C-series Factory location: Hinsdale, New Hampshire from 1973 to 1979, D-series Factory location: West Sansei, New Hampshire from 1980 to 1981, The designation S refers to the body size: 2 & 3 (increasing with number value). This was expanded in 1935 to about 1/3 of the top area. The headstock had a black wood face veneer. Late 1940's "i" touches the "G" on "Modern" non cursive/script Gibson Logo. You'll find Epiphone serial numbers in the standard places. Late 1930's Thicker Gibson Logo. They didnt sell well but did live up to their design intent of a. heavier, booming tone with good overall balance. Identification. On 12 fret to the body guitars, in a break with tradition, the Larson brothers frequently inlayed the 10th fret instead of the ninth. Like everything else, we have seen exceptions to the listed dimensions; especially the nut widths. banjos. All Rights Reserved. A simpler variation on the SJ-200 with fewer appointments and a lower price tag was the SJ-100. They were now able to get better materials. S2M, size 2 guitar with mahogany back & sides. I doubt you'll find this in a catalog. The Mark Series guitars were particularly interesting among the Gibson flat tops made in the 1970s due to their unique bracing. The focus of the site is antique and vintage banjos and mandolins, but there are . The fretboard was bound but without extension and The Gibson was stamped into the tailpiece cover. 1973 $895 L-5S a few instruments shipped and cherry sunburst is the only available finish. The strings are tightly wound at the headstock so the banjo player can form cords along the fingerboard. In some cases there are no pickguards. It appears that many mandolin owners of earlier models chose to upgrade their bridges to the fancy new adjustable models after 1921. This makes up for the shallow break angle, and also does away with string trees, which are not needed in this case. Google Play. I wouldn't be surprised if a few exist with other brand names. The more economical Student Grade instruments were often ladder braced. There is a Kay company logo on the headstock but absolutely no other identifying marks. Heads have different effects on different kinds of banjos. The Gibson Super Jumbo first appeared in 1937. It is not clear how many were made, but it is likely that there are less than 12. It is most common after 1923 when most Gibson model As had this shape. Electric guitars having the serial number on the back of the headstock. Some examples had the black (skunk) strip down the middle of the top similar to the Southerner Jumbos. department to department had 40 cubbyholes. Manchester University, Instruction * ConcertsJams * More The standard early Gibson A models had a soft V shaped neck. banjo headstock identificationleap year program in python using for loop. MK-81 models were rosewood back & sides, ebony fingerboard with figured abalone block inlays & gold plated hardware. The headstock face was veneered in black. Introduced is the year of introduction. 1975 $899 The first catalog appearance of the L-5S was in the 1975 Gibson Solid Body catalog. It is the only typical American (USA) instrument, starting off as an instrument of the African slaves, then via the Minstrel Shows becoming part of typical American music styles like Jazz, Dixieland, Bluegrass, etc. 1908 into 1916: Elevated pickguards of plastic tortoise shell clamped to the body with a removable clamp and pinned to the bridge. I'll have to record it and post a tune. Its difficult to positively The 1975 price was $879. The centerline of the neck had the black inlay. The instruments had modified fan bracing and asymmetrical bridges. In the early years, due to the depression and the following wartime austerity, demand for this expensive instrument was limited and production quantities were small. For example: B&D had several un-numbered models between 1913 and 1920. Information compiled by Leonard Wyeth 2008, L Wyeth, Century General Introduced 1933 for the Century of Progress Exhibition @ $55. The original V shape of the necks of the J-35s was replaced by distinctly round necks (baseball bats) and a tear drop pickguard. There were 431 made. During the Folk Boom of the 1960s, Gretsch produced a line of 5 string open back banjos with regular and long necks. Saga Bella Voce 70/80. They did provide paper labels for the instrument that they represented but did not provide labels for custom instruments or other shops or manufacturers. Saga. Similar to an A2 except for the top color: an orange top in the teens, and a white top (refrigerator-top) in the late teens and early twenties. Dr. Michael Kasha was a chemical physicist and the director of the Institute of Molecular Biophysics at Florida State University. Many banjo manufacturers, in addition to making banjos under their own names, New Location: S3R, Size 3 guitar with East Indian rosewood back & sides, chrome tuners. There were 5226 made. The Jumbos had a slight V shaped neck with the Gibson truss rod and a pointed French heal somewhat unusual for Gibson. The Advanced Jumbo has been described by some as the finest no compromises most powerful flat-top guitar Gibson ever designed and built. 