Gibson Super 400-CN (1963)

1963 Gibson Super 400-CN just in on consignment! The Super 400 is one of the rarer production models Gibson ever released, and is historically noted as one of their most expensive. With its 18" lower bout and commanding presence both aesthetically and tonally, it has become a cornerstone of the vintage jazz guitar world.

This '63 is one of the more unique variants you're likely to find, as it appears to have gone back to the factory sometime in the late 1960s or early 1970s to be "electrified". The most likely scenario is that the guitar was built and shipped out as a factory Super 400-C (cutaway verion) acoustic archtop. Using the Gibson ledger as a reference, there is no mention of the standard 'CES' suffix or 'Special' to denote a custom order. There is an original ship date of 3-7-63 followed by a note 'Rechecked' on 12-10-63 indicating it did return to the factory in the same year for something; however, the "something" surely doesn't align with the the following details...

The peghead veneer is perhaps the strongest case to make for the factory "upgrade", as evidenced by the blockier Gibson logo that didn't come along until later in 1969. Additionally, the pickups identify as the late 60s/early 70s Patent Number pickups, with slotted brass bobbin screws and the M-8 mounting rings. The original gold-plated covers appear to have never been off, with clean undisturbed solder on the baseplate. The wiring harness also appears to be the same age as the pickups, although with the potentiometer shields still in place, it's not entirely definitive without breaking the factory seal on them. All of the work performed seems very consistent with Gibson's work, with pickup and control spacing seemingly in alignment with factory templating.

The guitar's body shows a few small repaired and cleated side cracks on the bass side waist, but is otherwise structurally sound. We performed a refret in-house with medium jumbo fretwire as well.

Tonally, it has a deep, clear voice that we'd expect given its size and tonewood pairings. There's a bit more complexity around the notes to the solid carved construction, with more bloom and character than you'd find in a laminate-bodied guitar. The Pat. #s complement the acoustic tone very well, with great articulation and balanced output that allows for great control over dynamic response. The neck feel is fantastic! A great example of the transitional carves that started occurring in 1963, moving from the slimmer shaped lean taper necks of the very early 60s to the fuller C that would be found on Gibsons throughout 1964.

Even with its unique and storied past, it's as great a playing and sounding example as you'll find.