Gibson SG Junior

2002 SG Junior Reissue
Volume, Tone, Single P-90

No frills really, but thats why I bought it. Gets and 8 because the pick-up could stand to be upgraded for my style, which is just alternative rock. Haven't decided on which pick-up for it yet.

Also gets an 8 becuase of the pick-up. I do love the sound of P-90's, the stock one just doesn't have enough balls. It is noisy but you'll have that with single coils. Lots of lows and mids with this guitar, not the guitar for you if you like lots of highs. I don't know how this guitar would perform if you wanted something other than the plain out rock I play, but for me the sound works.

The guitar was set up well enough for me. Mine is ebony and the finish was in great shape. No flaws with the finish or pick guard. I'm starting to understand the complaints from most people on Klusons and there tendancy to slip out of tune, but its nothing new tuners can't fix. The tuners is what get it a 9, but for 30$ some new grovers will fix that problem and a 10 wouldn't be hard to reach. I love the wrap around bridge. I don't have much of a problem with breaking strings and I think it is due to the bridge.

The guitar withstands live playing with the exception of tuning, which is why it gets a 9 not a 10. Again nothing some new tuners couldn't fix. The strap buttons are a little small but I can't say they won't hold because I swithed them for a locking strap right away, its really a must. Its a very dependable guitar, and besides tuning after every song lately it has never let me down. I always have a back-up but I would have one with any guitar.

never had to use it

I haven't been playing long, only about a year and a half, but I've owned three other guitars two of which were strats and I've never had anything easier to play. I give this guitar an overall of ten because with a few simple upgrades this can be a great guitar. For me personally.

Made in 1991 wine red SG jr with one black dogear P-90, vintage style black pickgaurd, and tune-o-matic bridge. All original except for Gotoh tuners. The tone control is more linear and useful than in most other electric guitars I have played (i.e., there is a noticable difference between 7 and 10 on the tone nob). A simple guitar, not designed to have "features."

If you like the rock sound of the early 70's, this is a great guitar for that sound. Set a good tube amp for heavy overdrive, plug in your SG jr. and start to wail! The single P-90 bridge pickup is high output, but plenty bright. Unless you turn the tone nob below 5, it does not sound muddy. I think is a more defined "midrangy" sound than one would get with a typical humbucker, and a thicker rauncher sound than stock "Fender" bridge pickups usually offer. The downside of the P-90 is that it does add "vintage" hum. I don't think there was any speical attempt by Gibson to shield the guitar to reduce the hum and the hum seems a bit more pronounced than the other single coil guitars I own.

The single pickup offers a fairly limited range of tones and this guitar does not do "clean" well at all. That makes the SG jr's use fairly limited, so unless you are playing hard rock all night you will need something more versitile at gigs/jams. (Bring a second guitar that can do the lighter stuff well.) But this guitar ROCKS! While I use other guitars at gigs thus far, this is the guitar I like to play at home. It is inspiring!

The guitar sounds good acoustically and I sometimes think about adding a single coil neck pickup so that I could use this as my #1 gigging guitar. Will 1991 Gibson SG jr's ever be collectable? Seems like a long shot, but history suggests that it will keep its value much better if I leave it alone.

I rate it a 10 for Hard Rock, an 8 for Classic Rock, and a 4 for just about anything else. Overall I guess I would give it a 9.

This is a 12 year old guitar and it has held up pretty well. No major damage. I think the finish is low budget but it is not checked or cracked. The dark wine red is really nice, not like some SG's that look BRIGHT red. There are numerous finish flaws, especially on the neck. I have had the guitar for 6 months and I don't know about the guitar's history. I don't think it has been heavily played because the frets are original and are not very worn.

The dogear pick has adjustable pole pieces, but the pickup height is not adjustable. However, it seems fine where it is.


The nice thing about the double cut away is that you can play waaay up the neck without much problem. However, having such a long neck means that the neck is not very stable regarding tuning. I have 10's on the guitar and the tuning changes noticably depending on how I hold the guitar. I am going to try 11's to see whether the increased string tension makes the neck more stable.

One more thing, this is a neck heavy guitar. However, if you have a strap with good friction that does not slide around on your shoulder, you probably can keep the guitar from taking a nose dive the second you let go of the neck.