14" resonator on the banjo examined is probably non original (Korean). Most have the patented L&H tailpiece shown in the inset. The 1975 price was $439. Numerous articles in Vintage Guitar Magazine over the years. The L-series is very difficult to properly identify and date as they were inconsistent in their appointments and the catalog descriptions do not always agree with the actual instruments produced. For example: The custom series of Epiphone Texans built with cooperation from Paul McCartney: some were built in Bozeman Montana and some in Japan. Download Old Banjo stock photos. Sunburst was the only finish available for the J-45 until much later as the sunburst finish can hide flaws in the wood; this was a significant advantage during WW2 when clear wood was being used for the war effort. Sunburst finish changes slightly: a cremona brown fading from the center amber to a reddish brown perimeter. Late 1930s through 1942: ? adjustment wheels 2 feet and extensions on top of the base for the wheels. There are a few examples of A-2Zs with black tops, though this was probably used to cover some imperfection in the selected tops. The Gibson stamped on tailpiece cover and inlaid in headstock. The early models had shallow neck sets that increased in angle around 1908. 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.). GB -- guitar banjo. The first versions of the Super Jumbo guitar had a neck joint with 12 frets clear of the body placing the moustache bridge geometrically in the center of the distinctly round 16 7/8 lower bout. Thanks for any assistance you can provide. The 31 year old part time musician has mostly been found on the contest stages in recent years, taking first in the National Bluegrass Banjo Championship twice, and in the RockyGrass, RenoFest . During the war years women played a greater role in manufacturing while young men were fighting overseas. The tuners were individual Kluson with amber buttons. The exceptions are those guitars sold by Selmer in the UK which will (probably) have a number stamped into the back of the headstock and guitars sold by Van Wouw in the Netherlands. Some rectangular examples, Headstock appointments: Decal Only a Gibson is Good Enough banner. Some rectangular examples, black bridge pins (2 pearl dots on rectangle bridge), Headstock appointments: gold decal: Only a Gibson is Good Enough banner. Ss. The sunburst finish was generally $30 less than natural finish. The first two digits tell you the month the banjo was built, the last two digits before the dash or space will tell you the year, and the numbers . in the third row of pictures below: Lyon & Healy (1864-1940) made many grades of banjos in many styles, They were the J-45 and the Southerner Jumbo. In 1987, after the Gretsch family had re-acquired their name, re-introduced the B&D Silver Bell but the market didnt seem to care. A-series Factory location: New York City from start to 1971. 615-264-4959. ss stewart presentation banjo - Google Search. Kay company banjos were normally not that high-quality but this one is different. thin heel footprints as shown below in the second row of pictures: J. 1946 onward: No feet the bottom of the bridge flush on the instrument top. The headstock carried an inlayed script Gibson. Larger top braces used, and bigger solid wood bridge plate and larger bottom-belly bridge. At the turn of the century, Orville Gibson was refining his notion of the superior mandolin: carved in the tradition of violins for greater volume and tone as well as comfort. Its not clear how it works during this period. Headstocks say LoPrinzi. 