Gibson’s Roy Smeck Stage Deluxe was the 12-fret Hawaiian version of the then-new Jumbo model. The Smeck and Jumbo shared the same body shape and depth but featured different top bracing and markedly different necks. Where the Jumbo featured a Spanish setup, 1-3/4” nutwidth, and three tone bar top bracing, the Smecks were built an unfretted neck that measured more than 2” at the nut and only had two tone bars as the 12 fret neck positioned the soundhole, X-brace, and bridge lower on the top which left less unbraced spruce between the bridge plate and endblock. All that said, the Smecks are the only other deep-bodied 16” wide guitars that Gibson ever made and are the closest next of kin to the incredibly rare Jumbos. And, because there hasn’t been much of a demand for a 16” jumbo flat-top Hawaiian in about 85 years, the great majority of Roy Smeck Stage Deluxes have been (or will eventually be) converted for Spanish-style playing, for which they are admittedly fabulous guitars.

This example was built in 1935 and was converted by Alan Pearlman, who has surely Spanishified more Smecks than any other human in the history of guitarmaking. It features an Eastern spruce top and mahogany back and sides, unscalloped X-bracing, and a body that measures 4-3/8” deep at the endpin and 4-1/8” deep at the neck heel. During the conversion the guitar’s neck was carved to 1-13/16” at the nut with the width at the 12th fret left unaltered. The neck depth measures .996” at the first fret, which is not far off its original thickness. The neck’s back has been refinished up to the volute; the headstock’s finish remains original. The guitar’s bridge and bridge plate are original but the bolts have been deleted and the saddle slot filled and recut for proper compensation. The original fretboard has been fretted with standard acoustic wire, and new bone nut and saddle have been installed along with a set of Antique Acoustic pins. There are a few top cracks that have all been properly repaired in our shop: two below the bridge to the binding, a few shorter ones on the lower bass bout, and one along each side of the fretboard extension. There is one small, repaired back crack and no side cracks. The bracing is all intact and in excellent condition. The body’s finish is original an unaltered, as is the pickguard and tuning machines. The guitar is set up with 12-54 strings and an action of 5-6/64ths with a full height saddle in a nearly full-height bridge.

It's unlike us to get to the 4th paragraph of a write-up without mentioning tone, especially when the guitar is as special as a Smeck. Don’t read deeply into that. This guitar is exceptional and was an instant shop favourite the moment we brought it downstairs to the sales floor from the repair shop. It’s incredibly loud and well balanced, with powerful, thick, clean and round trebles; midrange presence and clarity, and a low end that is ever-present, well defined, and not overpowering. It has a notably strong fundamental and excellent note separation but maintains the warmth we expect in a pre-War Gibson Jumbo. Headroom is seemingly endless and it has a quick response, which predisposes it to flatpicking, but a high-level fingerstyle player, or anyone with a heavy right hand will really enjoy the horsepower this guitar offers. Tonally, a good Smeck like this one has no competition; there’s just nothing else out there that does what these guitars do.

Pearlman’s neck carve is excellent and remarkably comfortable, especially given its girth. It’s not a small neck but thanks to its soft V carve and comfortably rolled fretboard edges it fits quite well in an average sized hand.

This Smeck comes with its original slightly tattered Red Line case. It also comes with a fairly new Calton case.