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Gretsch started a new serial number system. The headstock carried an inlayed script Gibson. First published as a folk music magazine in 1971 by Michael I. Holmes before going online in 1997, Mugwumps is a no-frills, highly informative site that's packed with well-written articles, detailed photographs, and historical ads of old instruments and parts. expressed on the sides and back of the 1934 versions. Other Banjo-Related Topics Identification: "A" Style mandolins were symmetrical and shaped like a teardrop. The necks were 1-piece mahogany V shape with a Brazilian rosewood fretboard at 12 radius. The Jumbo 55 (J-55) was introduce in late 1939 and discontinued in 1942. Q: What is the first step in determining the age of my banjo? MB -- mandolin banjo. This should be considered a guide to get you within a year of the correct date. You have your choice of 3 different peghead shapes. It also had a black veneered headstock (front and back) and a black inlay in the back of the neck. A New Leaf from Steven Moore. Have a vintage Harmony guitar? It was initially called the De Luxe Jumbo for the few versions that were delivered before the model went into production. On 12 fret to the body guitars, in a break with tradition, the Larson brothers frequently inlayed the 10th fret instead of the ninth. Rettberg & Lange (1898-1920) banjos were initially similar to Buckbee-made Art Studios. LoPrinzi Guitars most from Plainsboro New Jersey. RRRR = Ranking number (may be more or less digits) Example: 3021234 = Samick Korea / 1993 / February / unit 1234. During the period of 1909 through 1920 Gibson produced large numbers of mandolins. Some banjo . I would sure like to hear what it sounds like. CLM, Classical guitar with mahogany back and sides. My understanding is that only 12 of these particular banjos were ever manufactured by Kay. Worthy of mention is the Jumbo Deluxe, though it is believed that only 3 were ever made in 1938. An entire bin was a "lot" and would contain cases they carry no identifying name at all. In fact, he was part of a team of scientists paid as consultants by Gibson for their input on a project to create the finest sounding guitar based upon sound scientific logic, theory and research. Larger 2.25 wide by .140 laminated maple bridge plates replace 1 7/16 x .125 solid maple bridge plates, Change the body shape to square shoulder dreadnaughts, Injection molded .075 thick styrene pickguard replaces the older .025 thick celluloid pickguard, Plastic bolt-on bridge replaces the rosewood bridge, White pickguard with Gibson logo screwed down to the top. It was available with a brown finish and came as a snakehead or paddle headstock. Pearl twin parallelogram inlays, Bridges: Rosewood belly-down. 1959: Larger crown frets and the adjustable bridge. One of the advantages of choosing a banjo made in a small shop environment is the easy availability of customization. ARCHIVED TOPIC: VINTAGE BANJO IDENTIFICATION. During the war years women played a greater role in manufacturing while young men were fighting overseas. The necks and heels were rounder. The original partners were Fred and Cassie Bacon and Mr. and Mrs. Oliver Winship. Acoustic guitars are punched inside the soundhole on a sticker behind the strings. Bottom belly ebony bridge with pyramids on the wings, Silk-screened script @ 15 degrees +/-: The Gibson, 3 on a plate open gear tuners white or black buttons, Top and body becomes all mahogany amber finish, Extra bridge pin centered below 6 in a line, L-0 Flattened lower bout increased to 14, Reintroduced as the least expensive Gibson flat-top @ $25, Body depth 3 ? at the neck and 4 3/8 at the heel, Pearl dot makers and double dots on the 12th fret, Old script silk-screened diagonal logo: The Gibson or just Gibson, Some striped tortoise plastic pickguards after 1933, Some bright white plastic pickguards after 1933, L-00 introduced as Gibsons lowest price flat-top @ $37.50, Small round amber area of sunburst just below the soundhole, Striped tortoise plastic pickguards added, Dot position markers on the fretboard edge, A few with banner logos decals on the headstocks, Light amber top Sheraton brown back & sides, Old script silk-screened diagonal logo: The Gibson, Flattened lower bout increased to 14 (possibly, Soundhole, bridge and bracing moved to compensate, Similar to the L-00 but with heavier braces, Pearl dot fretboard markers double on 12, Gold sparkle inlayed around top & soundhole, Tailpiece adjustable bridge option discontinued, Speckled celluloid pickguard added as an option, Some had 2 top braces under the fingerboard extension vs. one, Rosewood fretboard rectangle inlays at 3, 5, 7, 9, 12 & 15, Pearl diamond inlays in the rosewood rectangles, Gibson pearl diagonal headstock inlay in rosewood, in Pearloid, Pearloid headstock veneer replace with rosewood, Bound headstock, pearl Gibson, pearl truss rod cover and notched diamond inlay, No headstock binding, black truss rod cover and elongated