What a gorgeous guitar. Beautiful to both the eye and ear. I’m privileged to own a Custom Shop Bob Dylan SJ-200 Player’s Edition. The guitar we’re looking at here today is going to be similar to my Bob Dylan Signature, which means the future owner of this Jimmy Page Signature guitar is in for a real treat. I’ve been playing for 55 years and I’ve never owned or played such an exquisite acoustic guitar as my Custom Shop SJ-200. The craftsmanship is exceptional. Must be that fresh Montana air!
Did you know that Dylan’s SJ200 actually belonged to George Harrison. George gave it to him as a gift after using it during abbey road and let it be sessions. You can see him using it during For You Blue.
@@itslikethesamebutdifferent8020 think you’re right. It’s most likely the SJ-200 that features on the front cover of Nashville Skyline. My Custom Shop Edition has the double pickguard. Some folks have questioned its existence, and to be fair, Bob’s use of the double pickguard model seems very limited. Most prominent use is at the Newport Festival in 1965 (Dylan goes electric). Not on the main stage though, but rather during the open air workshop sessions. Also, on the cover of The Essential Bob Dylan compilation, but this is easily missed unless you know what you’re looking for.
That is one ugly fucking guitar, you're nuts. Look at that bridge! Big ole fat ass jumbo with its annoying tone, and that burst.... 🤮 I love Jimmy Page but that MF played this one time. It wasn't even his guitar. This is based on photographs and Jimmy's heroin fried memory. It's a SHAMELESS CASH GRAB for morons. Enjoy your investment, for that's all this is... a bet on Jimmy's death. Nowadays, Gibson is for suckers, not players.
Paul!!!!!! Instead of showcasing SJ-200 guitars, why don't you showcase an SJ-200? I hear everyone should have one. This instrument is a gem, and yes, if I could afford one, that guitar would be sold.
Fascinating to see you guys play an SJ with those odd Tune-O-Matic bridges. They have a poor reputation but this didn’t sound half-bad! Edit: I'm a fan of Murphy's work on the Electric Gibsons but I've never seen a Murphy Lab acoustic that I thought looked good.
Damn! I always say that a J-200 sounds amazing, but they’re difficult to record and that’s why they usually don’t sound great in demos. But this guitar sounded unbelievable! 🧡🧡🧡
About that bridge and saddle arrangement; I played a 1965 with that exact bridge, and while it did have tone and sustain that endured forever, it had a ceiling that I couldn't get past no matter how intensely I plucked the strings. That guitar had a very narrow neck and probably a 9/16-inch nut width (cramped).
I love my Gibson acoustic guitars, I almost bought the Martin instead of my Gibson Gospel 28+years ago, because when I first started playing my dad went with me and said the Martin had a real nice tone. But at the time I really liked the sunburst color and it matched his 40+ year old Gibson at the time, bummer that they didn't treat you right!......... I also own a beautiful Gibson J185
@@howabouthetruth2157The guitar did not belong to Jimmy Page, it was owned by his producer Mickie Most who loaned the guitar to the other major session guitarist that often worked for Most named “Big Jim” Sullivan. Most also loaned the same guitar to his artist Jeff Beck who used it to record “Greensleeves” on his first solo LP ‘Truth’. Page also used this guitar to record “White Summer” from the final LP by The Yardbirds titled ‘Little Games’.