The stock strap buttons are not trustworthy, especially the near the neck joint. I put in a larger screws and a set of strap locks.

No headstock break on this one, but that mahogony neck looks sooo flimsy at the neck joint. The Gibson neck angle seems to be designed to break with moderate force. So this gets low marks for not being well constructed to withstand the rigors of real world gigging. It seems clear that people who gig with these end up breaking the headstock sooner or later, unless they are extremely careful (or lucky).

I have been playing since the mid 70's. I got a good deal on this guitar used and am happy with it. This guitar is what it is. Of my 7 electric guitars, I like this one the best for no nonsense tube driven rock and roll. If you like that sound, it does it very, very well. It is easy to play and sounds great. I take off one point for neck-related tuning instablity, which is probably why you don't see a lot of pros using SG's.

This particular SG Junior is was made in 1968, when Junior meant "1 pickup guitar with a p-90 in the bridge." Nowadays, I don't even know what gibson means anymore when they say Junior. I mean, what's with these "Junior Special" models? but I digress...

Features? it has features?

Well, I know that it is indeed the classic SG shade of cherry red (gotta love it!). From the screws on top, it looks like it used to have a Gibson vibrato unit on it, but other that, it has a replacement bridge/tailpiece unit. It weighs about 5 pounds-VERY light for an electric guitar. Somebody replaced the tuners with Schaller keys (and I approve-vintage keys are nice if you hang guitars on walls, players need tuning stability, not mint colored key knobs on shit tuners). Comes complete with vintage-collector-disapproved large pickguard with 1 p-90 pickup mounted on the pickguard (but not soapbar style, how weird is that?), single volume and single tone controls. Tone sculpting? well, it's not quite parametric eq....

...but it does the job well enough, that's for sure. Plug this thing in, and WOW!!! If your favorite flavor of singlecoil sound comes from Fender, you'll have to goose the treble a little more before you'll be satisfied with the pickup sound. You'll probably need to roll off the bass a touch, too. But this P-90 stuff is quite satisfying just the same. It's got a fuller midrange than a Strat bridge p/u, and less high-end harshness than the Telecaster's bridge. It does the not-quite-distorted distortion sound quite admirably, and while that might not sound appealing, it really is.
Also, if you're used to ignoring your tone control, I will be happy to report that this tone knob is far more usable than my Strat's, and that it does indeed add to the variety of desirable sounds one is able to achieve. Admittedly, it's not as versatile as my Strat, but then again almost nothing short of a guitar synth is.
If I had to give you an artist whose sound I can cop with this guitar, it would have to be Leslie West of Mountain. Plug this thing in, turn everything up to patent pending, hit the "mississippi queen" riff, and the essence of the sound is there.
Again, it may not be the perfect sound and isn't the ultimate end of my tone quest, but it sounds great in its own right, therefore it gets a 10 in my book.

Well, the guitar is 35 years old now, and the finish is heavily checked all over the place (that's what you get when a guitar is up in the cold North without a case for 33 of those years), but the neck is very comfortable and easy on the hands. Again, a little more fully profiled than a standard Fender, and WAY thicker than the '80s-style "super strats" I've played, but again, it was made in the pre-shred era, and that was expected.
The control cavity was nicely shielded from hum and buzz coming from all directions and is, in fact, shielded better than my '99 Les Paul, so Go Gibson, class of '68!
Like I said, the bridge/tailpiece unit was an aftermarket replacement, and the string spacing of that unit was too narrow for my SG (and the previous owner said he was selling it because "it didn't sound right" HAH!!). I had to go get *ANOTHER* bridge unit (thank you to the makers of Badass bridges) to replace that one. and it worked better, but it was still mitigated by the next point, which is:
The only real defect that the factory was responsible for. It was the placing of the bridge a little too far to the bass end of the guitar, which in turn screwed with the proper string spacing over the pickup's polepieces. Unfortunately, this affects the sound and playability drastically, so points must be taken off for such an oversight. Luckily, I was able to spend $10 at Sears to get some small files to cut myself new saddle slots to compensate for their oversight, but that's not something I like doing to make a guitar playable...
So, in summary, Neck good, action good, finish worn but expected for its age, shielding great, Bridge placement AFWUL, sound before fix moderate, sound after fix WONDERFUL.