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. In 1923 it appears that Gibson began to assemble A-2s with left-over blonde tops from A-3s. It is, therefore, not unusual to find older mandolins with replacement bridges. The neck holds the strings secure using tuners, four of which are located at the peghead, with the fifth string tuning peg located almost halfway up the neck. I have an open back banjo with a number 44 stamped in the ring, and May 2, 1899 carved in the support on the backside. The back and sides were Brazilian rosewood and the tops Adirondack red spruce. New guitars were supplied with user applied pick guards, and extra saddles of different heights that could be easily inserted to adjust the string action to accommodate the swelling of the instrument with seasonal humidity changes. Neck s/n DA5063 with L&B headstock inlay: T. Biggs : 1932 : 66-1: PB-3 : Shipped August 7, 1935: Gibson Shipping Ledger : 1932 : 66-2: PB-3: Flathead: 1-piece: By 1936, with the depression still gripping the nation, Gibson moved to stay competitive and offer a more affordable option: The Advanced Jumbo (Advanced meaning that the size advanced: got bigger) with rosewood and fancier appointments that would compete with the Martin D-28 at $80 and the Jumbo 35 at $35 to compete with the Martin D-18. For example: Gretsch stopped production of Bacon and B&D banjos. Angled (Tilted-Back) Headstock. Check out our banjo decal selection for the very best in unique or custom, handmade pieces from our bumper stickers shops. Take your playing to the next level with the help of a local or online banjo teacher. I own the book and have found it to be an invaluable resource in identifying these old guitars. 30, 1909. I am the third owner, the previous owner researched it and, based on the serial number, headstock design and inlays declares it to be a 1976 Gibson RB 250 MASTERTONE model with the 20 hole metal tone ring. At least one model, the Epiphone Spirit, was manufactured in the USA during the early 1980s in the Gibson factory in Kalamazoo, MI. CMI acquired Gibson around May 1944. 1921 onward: Metal 90-degree pickguard support screwed into the body and additional screw to the neck. RB -- regular banjo (5-string) TB -- tenor banjo. There is a Kay company logo on the headstock but absolutely no other identifying marks. The individual artist's touch on the . Even the group of inexperienced entreprenuers could see and understand the value of the Gibson name. . Here's the photo gallery that I put together:velkdesign.com/assets/banjo/. The body dimensions basically match the LG-series: 14 1/8 wide by 19 1/2 long by 4 1/2 deep. I have owned a beautiful Kay company banjo for over 30 years. Hand Engraving. LoPrinzi Rosemont, New Jersey built by Augustino LoPrinzi (and apprentices) with Augustino on the headstocks. 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. ', 'Pisgah 12 Builders Choice Custom Walnut Dobson 5+1 String Banjo', 'Custom 12inch Billybilt Banjo w Figured Maple neck and Curly maple RIckard Pot and Balch head', '11inch Billybilt Banjo with Antique Spunover SS Stewart Pot and Curly Maple neck'. The electric version included a P-90 pickup at the end of the soundboard like the later versions of the J-160E. J-L. M. N-P. Q-Sch. Yes, paging Scott to the Collector's Corner, please. B. Schall (1878-1907) manufactured many unmarked banjos for 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. This is a headstock that tapers from narrow at the top to slightly wider at the base (the reverse of the traditional Gibson headstock shape). Internally, changes from the J-35 included strengthening the top bracing by moving the X brace 1 additional inch behind the soundhole. STONE BANJO CO - PEGHEAD SHAPES. The back braces were tall and thin and Gibson scalloped the top braces. It was initially called the De Luxe Jumbo for the few versions that were delivered before the model went into production. Sometimes (rarely) the labels are easy to read: the model and serial numbers hand-printed in ink and sometimes the information was written in pencil and is now barely legible. They are available for binding that is .060 and .090 binding. (The 1st year of the J-45 actually had similar appointments but they were reduced and simplified for model clarity in 1943). Style Designations (There are many exceptions to the following). They are essentially an Advanced Jumbo with minor compromises: they filled a gap between the J-35 and the J-55. During the period of 1902 to approximately 1909 the mandolins sported tailpiece covers with a curly top and internal white labels with an image of Orville Gibson holding a lyre mandolin. The first group in late 1936 had larger soundholes and long scales: 25 1/2. The numbers are preceded by letters: A, B, C, or D which indicate the series. Neck: mahogany single piece. Every banjo has a story. The banner only a Gibson is good enough logo is replaced with the old style Gibson script gold logo, The blond J-50 is introduced (limited until 1954), Bracing system changed: non-scalloped, low cut braces, Larger pickguard with point at upper bout, Headstock