diamond inlay, Body depth 4 at the neck and 4 5/8 at the heel, Brazilian rosewood pyramid bottom belly bridge, The Gibson pearl angled logo inlayed on headstock, Nick Lucas Special white label with picture of Nick Lucas, 14 fret neck to body joints (phased in by this time), Trapeze tailpiece with adjustable bridge option. Mismanagement was so severe during the final Norlin years that the Gibson Guitar Corp. was within 3 months of going out of business when it was bought by young Harvard Business grads: Henry E. Juszkiewicz, David H. Berryman and Gary A. Zebrowski in January of 1986. The Southerner Jumbos were the most expensive flat-top guitars Gibson offered at the time. Never seen one with an inlay on the back of the neck. However there were and are many different types, most of which can be found on this page. CONTACT US; Headstock Shape. The bracing was revised to accommodate the moustache bridge and generally heavier than earlier models. In late 1 the use of factory order numbers was discontinued. In general, higher model numbers meant more binding and ornament. ARCHIVED TOPIC: Vintage Kay Company Banjo - Need Help Identifying Model, Please note this is an archived topic, so it is locked and unable to be replied to. purchase these instruments and put their own names on them, but in many other It appears that they experimented right up to the point of discontinuing the line. Over time the J-35 braces began to appear scalloped. Brown or black finish, some binding only on the top and in the soundhole with one ring around the soundhole. The following site helps identify the labels with the date and location of production: All Gurian Guitars have serial numbers stamped on the neck block in characters visible through the soundhole. The more economical Student Grade instruments were often ladder braced. and many were left unmarked. You may, however, start a new topic and refer to this topic with a link: http://www.banjohangout.org/archive/276603. If you count the plies in the rim it is about 12 or 13 which is what I have seen in a lot of Asian banjos. Martin introduced the large body dreadnaught in 1932 It was bigger, bolder, and louder than anything Gibson had to offer. . Augustino LoPrinzi has developed a fine reputation for classical guitars, ukuleles, steel string and 12-string guitars. During 1942 two new models were introduced to the Gibson line-up to replace the J-35 and J-55. Introduced 1967, Basically an more economical LG-0. Dark stained plain birch back and sides. The name variations included Bacon and Day and B&D for all the instruments co-developed by Fred Bacon and David Day. The following versions evolved quickly to 14 frets clear of the body. The current bridge height and neck angle was reached around 1910. The saddles were wider than usual. They did not imprint the instruments with any particular brand. The bracing for the new larger models was X braced: there were 3 transverse tone bars between the braces 1 more than the Martin as Gibson experimented with bracing design heavy enough to support the large tops and light enough to be resonant and responsive. Identify vintage banjo fleur de lis inlays on headstock & carved heel. These had black plastic laminate headstock overlays with Bacon engraved in blockletters and a small, metal plate engraved Bacon Folk Model. MK-81 models were rosewood back & sides, ebony fingerboard with figured abalone block inlays & gold plated hardware. I'm kind of with Bob on the Korea origin - almost screams Sam Ickfrom the 1980s to me - except that it's a little understated and the finish isn't as thick as you normally see on a Samickpresentation banjo. Western movies were tremendously popular and the singing cowboy heroes needed instruments as big and bold as untamed West. See the notes below. JR3H, like JR, but with 3-piece back, herringbone binding & gold tuners. This was available in brown, black or blonde finish. I'm leaning more in that direction. See Martin Serial Numbers for a dating information. They had dot markers on the fretboard and a moustache bridge with individual adjusters on each string. A2-Zs were theoretically made during the Loar period of 1921-25, but only between 1923 and 1924. 1952: The headstock gold decal logo was replaced by an inlayed pearl script and crown. Towards the end, the line actually continued to increase in sales. Gold War era logo - This type is called "Banner logo". In 1926 Gibson introduced the L-series guitars with the L-0 at $35 and the L-1 at $50 (1928 prices). Saga. Google Play. Timing is everything In 1969 the Gibson parent company: Chicago Musical Instruments (CMI) was acquired by the South American brewing conglomerate: E.C.L. The appointments of the Southerner Jumbo included more top binding and an additional set of rosette rings. The labels with an image of Orville Gibson are generally found on instruments with serial numbers below 10,000. The Gibson CF-100 was introduced in 1950 (the CF-100E was introduced 1951) and discontinued in 1960. For photographic