Well, it's lasted this long, and the previous owner said he gigged with it regularly....
The pots are original and still aren't scratchy, and the pickup is still strong.
The only thing that worries me is that the front strap button looks like it has fallen out before-it is screwed into a plug at the base of the neck that doesn't feel very solid. but then again, there is no evidence of a snapped headstock ever occurring on this guitar (must have just been gigged hard, as the original strap screw for the rear button was bent as well). Still, that hasn't stopped me from getting some straplocks for this guitar (which I do for ALL of my guitars). I like all of the necks in my possession to stay in as many pieces as they arrived in (including my own).
Oh, and I NEVER EVER gig without a backup if I can help it. Gigs are money.

Gibson? HAH!!! 1968 was about 5 owners ago for them....About all they can do is to point me to their serial number dating web page. I mean, even their factory is now 1000 miles away from where they were in '68. But I don't think I'll need them too much. Only so many things can go wrong on a guitar this simple...

And no warranty for me! I got it used!!

Gotta love it. Plays good, sounds better than ever, and wasn't a bad value for a late '60s SG when I got it.
But it's like the saying goes, you always hurt the ones you love, and it looks like this thing has been loved a LOT. I can see why. Nothing else sounds like this guitar. The setup could have been better performed at the factory, but it managed to last this long, didn't it?

I picked up my my SG Junior (serial #100420) in 1976 for $250 at pawn shop in Addison, Texas, outside of Dallas. It was made in 1963, I think and it's a original cherry finish is in great shape, with the neck worn away just slightly from playing. The body is a single piece of fairly thin (but light!) mahogany. The neck is set-in and is wide and flat. It's not thin like a PRS, but flat -- more like a classical neck. It's got a single P90 dogear pickup that sounds incredible and it has 1 volume knob and 1 tone knob. Though, I still have the original bridge, right after I got it the local tech installed a badass bridge and replaced the nut with a brass nut. I later changed this to graphite. The tuners are the old style cream circles and work great. Before I caught GAS (guitar acquisition syndrom) I kept considering replacing the pickup with a humbucker or adding a neck pu to try to increase the sonic possibilities, but luckily I never got the nerve as it would have destroyed any chance of it selling as a collector's piece. Eventualyl, I decided the simplicity of the setup is what makes it great.

This guitar can get a wide range of sounds, given the right amplification (can you say tubes?). I've used it for rock, blues, country, even jazz. It excels as a rock instrument because the P90 just plains kills with the vol on 10 and a loud tube amp. For blues country and jazz, you just have to back off the vol and fool with the tone knob a little, but eventually you can get a usuable sound for these two. I found that changing my picking handing position more towards the neck can introduce more depth or beef for jazz and blues. The P90 is quite versatile if you play around with it and find how to use it. Without an amp the guitar still rings true and solid, and that's usually the sign of a good guitar.

Other than the occasional 1 fret job, there's never been a need to do much to the setup on this guitar. Again, this guitar wins for simplicity here; the setup is so simple you don't have much to worry about. The frets are dressed well, the tuning pegs stay tight and in tune and the electronics have never failed me.

From 1976 to 1988 this was my only guitar. I used it for countless live shows, club dates and party gigs. (For some reason, the idea of buying another guitar never occurred to me!) It has withstood all the abuse I've thrown at it which includes dropping it more than a few times, banging into amps, walls, other guitars, and being moved abount 8 times. I had locking strap buttons on for a while, but even before that my strap never came off -- I was just paranoid. I would use it today on a gig, but since it's become somewhat desirable, I'd be scared someone would steal it. I usually play my squier tele for outside gigs now.

No idea. I bought it used and have never had to contact Gibson. This is a quality instrument.