appointments: pearl logo inlay and crown added, Adjustable bridge saddle offered as an option called J-45ADJ. One of the advantages of choosing a banjo made in a small shop environment is the easy availability of customization. Example: U8034853 U = Unsung, 8 = 1998, 03 = March, 4853 = manufacturing number. Though you were told there was only12 of this model made, it will not be any more valuable than if there 10,000 made. For example, one head might sound right for one player on a five string banjo, but be disappointing on another players tenor banjo. They didnt sell well but did live up to their design intent of a heavier, booming tone with good overall balance. Never seen one with an inlay on the back of the neck. 1980 $1249 By late 1980, the Gibson deluxe tuners with Crank button, and Posi-Lok strap button were added. Welcome to the Vintage Banjo Maker, please do sign up for email updates to keep in the loop about new additions to our research coming soon! If you would like to use content from this page, see our Terms of Usage policy. Between 1975 and 1979, Gibson worked with Dr. Michael Kashas acoustic theories for guitar and Luthier Richard Schneiders design applications to create a unique instrument for the Gibson acoustic lineup. At least then you will know the model name. Rettberg & Lange (1898-1920) banjos were initially similar to Buckbee-made When he passed, my grandmother bought it for me from his brother who was attempting to liquify his collection. The guitar designs, however, were not the problem. RRRR = Ranking number (may be more or less digits) Example: 3021234 = Samick Korea / 1993 / February / unit 1234. The neck was basically the neck stocks from the L-5 archtop: 3 ply maple with single wide bound scalloped fretboard ends and headstocks and the early models had the L-5 flowerpot inlay on the headstock. There's a small snag in the outer pocket webbing - otherwise it's like new. Script Gibson logo, Fretboard: Twin parallelograms inlays unbound 19 fret. Early 1970's block shaped no dot over the "i" closed "b" and . See the notes below. Collector's Corner That being said, and allowing for the large numbers of prototypes and other Gibson anomalies, the following can be used s a guide to help get close to a proper model identification and its year of production. 1978 $1079 Tobacco sunburst is dropped for Fireburst; Maple is now described as Natural. 1934 was in the depth of the depression, and at $60 without a case, most families put food ahead of guitars. In 1926 Gibson introduced the L-series guitars with the L-0 at $35 and the L-1 at $50 (1928 prices). CLR, Classic guitar with Indian rosewood back and sides, decorated binding, gold tuners. Where no serial numbers are shown they simply are not known. This is a strong playing. JR, jumbo size guitar with East Indian rosewood back & sides, chrome tuners. Michael Wright has compiled one of the largest picture galleries of headstock photos in his book "Guitar Stories Vol. It was the innovations of the Loar period: 1921 through 1925 that saw the introduction of the truss rod, adjustable bridges, bracing adjustments, thinning and grading of the tops and numerous other refinements to create the standards that are still used today. They had owner applied pick guards and multi-bound backs and tops (including red line highlights). tailpieces (see fourth row of pictures below) on many of their unmarked banjos, and their Good size logs of spruce were government controlled during the war and were not easily available shortly after. They were well suited for orchestral arrangements as well as individual play and accompaniment. bands even in the early 1890s. Yet somehow, there's a certain cool factor to this one. LG-0 | Introduced 1958 | Discontinued 1973, LG-1 | Introduced 1947 | Discontinued 1968, LG-2 | Introduced 1942 | Discontinued 1962, LG-2- | Introduced 1949 | Discontinued 1962, LG-3 | Introduced 1946 | Discontinued 1963, B-25 | Introduced 1962 | Discontinued 1976, FJ-N | Introduced 1963 | Discontinued 1970, F-25 | Introduced 1963 | Discontinued 1970, B-15 | Introduced 1967 | Discontinued 1970, Brazilian rosewood rectangular through bridges, 2 screws in the bridge with MOP dot covers, Basically the same as LG-1 with a mahogany top, Single plastic tortoise shell binding top and back, Narrow neck design with 14 degree headstock angle, Same basic guitar as LG-2 with average wood, Wood imperfections covered by a dark sunburst, Tall scalloped braces change to low-profile rough cut, Enlarged rectangular bridge with closed slot, Fire striped plastic pickguard teardrop shape, Last use of the Banner decal