examples of the Gibson Cf-100 and CF-100E Click Here. 1-6 digits stamped into the top edge of the headstock-often difficult to read. What's the history on the this jo, are you the original owner? A maple, prewar style bluegrass banjo made like the classic banjos of the 1930's with the same materials and the same weight, design and features, the Golden Era is one of our most popular banjos for traditional bluegrass bands. Gold-plated tuning gears, LOTS of abalone inlay. bands even in the early 1890s. Serial number records exist for instruments built before 1975 and after 1980. The model started production in 1938 as Gibsons top-of-the-line flat top guitar. GIBSON GARAGE FIND A DEALER GIBSON APP. Weekly newsletter includes free lessons, favorite member content, banjo news and more. Starting in 1977, Gibson adopted the current date-based serial system which codes for the year and day of production. Thanks for the history, I always love the story. It might be a Fairbanks or Stewart, but there is no name anywhere on the instrument. So far as I can find Gibson appears to have only made "Stewart" instruments for a couple of years in the early 1930s. As a consequence, the details were grand in scale and the bindings high in contrast to look good in black and white on the silver screen. 1934 was in the depth of the depression, and at $60 without a case, most families put food ahead of guitars. Buy in monthly payments with Affirm on orders over $50. Find the worth of your vintage banjo from 1920s to 1970s. Martin introduced their versions of acoustic-electrics: the D-18E in 1958 and D-28E in 1959. Electric guitars having the serial number on the back of the headstock. The top and back bindings were black plastic. The following numbers are the earliest known serial number for the year listed. The story of how Greg Deering came to own the over 130 year old Vega trademark is one of childhood dreams and an unmissable opportunity. They were the J-45 and the Southerner Jumbo. Thanks for the feedback! Where no serial numbers are shown they simply are not known. Known Problems with Gretschs Serial Number System: Due to the various renumbering schemes, there are Gretsch-built Bacons and B&Ds with 3 digit, 4 digit and 5 digit serial numbers, which confuses identification of instruments made between 1910 and 1940. Body shape changed to square shoulder dreadnought. There can easily be more numbers within each year listed. This is the smallest model, chrome tuners. S3R, Size 3 guitar with East Indian rosewood back & sides, chrome tuners. Use them in commercial designs under lifetime, perpetual & worldwide rights. This technique of supplying interchangeable saddles/bridges was not new, it had been used by Selmer in France for their Maccaferri style instruments since the 1930s. (Numerical ID) Example: Serial number 0191456 = Harmony Standard Series guitar built in 2019. The aluminum shell was chrome plated with 24 chrome-plated brackets. The LG-Series is 2 narrower than the J-Series. Banjo serial numbers: During the 1920s, Gibson instruments were made in lots of 40s (for the most part, this procedure continues today). The centerline of the neck had the black inlay. It is important to note that there are exceptions to every rule and the following is only a general guide for identifying Gibson A Style mandolins. They are very pricy at over $20.00 each, but worth it if you want . Richard Schneider and assistant Abe Wechter acted as the on-site, full-time luthiers to collaborate and develop Kashas theories and bring them to a manufacturing reality. It was available with a Snakehead and had a shaped fingerboard extension. Body designation Style designation, Serial number. The rosettes were simple white-black-white. The Gibson LG series of flat-top guitars were developed as the natural evolution of the earlier L-Series. Ohio banjo player Steven Moore has his first solo project, Just a Little Talk with Myself, just recently released. Grupo Musical. Good size logs of spruce were government controlled during the war and were not easily available shortly after. (Folk Jumbo Natural and Folk-25). Factory Order Numbers (FON) in the 2600s to 2700s. Description: Internally constructed from dense EPS foam, the exterior of this Gator banjo case is covered in rugged 600-denier ballistic . I own the book and have found it to be an invaluable resource in identifying these old guitars. In 1947 the name changed to the J-200 and the standard back and sides became highly figured maple. Gibson. A Style mandolins were symmetrical and shaped like a teardrop. The Mark Series, though not a wild success in terms of overall sales, did sell reasonably well. I just have a few questions. Alternates can range from standard designs out there in the banjo world, old or new, or a custom. They were mahogany back & sides with single layer binding front and back. 1916 into 1921: the pin to the bridge was dropped. CLR, Classic guitar with Indian rosewood back and sides, decorated binding, gold tuners. made unmarked