Overall, this guitar is amazing. I'll never sell it (unless I need to for dough) because it's been with me for ever. In addition to this guitar, I have 2 Diodatis Vintage (Les Paul - type) guitars (excellent axes!), a strat plus with a E.C. neck and Buzz Feiten tuning system, 1991 PRS Emerald Flame top CE 24, Hamer Echotone (great deal for only $300), 1997 Squier Tele w/ Bill Lawrence PUs and a heavily mod'd Johnson strat copy. This guitar doesn't get as much attention as it used to, but that's probably just as well because I might damage it. My favorite features are the wide flat neck and the versatile killer P90 pickup. The only thing I wish it had was a little thicker body so that the neck wouldn't keep causing it to tip down. I have to use a leather strap with some nap to grab my shirt so that it doesn't slide down. Other than that, this is an awesome guitar. Everytime I bring it out, someone wants to buy it (and modify it probably!). I've seen this guitar sell for around upwards of $1500 on Ebay, but mine could probably fetch around $1300 now.

My SG Junior is a fairly recent (1999) reissue that closely resembles the model made during the 1966 to 1969 years. It has a clear cherry finish over a nicely grained mahogany body; a fat (clubby) mahogany neck; 22 medium height fret rosewood fingerboard; 3 on a side individual Gibson Deluxe tuning pegs with creme plastic buttons; single volume and single tone controls; large black pickguard with 11 screws surrounding one black soapbar P 90 pick-up with adjustable height screws and a chrome combination bridge/tailpiece with fixed intonation saddles.
Like most of Gibsons lesser models, my SG Jr came with a Gibson gig bag.
Pretty basic appointments on a bare bones guitar.

I'm a big fan of P 90 guitars. P 90s have a unique bell like vibe and yet when coaxed acheive a thick gritty blues/rock tone. P 90s are also noisy when played through a high gain amp. It's the only negative thing about them.
The tone control really works on this SG. The slightest twist makes a difference. Now there's a new concept.
When playing any single pick-up guitar, the player is pretty much left to they're level of talent. A single P 90 guitar like the SG Junior is a real exposer. When I'm feeling my oats, my SG Junior is a great sounding guitar. It's a bare bones instrument that'll separate the player from the poser.

I've been playing guitar since the mid 1960's and I've seen much of what Gibson can build. Gibson can make an outstanding guitar and a piece of crap on any given day. Their guitars vary in quality so try as many as you can.
The SG Junior is very basic.
I'm surprised that my guitar doesn't have fret overhang like on most non bound neck Gibsons. It was the thing that immediately attracted me along with the chunky neck shape.
I also own a 1962 SG Les Paul Jr in cherry red. The body contours on the 99' Junior are sharper than the 62. The frets on the 62 are wider and flatter much like those on a 335.

My SG Junior feels solid. But.....it's a budget Gibson guitar and Gibson is very inconsistant in Q/C.
Gibson finishes are a bit iffy. I've seen finishes flaking or peeling on recent Gibsons as well as incorrect neck angles on their acoustic guitars. Since this is a used guitar, I'm kinda left to my own warranty expense.
Time will tell if I have a good one.

I have a 175 that was sent back to Gibson for a neck problem and it was corrected. So, customer repair work was good.
Getting correct historical info from Gibson is a bit dicey. When Walter Carter is involved, Gibson is a top notch informative company.
A 10 with Walter.
Your guess with no Walter.

A fine basic P 90 guitar.
Along with the SG Junior, I own 2 other single P 90 pick-up guitars.....a 1956 Les Paul Jr and a 1962 SG Les Paul Jr.
Like my other Gibson P 90 guitars, my SG Junior has that Leslie West Mountain tone through my Bogner Shiva 2x12; early Stones tone with my Top Hat Ambassador 2x12; early Clapton blues vibe with my Bluesbreaker and Black Crows vibe with my DR Z Precsiption.
The SG Junior for all it's simplicity can cover many styles of music.

1961 U.S.A. SOLID MAHOGANY, ONE VOLUME AND ONE TONE.
I CHANGED THE PICKUP FROM A P90 TO GERMAN MADE HOHNER HUMBUCKER IN 1973. MAHOGANY NECK WITH ROSEWOOD DOT INLAY FINGER BOARD. THE FINISH IS THE ORIGINAL TV YELLOW. THIS IS THE ORIGINAL SG DOUBLE CUT HORNED SG. ORIGINAL WRAP-ARROUND TAILPIECE WITH AN INSTALLED PLASTIC SADDLED TUNE-O-MATIC BRIDGE. (WORKMANSHIP BY VIRGIL LAY LONG BEFORE HE OPENED HIS S.I.T. STRING COMPANY) ORIGINAL TUNERS, 22 FRETS, VERY THIN NECK.