@@AllenGarberGuitarFun Yes, you are correct. In those early days of Zeppelin, the only decent acoustics Page owned himself & recorded with were the Harmony Sovereign's which ya mentioned. But then he used a '69 Vox acoustic guitar ( "Country & Western" model ) with the craziest bolt-on neck assembly ( much like a Fender electric w/plate & 4 bolts on the very back of the guitar ) for recording "Ramble On". Rick Beato posted a brilliant video ( 4 yrs ago ) where he couldn't find any acoustic to recreate that sound, so he finally found a photo of Page actually recording the song with that Vox acoustic, even the very same Mic which Rick happened to own already. He contacted a friend who properly identified the guitar according to that old photo. So Rick found & bought an actual '69 Vox "Country & Western" from Reverb and recorded the acoustic part of Ramble On himself. With a little technical tweaking, he pretty much nailed it. I was blown away.......more so about that crazy Vox bolt-on design than anything else. Until that video, I never even heard of that guitar. What a horrible design, lol. Of course Bob Taylor would eventually get "a bolt-on design for acoustic" right decades later. I don't much care for Taylor acoustics though. I bought a brand new upper shelf model back in '05, but I can't recall the exact model now. Loved it at first. But after playing & gigging with it for several months, I began noticing something: Un-plugged, the guitar sounded the same, no matter how soft or hard the attack........unlike all 3 of my Japanese Takamine's that blew it away for touch sensitivity. A great acoustic should give you what ya ask of it: the tonal nuances & timbre's change with the attack used. But the Taylor's just sound the same, no matter what......not "horrible" at all, they sound good.......just the same. I sold that Taylor about a year later. Today, I own 4 different Hsienmo acoustic's ( pronounced: "She-EN-mo" ) , all from their custom shop, that I really love. I installed the Journey Tek EP001K system in 3 of them myself. It's a passive system. Same system as the K&K Pure Mini. Both companies use the same transducers made in Germany...........only Journey Tek isn't raping everyone with the $150 cost of the K&K. Journey Tek only charges $50. ( Both are assembled in the USA. )
@@howabouthetruth2157Yes, I’m aware of Rick’s video. Unfortunately he didn’t have the correct model guitar. The guitar that Page likely used on the acoustic tracks from ‘Led Zeppelin II’-“La La”, “Thank You” and “Ramble On” was the E-Ros Dakota 606 acoustic. The Vox Country & Western acoustic is similar to it made with basically the same spec. I’ve known of the E-Ros guitar since around 1986.
@@AllenGarberGuitarFun Both were manufactured by Eko in Italy from the 60's through the late 80's. Very cheaply made acoustic's. Most if not all of them were made using laminated wood.
Wasn't the SJ200 he used on their early acoustic recordings owned by Mickey Most (and borrowed by Jimmy at the time)? Is this based on that Mickey Most guitar or is there another SJ200 that he owned?
Yes, you're correct. It was either Mickey Most who owned the guitar or 'Big Jim' Sullivan (the other notable session guitar player at the time). Beyond the acoustic material on Led Zeppelin 1, Page notably used the guitar on the Julie Felix TV show on April 23rd, 1970. It's been said that he returned the guitar to its owner soon thereafter, whereupon he began using a Martin D-28.
O nothing. That’s just the result of an iron pin and a set of keys that they ‘carefully’ bang to the bass side of the soundhole. It’s basically the part that makes this guitar another two grand more costly. It’s called craftsmanship. 😊
First, allow me to say that Quentin's guitar-work for Music Villa and its Acoustic Letter is virtually spot-on, particularly with its choices surrounding playing style and music which best suit the guitars being reviewed. BUT, today's review of Gibson's new Jimmy Page signature model was not a place to showcase the additional bass response from "Drop D" tuning using one of the most bass-heavy guitars on the planet. The low-end completely engulfed the entire tonal spectrum to the point that the music resonating from the soundhole sounded like an out of tune maelstrom. As soon as Quinton made the on-the-fly change to standard tuning, the noise cleaned-up beautifully with the guitar still sounding "bass-heavy" but only to the point an experienced listener would expect from a J-200, a guitar known the world over for its striking low end, which needs to be throttled-back in order for a controlled sound to be achieved. Jimmy Page spent very little time at the helm of his J-200, certainly when compared to his famed stock D-28. So little time that I can't wrap my head around a Jimmy Page signature model. A better hole to be filled would be if Martin got approval from Jimmy to build a run of signature D-28's. But, in order for such a concept to be viable, there should be something at least slightly different about Page's D-28. But it's the same D-28 available to anyone during the period in question and Page never modified his. Even some excessive playwear would do. But Martin is after a completely different market when it comes to its more obscure signature candidates who are predominantly from the country, roots, and old school folk genres. Other than the Eric Clapton and John Mayer signature OM's, I can't think of another rock and/or blues rock artist who has collaborated with Martin on a signature model. What's funny to me is that the slightly smaller Gibson J-185 is a far superior instrument than its big brother, the 200, but, because of market timing and availability, I don't believe they were a plentiful fruit hanging low on the Gibson tree and (I believe) the 200 was released well in advance of the 185. Anyway, I've owned both sizes (and still own a 185) and can speak to their differences. I'd love to see many more of these reviews. Not only is the guitar playing highly skilled, but the venue there in the shop is entertaining and informative.
