Gibson Super 400 Price 1963 that was an acoustic and sometime way back was converted to a CES and done perfectly[I have no history on who did it but it looks like Gibsons work].This is a super-fine players grade guitar-refretted by Master Luthier Seth Mayer with Burstbucker Gibson custom shop pickups[Matched set neck Burstbucker Pro alnico V, Bridge is Burstbucker #3]. Bridge brace 75% still there[just enough taken off to accommodate pickup ‘foot’ and neck brace cut only at thickest point and up there the top is so thick it’s Never a problem[I have done many of these at the neck over the years and Never a problem-I am disclosing Everything so you will know. please study pics carefully.
Only a few little s cratches and playing Gibson Super 400 Price dings and please Note: NO Cracks Anywhere_Structurally sound. The sound?-Monster Vintage Super 400 tone so full, rich and well-balanced Lo to Hi you could play Any style on this beauty. Hate to have to sell this one it’s my Favorite[ever been married ?]. Comes with the vintage case pictured and original vintage pickguard in pic also. Original finish with some checking here and there Please note unique inlays on top- don’t know when or who did them but they are shallow and tastefully done not interfering with tone At All. This guitar is so superior to Any reissue and selling for Way less. No International Bidding Or Shipping- USA lower 48 only.
Much of America was still recovering from the Depression in 1934 when Gibson introduced a guitar at a price that was almost $100 higher than its current top-of-the-line model, the L-5. At $400 (with case and zippered case cover, compared to $302 for the L-5 with case), the Super 400 seemed a more appropriate model for the opulent 1920s, when Gibson sold fancy banjos for that much and more, than for the shell-shocked economic atmosphere in the first half of the 1930s.
It was a risky move for Gibson, which had only recently been producing wooden toys to survive the hard times, but it was a move Gibson had to make to protect its reputation and its future. The risk paid off as the Super 400 became not only the standard archtop for players, but the industry leader for a new era of super-sized “jazz” or “orchestral” guitars.
Gibson created the Super 400 to quash an attack by Epiphone on Gibson’s status as not only the inventor of the archtop guitar – the company had been founded in 1902 on Orville Gibson’s concept of carved-top guitars and mandolins – but also as the only maker of carved-top f-hole guitars. Until 1931, that is, when Epiphone launched its nine-model Masterbilt archtop line. Suddenly there were more Epiphone archtop models than Gibsons, and to add insult to injury, Epi’s top models were 3/8″ wider than Gibson’s L-5.