I GREW UP LISTENIMG TO JOE WALSH ( MEASLES,JAMES GANG) AND PHIL KEAGGY(GLASS HARP) IN KENT, OHIO AT J.B.S. (JOE WALSH AND HIS BAND THE MEASLES PLAYED AT OUR FRIDAY NIGHT "SOCK HOPS" AFTER FOOTBALL GAMES.) I HAD THIS GUITAR CUSTOMIZED BY VIRGIL FOR THE BEST OF BOTH WORLDS, WALSH'S TELE AND KEAGGY'S LES PAUL.
I AM CURRENTLY USING A FENDER DEVILLE AND PLAY MOSTLY JAZZY BLUES, BUT THIS GUITAR CAN HANDLE ANYTHING. DURING A RECENT TRIP WITH A GOOD FRIEND AND HIS SON SHOPING FOR GUITARS, WE PLAYED STRATS, LES PAULS, P.R.S.s, PARKERS YOU NAME IT. I INVITED THEM IN TO PLAY THIS GUITAR. THEY BOTH SAID THIS WAS THE BEST SOUNDING AND PLAYING GUITAR THEY HAD IN THEIR HANDS ALL DAY.

ANYONE THAT IS HONEST WITH THEMSELVES WOULD HAVE TO ADMIT THAT THESE GUITARS WERE ALMOST UN-TUNABLE IN ORIGINAL STATUS. INTONATION WAS A NIGHTMARE. WHEN I RE-STRING IT, I WIND AS MUCH OF THE STRING AS POSSIBLE FORM THE TOP OF THE POST DOWN, THIS HELPS PREVENT SLIPAGE. USING A PURE NICKEL MEDIUM TO HEAVY GAUGE SET OF STRINGS IS ALSO VERY HELPFUL. THIS GUITAR IS VERY LIGHT. IT ALSO SOUNDS VERY GOOD UNPLUGED, WHICH I BELIEVE IS THE TRUE TEST FOR ELECTRIC GUITARS. THIS GUITAR HAS ONLY BEEN SERVICED (TECHED OUT) ONCE IN 40 YEARS! IN IT'S CUSTOMIZED STATE I WOULD RATE IT A

THIS IS THE ONLY ELECTRIC GUITAR I HAVE EVER OWNED. I CAN'T IMAGINE EVER NEEDING ANYTHING ELSE.

NEVER HAD TO

I HAVE BEEN PLAYING SINCE 1964, I HAVE TWO CLASSICAL GUITARS AND ONE ACOUSTIC. I DON'T THINK THIS GUITAR IS RE-PLACEABLE IN THIS FINISH AND YEAR, BUT IF I HAD TO SELECT A NEW GUITAR IT WOULD PROBABLY BE A FIGURED TOP LES PAUL WITH WITH THE 60'S STYLE THINNER NECK.

Factory White SG Junior, 1963 USA (of course!)
Solid Mahogany body & neck, no stupid bonding or "frilly" bits, weighs nothing...

Right back then, Gibson got it right, this is how an electric guitar was supposed to be.
Nobody complains that you cant get an acoustic with individually adjustable bridge saddles or an adjustable sound hole or anything stupid like that. This is a musical instrument for playing music on and no bullshit!
This deserves a 10 because the features are endless (they are all in the musicians hands and imagination)

It's obvious from the other reviews here that there is a definite appreciation club about this guitar. This guitar will suit any kind of music and despite 1 pickup, 1 tone, 1 volume it is possible to get loads of different sounds out of this thing and all of them are magic.

You have to have a decent amp though. I use a 1961 non top boost AC30 and a '64 Blackface Deluxe and play rock. It is no noisier than any other single coil equipped guitar that I have ever played and especially with the AC30 it sounds better than any Les Paul or PAF equipped guitar. It simply has no useless rubbish on it or any extras to impare the sound and this is also the reason it stays in tune so well also.

I have played other SG Jrs that are really bad and I would advise anyone NOT to get one with the vibrola (Horrible). I'm now looking for 50's LP Jr also which sounds fatter (but not better).