$20,000 - for a guitar that was borrowed in a studio one upon a time, stolen, lost in time, then replicated more or less, and Page signed the label, which I guess is why the crazy price is applied.
I don't know how much this demo was staged, or how may takes, but the first chord Quinton played on this exquisite guitar was like something out of a medieval dream. Or what it was like to see Henry VIII talking to Jimmy Page at Hampton Court Palace for the first time, and getting the King's entire approval for a commission build. Henry was also a musician, wrote "Greensleeves" (allegedly), and owned many fine instruments. Love, from England to America.
He did, and before the Martins it was a Harmony Sovereign. He only played a J-200 on Led Zeppelin I, and that guitar wasn't eve his, he borrowed it. This is just a typical Gibson cash grab.
I almost didn't comment, because i'm assuming these are kind of pricey.. then i saw the blemish on the top. Wow, do i say anything? Don't they see it? Then i realized they were intended to have finish blemishes. It's all a part of the look. Still not a fan of aging a new guitar. I'm much more impressed when an old one looks new. It sounds incredible though.
It's impossible to say something without taking price into consideration. For 14.000€ it is ridiculous. What for? Fake heritage. Great guitar in terms of materials and craftsmanship, but ugly, big guitar. Heavily overpriced. I am huge fan of Gibson, playing acoustic and electric Gibson, as well as fan of Led Zeppelin, but it's too much.
What a gorgeous guitar. Beautiful to both the eye and ear. I’m privileged to own a Custom Shop Bob Dylan SJ-200 Player’s Edition. The guitar we’re looking at here today is going to be similar to my Bob Dylan Signature, which means the future owner of this Jimmy Page Signature guitar is in for a real treat. I’ve been playing for 55 years and I’ve never owned or played such an exquisite acoustic guitar as my Custom Shop SJ-200. The craftsmanship is exceptional. Must be that fresh Montana air!
Did you know that Dylan’s SJ200 actually belonged to George Harrison. George gave it to him as a gift after using it during abbey road and let it be sessions. You can see him using it during For You Blue.
@@itslikethesamebutdifferent8020 think you’re right. It’s most likely the SJ-200 that features on the front cover of Nashville Skyline. My Custom Shop Edition has the double pickguard. Some folks have questioned its existence, and to be fair, Bob’s use of the double pickguard model seems very limited. Most prominent use is at the Newport Festival in 1965 (Dylan goes electric). Not on the main stage though, but rather during the open air workshop sessions. Also, on the cover of The Essential Bob Dylan compilation, but this is easily missed unless you know what you’re looking for.
@@theguitarbunker Dylan used the double guard SJ-200 at Isle of Wight with The Band. Harrison also used his sixties SJ-200 on “Here Comes the Sun”.
That is one ugly fucking guitar, you're nuts.
Look at that bridge!
Big ole fat ass jumbo with its annoying tone, and that burst.... 🤮
I love Jimmy Page but that MF played this one time. It wasn't even his guitar. This is based on photographs and Jimmy's heroin fried memory.
It's a SHAMELESS CASH GRAB for morons.
Enjoy your investment, for that's all this is... a bet on Jimmy's death.
Nowadays, Gibson is for suckers, not players.
