralellograms plus neck bindings. Same with the C&W. As said they both went square around '62.

The difference between a J-50 and a C&W is the paralellograms and the neck bindings.

Not until the later half of the '80's or even up in the '90's, the SJ went back to its original shape and have stayed there since.

Then at some point came the Sheryl Crow - a re-launched C&W, , , with square shoulders as the 1964 model she played and gave rebirth when broke through.

A rather complicated landscape - hope this make grains of sense.

 

Putting my marketing hat on I'd be willing to guess the success of the Hummingbird was what drove the 'renovation' of the SJ and CW into square shouldered design, and just keeping the J-45 a slope ..

[E-minor7]

Putting my marketing hat on I'd be willing to guess the success of the Hummingbird was what drove the 'renovation' of the SJ and CW into square shouldered design, and just keeping the J-45 a slope ..

You are absolutely right - and the Bird sprung from a couple of Epiphones, , , , and if the myth holds up, a D-28.

 

Then of course, as mentionend, the J-45 went square in '68 or 9 and stayed that way until somewhere in the 80's.

Apart from Ovations, slope shouldered acoustics actually were out of the pic during the 70's.