This guitar cannot be beat and it looks so cool as well.
I may get other guitars but I won't ever find one better than a Jr!

This guitar is nearly 40 years old. However it is still going strong and is 100% original with only a couple of minor chips in the paintwork. There's nothing to go wrong with a design like this uless the things been broken.

See above!

What the hell. I'm never gonna sell this thing so it gets a 10 even if I go off it for a while and "rediscover" it's magic....

This is a 1991 SG Junior, USA. 22 frets, 1 bridge P-90, 1 Volume pot and 1 Tone pot (SHARP spiked metal dial indicators that have cut open my thumb about 50 times in a decade; they point up at you, so when you reach down for the knobs, GOTCHA), all mahogany, rosewood board with dots, wine/plumish dark red transparent finish, OLD style SG Junior Pick guard, cheap Grover tuners, Tune-O-Matic, stop bar tail, fairly shitty gig bag... I got a 6-foot Whirlwind out of the miserly dealer.

SOUND: uh huh. You either dig this or you don't The thin SG with one bridge P-90. You know and love this sound, or you just don't get it. It's a raw cross between punk, metal, garage, rock, reggae, blues, and everything raunchy, no acoustic guitars allowed. Bright, but chainsaw like, whether clean or rocking.

This pickup can be noisy as hell. Or, sound like a wet dream if noise is what you want. Hopefully, you got this guitar because you wanted to be noisy. Who the hell would buy this otherwise? I, personally, love it to death... six albums, ten years, does everything: punk, crazy sonic experiments, rock, rap loops, reggae, kissing your girlfriends ass with lame pretty songs....

I lie about the ten, becauseee it's an 11.

Once or twice I lowered/raised the action, over ten years. Once or twice I cracnked the truss rod to straighten her out. Once I tweaked the Tune-O-Matic, and she stayed true ever since, until the bridge bascially got fused in that position with dog hair, rust, smegma, crap, dust, green shit, beer... I wonder if it works.

The frets are ground early flat, and still rock. The board is worn down and gummed out beyond all hope-- I can see 1001 songs having been played 1001 times, and all my favorite notes stuck in time, which according to the board is EVERYTHING up the the 22 fret. I am proud of this fretboard.

Reliable, you bet. I used to change the strings, maybe once every year, or two. Jams, gigs, recording, watching teevee, chucked around like a toy... punished her. And then, I finally ran out of luck.

I took her so much for granted, I left it at a friend's house following rocking out one night. The guitar fell over (which she had done innumerable times with me). HEADSTOCK crack, you know where. (If you don't, right at the first two E pegs.)

My god. I never realized. I am shocked, heartbroken. DEFINITELY GETTING a pro repair resurrection. Still gets a ten, because I totally mistreated and abused her for a decade (played without backup, yes) and I finally pushed my luck-- not the guitar's fault. She held up so well, as irony goes, that's why I stopped giving a shit.

In 1991 she came with a 5 year warranty. In five years, already the guitar looked like Vietnam, so, there never a real issue here.

I cranked out powerchords from about 1984 to 1991, not too serious-- Sears Les Paul Copy (unknown year), circa 1985 I got an Aria Pro II RS Knight Warrior. In 1991, I got this SG Junior. Something about this guitar made me want to play, and "get serious" about guitar, and LEARN to play a little of everything. Every single day, from 1991 to 2001, I played this guitar (usually 3-6 hours per day), and this guitar ONLY (through a little Marshall 5005 and a Fender Princeton Chorus, among other stuff). This is the only guitar I played for a decade, and she did it all. The finish is checked, cracked, nicked, worn, scratched, stickered, everything. When disaster struck, I played a bunch, but went back to Gibson. I bought a Les Paul Studio (2001). Excellent sound, but the Les Paul's PLAYABILITY compared to the full-access SG neck is beyond inferior. As is the rib-bruising heavyweight body compared to the slim, semi-contoured, long-neck friendly SG. I bought a Fender Strat. Nice toy, really; good body, cool vibrato, Hendrix etc. I just got a Rickenbacker 650 Dakota, super, really; thought I could get the neck access feel to 24 frets. WHY DON'T I SAVE MYSELF THE FUCKING TROUBLE AND JUST BUY ANOTHER SG??? Simple. Because I'm going to get this SG Junior fixed up. This guitar is it for me. I have tried so many guitars, and an SG is it. For $350, and I've just spent well over $2000 trying to disprove what I already know. DUH!