Quinton going to California with an aching, in his heart
Great sounding J200!
Paul!!!!!! Instead of showcasing SJ-200 guitars, why don't you showcase an SJ-200? I hear everyone should have one.
This instrument is a gem, and yes, if I could afford one, that guitar would be sold.
I can hear, at least that's what I tell myself, Jimmy's acustic tunes, when the King plays this guitar. The bass is formidable, what a full sound omg.
Man, that green Hummingbird is striking. Don't think I'd own it, but it sure makes a visual statement.
Whew dripping with tone.
Fascinating to see you guys play an SJ with those odd Tune-O-Matic bridges. They have a poor reputation but this didn’t sound half-bad!
Edit: I'm a fan of Murphy's work on the Electric Gibsons but I've never seen a Murphy Lab acoustic that I thought looked good.
Damn! I always say that a J-200 sounds amazing, but they’re difficult to record and that’s why they usually don’t sound great in demos. But this guitar sounded unbelievable! 🧡🧡🧡
They are NOT difficult to record, as demonstrated by this video .... And Led Zep 1..duh
Dreaming of owning a Gibson Jumbo.
Power to whoever gets it. Hopefully lots of hours go into it.
I wouldn’t care if it had a footprint on it as great as that guitar sounds!
About that bridge and saddle arrangement; I played a 1965 with that exact bridge, and while it did have tone and sustain that endured forever, it had a ceiling that I couldn't get past no matter how intensely I plucked the strings. That guitar had a very narrow neck and probably a 9/16-inch nut width (cramped).
Chug city! Quinton has come full circle on big bright red jumbo guitars!
That Green flame maple Hummingbird looks amazing! When's the demo coming out? Quinton, get to work!
I love my Gibson acoustic guitars, I almost bought the Martin instead of my Gibson Gospel 28+years ago, because when I first started playing my dad went with me and said the Martin had a real nice tone. But at the time I really liked the sunburst color and it matched his 40+ year old Gibson at the time, bummer that they didn't treat you right!......... I also own a beautiful Gibson J185
Amazing
Man, I have to give it up to Gibson. This guitar sounds amazing!
The king of flat top..SJ-200 even this is Murphy Lab...wow
“Going To California” was recorded using Page’s sixties Harmony Sovereign H-1260 and not the Mickie Most SJ-200.
Page used his 60's SJ-200 on Zeppelin's 1st album on songs: "Babe I'm Gonna Leave You", "Your Time Is Gonna Come", and "Black Mountain Side".
@@howabouthetruth2157The guitar did not belong to Jimmy Page, it was owned by his producer Mickie Most who loaned the guitar to the other major session guitarist that often worked for Most named “Big Jim” Sullivan. Most also loaned the same guitar to his artist Jeff Beck who used it to record “Greensleeves” on his first solo LP ‘Truth’. Page also used this guitar to record “White Summer” from the final LP by The Yardbirds titled ‘Little Games’.
