Tag Archives: Super 400

Gibson Super 400 Price

gibson super 400 price

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.

Super 400 Gguitar

super 400 guitar

Please take a moment to appreciate the beauty and craftsmanship of this Super 400 Guitar spectacular, voluptuous guitar. It features a carved Spruce top, flamed maple neck, back & sides, and the more desirable 1 11/16 inch nut. Were it not for the replaced pickguard, some very light fretwear and finish checking I would easily describe this guitar as being in mint condition – there is not a mark or blemish to be found. It is a wonderful example of the flagship Super 400 archtop that Gibson is famous for.

One of the finest and most prestigious guitar gibson ever made was introduced in 1923 and was called the gibson L-5 ,

it was the earliest archtop guitar with f-holes and therefore considered the backbone of not only for their own line of archtop guitars but pretty much all archtop guitars you see on the market today .

It is fair to say that the l-5 is probably the worlds’ most important guitar historically . It was a favorite amongst many professional musicians then , and a favorite ever since .

In 1934 gibson famoused the music world over with another extraordinary guitar which was thelargest and most expensive archtop guitar ever produced by any manufacturer or company.

This guitar was called the gibson super 400,its grand auditorium body shape shares the same characteristics like the Orville Gibson Style-O model of 1902 .

In 1934 the gibson super 400 had an 18″ wide body , an adjustable bridge with triangular designs , it was assembled with figured maple wood back and sides , fitted with a Y shaped tailpiece , had triple bound f-holes , brown pearloid pickguards , ebony fingerboard with pointed ends ,

had double split-block fingerboard inlays , diamond peghead inlays , open back grover tuners , gold plated hardware, most of them had the model name engraved on the heel cap , and were made in brown sunburst finishes .

Super 400 Ces

super 400

Peter Saldana, of Green Bay, Wisconsin, has hit a dead end in his search for the history of the old Gibson guitar. His father, Amado P. Saldana, purchased the guitar from Henri’s Music in Green Bay in the late 1960s. He paid between $2,000 and $2,500 for it, Peter Saldana said. An hour later, the music store called Amado Saldana back and offered him $5,000 for its return.

“It was more of  gibson super 400 pickguard a show piece. It was not for sale,” Peter Saldana said..Amado Saldana died in 2002 and his son now hopes to learn more about his father’s favorite instrument. Peter Saldana said using the serial number (A26594), he was able to determine through Gibson Guitar, which was founded in Kalamazoo in 1902 and moved to Nashville, Tenn., in 1984, the instrument was shipped out of the Parsons Street facility on Nov. 15, 1957.

At some point in the mid or late ’60s, the original neck was replaced with a custom neck believed to be from 1964. The neck features some “beautiful” inlay work depicting a rose in a vase. The vase has a “G” on it, which Peter Saldana assumes stands for Gibson. The head stock contains a golden bee flying around golden roses.

“Everyone who sees it in person, their jaw just drops,” he said.Peter Saldana wants to know:

Did Gibson do the inlay work or did a third party do it?Who had the neck replaced and when was it done?Peter Saldana has contacted several experts on guitars and Gibson guitars. He also spoke briefly with Maudie Moore, of Kalamazoo. Moore worked for several years at Gibson facility in Kalamazoo where she did a lot of inlay work. Moore said she is looking into it.

Peter Saldana had the instrument appraised in 2000. It was worth about $15,000 then he said. His father gave it to him on the condition he’d never sell it.

“I don’t need the money. It has sentimental value,” he said.
Peter Saldana, 43, said his parents were migrant workers who “followed the crops” to Texas, Ohio, Wyoming, Nebraska, Colorado and Wisconsin. No matter where he went, his father took the Gibson guitar with him. He also frequently played it in church, Peter Saldana said.

“I’ve come to the realization that I may never solve the mystery of the guitar and it’s a beautiful guitar,” Saldana said. “I’m more interested in the story and trying to figure out the reason behind it.”

Saldana said he’d given up the search until he stumbled across on article online about a 1959 Gibson Super 400 made for Kentucky country singer Merle Travis for the NAMM Show, a major trade show in California. The inlay work on Saldana’s guitar is very similar to the work on the Travis guitar.Saldana said he knows it’s a long shot to get all of his questions answered. Perhaps only one or two people know the instrument’s history and they may no longer be alive.He said he brought the guitar in to another Green Bay music store a few weeks ago to have it inspected and the employees marveled at it.

Gibson Super 400 Sale

gibson super 400

The body of the Gibson Super 400 Sale-CES remains the largest produced by Gibson today, with the following dimensions: 18 (W) X 21¾ (L) X 3⅜ (D). Its top is crafted from high-grade spruce, with high-grade maple used for the back and sides. The body is then adorned with multi-ply black and white binding on both the top and back, with single-ply white binding around the f-holes. The gold hardware includes an ABR-1 bridge with a base made from ebony, and Gibson’s period-correct L-5 tailpiece. The 25½-inch scale length neck is a five-piece neck made primarily from high-grade maple, with two streamers made from high-grade walnut, resulting in one of the most stunning neck designs in the history of Gibson Custom.

Traditional Appointments of top super 400
The eye-catching neck is topped by a 20-fret ebony fingerboard with pearl block inlays and multi-ply black and white binding, then hand-fitted with Gibson’s traditional ES-rounded neck profile. The pickups are a pair of Gibson’s legendary ’57 Classics, which faithfully capture the unique and subtle variations between coil windings of the original “Patent Applied For” humbuckers of the late 1950s, delivering a warm and full tone with a balanced response. Other appointments include Gibson’s traditional five-piece split diamond motif inlay on the headstock and Schaller M6 tuners. Comes with a Gibson Custom case and certificate of authenticity.
FEATURES :

Model Super 400-CES
High-grade spruce, with high-grade maple used for the back and sides
Multi-ply black and white binding on both the top and back
Single-ply white binding around the f-holes
Gold hardware includes an ABR-1 bridge with a base made from ebony
Gibson’s period-correct L-5 tailpiece
25½-inch scale length
Five-piece neck made primarily from high-grade maple
20-fret ebony fingerboard with pearl block inlays and multi-ply black and white binding,Gibson’s legendary ’57 Classics,Five-piece split diamond motif inlay on the headstock.Schaller M6 tuners