LP junior 1963, US-made.
Quite a nice guitar, fast action neck, P-90 pu, and a badass/tune-o-matic-combined bridge. The tuners are crap though, cheap plastic "Deluxe" tuners. I can't understand why so many people complain about, say for an example, Epiphone's asian made tuners. These US made are much worse.

Lots of sustain. Raunchy sound. If you like it you like it. Otherwise you don't.

Don't know how well it was set up at the factory, this is a 38-year old guitar... but it's a great player! Absolutely the best guitar I've ever had in that sense.

The finish is a laugh, but this babe has beeen around for so long that it would be impossible to have a good finish on her.

But its better than NEW Gibsons, but not as good as asian Epiphones.
Yeah, I seriously think that Epis from Korea have a better finish than moderne Gibsons.

I've used it live a hundreds of times. Never no probs, except the fact it doesn't stay in tune if you bend a note. But for rhythm-work it's just fine.

'No contact needed.

I've played for twentyfive years, blah blah blah...
I dig this guitar, even when it's a piece of s**t actually.M Epis are much better, and costs a lot less, but anyway.

2000 SG Junior made in the USA. 22 frets, mahagony body(not sure of how many pieces) one volume and tone, wrap around bridge style. Of course this guitar comes loaded with one screaming P-90. The neck is a real nice suprise. It's a little wider than the standard or at least feels like it. It might be the result of the lack of binding. The neck also feels a little deeper than the standard's as well. Anyway, it's a stripped down SG with the sole purpose to rock.

I would say the SG can play just about any type of rock and blues out there, matched with the right amp. I play rock ranging from Chuck Berry to OASIS and does it well. I normally use a Marshall JTM45 reissue along with a Marshall BB-2 pedal. Take your Jazz and Country next door because there ain't nothing but in your face Rock and Roll coming out of this rig. The tone has a rich and "on the edge" aspect to it. The P-90 will cut through glass yet be warm and thick. This is not a bright sounding guitar despite the fact it has one P-90 located near the bridge. It's tone is very midrange, and I usually have to turn back the middle and turn up the trebble around 7-8 on my JTM45. "Screamin guitar" is often used to discribe the someones sound, but the Jr really does. When you bend a note on this guitar it doesn't die out or tapper off like on my SG Standard. The note seems to sustain and increase in pitch unlike any other that I've played. I don't have the technical terms to discribe it but sounds literally like a scream. It may have something to do with the wrap around bridge, I don't know but I love it. For rock and blues it's a 10. A little to rough for Country or Jazz.

The action was a little high when I recieved it, had it professionally set up and now it's great. The action is higher than my Standards and the strings seems to be further apart. You can really dig in and bend, to me it's a little easier to play than my standard. The guitar has some minor cosmetic flaws, ie, pick guard screw seems to be at an angle, but nothing you can notice. Overall I'm very pleased.

This is a working mans guitar and seems to be built like it. However, replace the tuners, they are seriously cheap. I always gig with another SG but not for back up, just a different tone. You can depend on this guitar, there's not a lot of features to go wrong with it. I give it a 8 because of the turners.

N/A

I've been playing for about 15 years. I'm a big SG fan. MY other main guitar is a 96' SG Standar with Seth Lovers installed. I have owned a Les Paul Studio, 3 American strats, SRV Strat, 72 Tele Thinline reissue, and I can always come back to the SG. As far as playability, tone, and comfort, the SG for me can't be beat. I have a JTM45, Fender Blues Deluxe(really good amp), and a Fender Blues JR. To tell you the truth I have no Idea why I bought this guitar. I saw Angus Young on the cover of a guitar Mag with what looks like a pre 65' Junior(yes a Junior), I did a little research and thought I'd try one out. The thought of having another SG with a little different tone was what I was looking for and this is it. I love this guitar and find myself picking it up more often than my Standard. I love the tone, shape, weight(lighter than the standard), and looks of this beast. If were stolen I would diffently but another asap. Great price and great guitar.