@@AllenGarberGuitarFun Yes, you are correct. In those early days of Zeppelin, the only decent acoustics Page owned himself & recorded with were the Harmony Sovereign's which ya mentioned. But then he used a '69 Vox acoustic guitar ( "Country & Western" model ) with the craziest bolt-on neck assembly ( much like a Fender electric w/plate & 4 bolts on the very back of the guitar ) for recording "Ramble On". Rick Beato posted a brilliant video ( 4 yrs ago ) where he couldn't find any acoustic to recreate that sound, so he finally found a photo of Page actually recording the song with that Vox acoustic, even the very same Mic which Rick happened to own already. He contacted a friend who properly identified the guitar according to that old photo. So Rick found & bought an actual '69 Vox "Country & Western" from Reverb and recorded the acoustic part of Ramble On himself. With a little technical tweaking, he pretty much nailed it. I was blown away.......more so about that crazy Vox bolt-on design than anything else. Until that video, I never even heard of that guitar. What a horrible design, lol. Of course Bob Taylor would eventually get "a bolt-on design for acoustic" right decades later. I don't much care for Taylor acoustics though. I bought a brand new upper shelf model back in '05, but I can't recall the exact model now. Loved it at first. But after playing & gigging with it for several months, I began noticing something: Un-plugged, the guitar sounded the same, no matter how soft or hard the attack........unlike all 3 of my Japanese Takamine's that blew it away for touch sensitivity. A great acoustic should give you what ya ask of it: the tonal nuances & timbre's change with the attack used. But the Taylor's just sound the same, no matter what......not "horrible" at all, they sound good.......just the same. I sold that Taylor about a year later. Today, I own 4 different Hsienmo acoustic's ( pronounced: "She-EN-mo" ) , all from their custom shop, that I really love. I installed the Journey Tek EP001K system in 3 of them myself. It's a passive system. Same system as the K&K Pure Mini. Both companies use the same transducers made in Germany...........only Journey Tek isn't raping everyone with the $150 cost of the K&K. Journey Tek only charges $50. ( Both are assembled in the USA. )
@@howabouthetruth2157Yes, I’m aware of Rick’s video. Unfortunately he didn’t have the correct model guitar. The guitar that Page likely used on the acoustic tracks from ‘Led Zeppelin II’-“La La”, “Thank You” and “Ramble On” was the E-Ros Dakota 606 acoustic. The Vox Country & Western acoustic is similar to it made with basically the same spec. I’ve known of the E-Ros guitar since around 1986.
@@AllenGarberGuitarFun Both were manufactured by Eko in Italy from the 60's through the late 80's. Very cheaply made acoustic's. Most if not all of them were made using laminated wood.
Wasn't the SJ200 he used on their early acoustic recordings owned by Mickey Most (and borrowed by Jimmy at the time)? Is this based on that Mickey Most guitar or is there another SJ200 that he owned?
Yes, you're correct. It was either Mickey Most who owned the guitar or 'Big Jim' Sullivan (the other notable session guitar player at the time). Beyond the acoustic material on Led Zeppelin 1, Page notably used the guitar on the Julie Felix TV show on April 23rd, 1970. It's been said that he returned the guitar to its owner soon thereafter, whereupon he began using a Martin D-28.
@@Johnny6666 Yes, and Don't forget his Harmony Sovereign. I think he used the Harmony on more famous recordings than any of the other acoustics.
... And Mickie Most then had his SJ200 stolen and has never been recovered.... Yet
It’s beautiful but I’m still saving for a prewar
Everyone seems to love it. Must just be me who thinks that metal bridge makes it sound like a can of marbles.
get one in lefty and ill buy it to go with the hummingbird i got from you a couple months ago
wow! but what's that schmutz on the bass side of the soundhole?
O nothing. That’s just the result of an iron pin and a set of keys that they ‘carefully’ bang to the bass side of the soundhole. It’s basically the part that makes this guitar another two grand more costly. It’s called craftsmanship. 😊
That's the "Murphy's Lab" aging work.......to make the instrument look old & worn.
Bella/Magnifico.🙏✡️✡️✡️✡️✡️✡️👑
First, allow me to say that Quentin's guitar-work for Music Villa and its Acoustic Letter is virtually spot-on, particularly with its choices surrounding playing style and music which best suit the guitars being reviewed. BUT, today's review of Gibson's new Jimmy Page signature model was not a place to showcase the additional bass response from "Drop D" tuning using one of the most bass-heavy guitars on the planet. The low-end completely engulfed the entire tonal spectrum to the point that the music resonating from the soundhole sounded like an out of tune maelstrom. As soon as Quinton made the on-the-fly change to standard tuning, the noise cleaned-up beautifully with the guitar still sounding "bass-heavy" but only to the point an experienced listener would expect from a J-200, a guitar known the world over for its striking low end, which needs to be throttled-back in order for a controlled sound to be achieved.