on headstocks, Basically the same as an LG-2 with better materials, Bottom belly rosewood bridges with adjustable saddles, Back, sides and neck finished in walnut stain, Body shape: 16 wide, round shoulder dreadnought shape, Top: Select spruce, 2-piece bookmatched with scalloped X-bracing, Neck: mahogany, single piece, unbound, 19 fret, dot markers, Bridges: Rosewood belly-down. The birch sides and back were stained red. I removed the resonator today and there is a hand written number 8 and that's it. The passage of time confuses matters even further: They made some non-SilverBell models that had been developed in the 1930s that bore the B&D label like the Seniorita, and some later Gretsch SilverBells that carried only the Bacon label. Please read the section on J-35s and J-55s as the J-45s and Southerner Jumbos replaced the earlier models it was a natural evolution. A: One of the easiest ways to determine the age of your banjo is to inspect the serial number, if it has one. The last of the Mark Series was built in 1979. The 1934 version had a classic Gibson sunburst: the small amber center around the bridge about 1/4 of the top area. 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?) To accommodate the pickup, the standard production neck was pushed up to a neck-body joint at the 15th fret. Banjo Headstock Designs. Laminated maple back and sides is discontinued (FON batch 2828 used maple back and sides). In 1941 the fretboard became Brazilian rosewood. The tuners cogs are peened on the shafts (the peening sometihas a waffle design). 585 Grand Concert: rosewood back & sides, MOP, colored wood appointments and a Tree-of-Life fretboard inlay. The top and back bindings were black plastic with red line highlights. Worthy of mention is the Jumbo Deluxe, though it is believed that only 3 were ever made in 1938. The intent is to provide a rough dating guide. serial number impressed to verso, 60 cm long There were 1424 made. Mid 1950s: the pickguard changed from the teardrop to the larger undulating shape like the pre-war J-35s. Many have no identification at all. http://www.mugwumps.com. Labels say: A. The final production versions had a double-braced red spruce top and rosewood back and sides with a sunburst finish. Any dealer would want to find this as part of an estate sale and put it out to see what the market would bear - but none would have high hopes for its value. CLM, Classical guitar with mahogany back and sides. The 1975 price was $659. Gibson Gold War era logo - This type is called "Banner logo". 3 special model, serial number 8382, New York, circa 1920s, intricate abalone shell inlay to fingerboard and headstock which also bears the Company logo. These appear to have a unique serial number scheme. their better banjos is also distinctive, with a small additional bump on either Gibson Banjos 1925 and Later: . Sometimes a higher model number means a bigger and fancier instrument but there does not appear to be a thoughtful of consistent method for ascribing model numbers. Find the worth of your vintage banjo from 1920s to 1970s. There was some amber color. Higher numbers also meant more money. There was a line of black inlay (or ebony layer) along the centerline of the back of the neck. How to customize a Huber Banjo; . The early instruments built in Nashville suffered from inexperienced workers and climate-control problems in the humid South. At the time, the Nick Lucas model was the largest flat-top Gibson offered. For a period of time, this was the top of the line. 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. Acoustic Guitars. AMF ceased production of LoPrinzi guitars. Several cost-cutting measures existed between the Advanced Jumbo and the J-35 including scalloped braces on the advanced Jumbo and not on the J-35. Like everything else connected to instrument identification issues - there are many exceptions. Back & Sides: Mahogany but some released as Brazilian rosewood. 2. This was available in brown, black or blonde finish. . The introduction of a truss rod cover to the headstock caused the inlay patterns to adjust as well. Identify vintage banjo fleur de lis inlays on headstock & carved heel. Introduced 1954, discontinued in 1978, reintroduced in the 1980s and still produced today. I would sure like to hear what it sounds like. You have your choice of 3 different peghead shapes. The top and back bindings were black plastic with red line highlights. Pearl dots on fretboard. 1976 $929 In June of 1976 the price rose to $999, and two new finishes were added: tobacco sunburst and natural maple. 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