banjos for others to sell as well. Style Designations (There are many exceptions to the following). Manchester University, Instruction * ConcertsJams * More It is not clear how Gibson decided to set their nut widths and neck thicknesses. It's always made of hardwood such as ebony and makes up the front-facing top half of the banjo's neck. Width at nut 1 11/16, scale 24 3/4. They had owner applied pick guards and multi-bound backs and tops (including red line highlights). My understanding is that only 12 of these particular banjos were ever manufactured by Kay. Gibson Banjos 1925 and Later: . I just received this mando-banjo I bought on e-bay and I'm hoping someone can help me identify the builder. David L. Day was in his 70s. Bridges: Ebony Sometimes with a flattened pyramid rectangular bridge shape. The hurricane of September 1938 destroyed the companys ability to manufacture anything. Scott Zimmerman may be able to shed some light on this. Hard-stamped serial numbers. I doubt you'll find this in a catalog. "F" Style mandolins have a carved nautilus shaped curl on the upper left-hand bout. (The 1st year of the J-45 actually had similar appointments but they were reduced and simplified for model clarity in 1943). Serial numbers are addressed elsewhere on the web site but can be found also on Gibsons website and George Gruhn & Walter Carters book: Gruhns Guide to Vintage Guitars. The 2nd delivery to Ray Whitley was the more refined 14 fret SJ that is so well photo-dicumented. The appointments roughly followed the Southerner Jumbo but the design was primarily electric: it had a 3-ply top with ladder bracing to reduce the low-end response for the single coil pickup placed at the base of the fretboard. The swing distance is important because it dictates how large a turned piece can be on that particular lathe. The last 4 digits are a neck number. I have never seen one like this in person or even a picture of one. Collector's Corner If the serial number is legible the instrument can be relatively easy to date. A-3s had refrigerator white tops with a black perfling line, adjustable truss rods and adjustable bridges. 30, 1909. It was during the years of 1977 through 1986 that most of the high-end lines at Gibson were discontinued: The ES-350T, L-5S and the Mark Series among them. This can often be found on the back of the peghead or on the inside rim of the banjo. Then Gibson developed the adjustable bridge. in the third row of pictures below: Lyon & Healy (1864-1940) made many grades of banjos in many styles, Mid to late 1944, the neck block revert back to mahogany, though poplar is occasionally used. S3R3H, Like S3R, with 3-piece back, full herringbone binding, gold tuners. Bound rosewood fingerboard with small fret wire, clamshell tail piece with Morris inscribed. At the time, the Nick Lucas model was the largest flat-top Gibson offered. Tstyle of tuner lasts into early 1943 (FON 2221 last documented series with this tuner style), Late 1942 poplar neck blocks (Late 1942 FON 2119 with FON 2143 being the last documented series with mahogany neck block.). How to customize a Huber Banjo; . Labels say: A. By 1939 the 3 tone bar system was reduced to 2 tone bars and the angle of the X braces change to approximately 95 degrees. A-series Factory location: New York City from start to 1971. At the time, the Nick Lucas model was the largest flat-top Gibson offered. Martins 1st steel string: 1922, 18 Mahogany body after 1917, no volute on headstock, 40 Rosewood body, MOP top & soundhole but not neck base, 41 Rosewood body, MOP top & soundhole but not neck base, 1969+ D-only, 42 Rosewood body, MOP top, soundhole & neck base but not sides, 45 Rosewood body, MOP top, soundhole, neck base & sides, S (1967 on) 12 fret neck, slotted headstock, Dyer (1906 1923?) For example: In general: Bacon serial numbers begin in 1906 (1 and 2 digit) and run consecutively until the sale of the company to Gretsch in 1940 (5 digit). Most Dimensions: 16 wide, 10 1/4 long and 4 1/2 deep. It was reintroduced in limited editions in 1991. To complicate matters, the Larson brothers appear to have used different numbering techniques for different brands that they supplied. Several other forces were at work for change: Introduced 1963, these were designed as dual-purpose instruments. Martin introduced the large body dreadnaught in 1932 It was bigger, bolder, and louder than anything Gibson had to offer. During the Folk Boom of the 1960s, Gretsch produced a line of 5 string open back banjos with regular and long necks. This is a "fit-all" banjo case. The bridge was a small rectangular block type with a through saddle. the bins that were used to move instruments from . There was some amber color. MK-35-12 models were only made in 1977. MK-53 models were maple back & sides, rosewood fingerboards with dot inlays & nickel hardware. B-series Factory location: Grand Street, New York City from 1972 to 1973. CMI acquired Gibson around May 1944. B. Schall (1878-1907) manufactured many unmarked banjos for