Jimmy Page spent very little time at the helm of his J-200, certainly when compared to his famed stock D-28. So little time that I can't wrap my head around a Jimmy Page signature model. A better hole to be filled would be if Martin got approval from Jimmy to build a run of signature D-28's. But, in order for such a concept to be viable, there should be something at least slightly different about Page's D-28. But it's the same D-28 available to anyone during the period in question and Page never modified his. Even some excessive playwear would do. But Martin is after a completely different market when it comes to its more obscure signature candidates who are predominantly from the country, roots, and old school folk genres. Other than the Eric Clapton and John Mayer signature OM's, I can't think of another rock and/or blues rock artist who has collaborated with Martin on a signature model.
What's funny to me is that the slightly smaller Gibson J-185 is a far superior instrument than its big brother, the 200, but, because of market timing and availability, I don't believe they were a plentiful fruit hanging low on the Gibson tree and (I believe) the 200 was released well in advance of the 185. Anyway, I've owned both sizes (and still own a 185) and can speak to their differences.
I'd love to see many more of these reviews. Not only is the guitar playing highly skilled, but the venue there in the shop is entertaining and informative.
$20,000 - for a guitar that was borrowed in a studio one upon a time, stolen, lost in time, then replicated more or less, and Page signed the label, which I guess is why the crazy price is applied.
What type and specs of strings please 😊
100 limited production !!!
Really wanna get it
I don't know how much this demo was staged, or how may takes, but the first chord Quinton played on this exquisite guitar was like something out of a medieval dream. Or what it was like to see Henry VIII talking to Jimmy Page at Hampton Court Palace for the first time, and getting the King's entire approval for a commission build.
Henry was also a musician, wrote "Greensleeves" (allegedly), and owned many fine instruments.
Love, from England to America.
Ok, I may have been getting carried away. Guitar geeks will understand. 😊
(just the excitement of a great sounding SJ-200 getting to me)
Can you compare this guitar with the 1957 SJ-200 Murphy Lab?
Confirm it was signed by him? That's the whole reason its priced so high! I would probably know that information before making a video about it.
The one he played on the Julie Felix show in 1970 seems to be more Autumn Burst. Did they get the colour wrong?
whats the green guitar at the back?
Looks like a green Custom Shop Hummingbird
They are 20 for 50 run 12 for the 100 run. All page models sell out
Is it loud?
Jimbo didn’t have to buy one. They gave him one of these.
I thought Jimmy mostly played Martins.
He did, and before the Martins it was a Harmony Sovereign. He only played a J-200 on Led Zeppelin I, and that guitar wasn't eve his, he borrowed it. This is just a typical Gibson cash grab.
@@MrIkesimba Yep they all do it. The Edge had a signature Fender amp even though he nearly always plays a Vox.
How much guys?
It’s $13,000.
Not really a guitar I associate with Jimmy Page, but beautiful nonetheless!
Yep I think he mostly played Martins.
He only used it once on record for Babe.
I almost didn't comment, because i'm assuming these are kind of pricey.. then i saw the blemish on the top.
Wow, do i say anything? Don't they see it? Then i realized they were intended to have finish blemishes. It's all a part of the look.
Still not a fan of aging a new guitar. I'm much more impressed when an old one looks new.
It sounds incredible though.
A Monster guitar, as a person of short stature probably too big for me.
Peak Gibson marketting. Silly money.
Wonder if the neck is straight??
Every $5200 brand new hummingbird I looked at dropped at the 14th fret.
Not impressed…
Have a look at the cheaper J35. I played a bunch of new hummingbirds and thought the same thing until I found a 2018 J35
$20K?!?!?! LOL, GTFO
@@MrIkesimba It’s the new norm. Even some Murphy Labs go for $10K..
Buy it then. No need to explain your influence nonsense to others.
It's impossible to say something without taking price into consideration. For 14.000€ it is ridiculous. What for? Fake heritage. Great guitar in terms of materials and craftsmanship, but ugly, big guitar. Heavily overpriced. I am huge fan of Gibson, playing acoustic and electric Gibson, as well as fan of Led Zeppelin, but it's too much.