The current bridge height and neck angle was reached around 1910. They could be strung with steel or nylon strings. For example: B&D had several un-numbered models between 1913 and 1920. In 1923 it appears that Gibson began to assemble A-2s with left-over blonde tops from A-3s. No serial numbers etc. The Larson bridge, if not otherwise specified by another company, is a rectangular flattened pyramid ebony style similar to those used by Lyon and Healy. In mid 1944 bookmatched two piece Sispruce tops reappear. 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). expressed on the sides and back of the 1934 versions. 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. Though you were told there was only12 of this model made, it will not be any more valuable than if there 10,000 made. What's the history on the this jo, are you the original owner? It was built for Hollywood singing star Ray Whitley as the worlds biggest and fanciest acoustic guitar. Nice playability, great tone, strong low end and good sustain all the way up the neck. It was Gibsons most prestigious solid body (and therefore expensive, with a couple of exceptions). feature both a serial number and a FON. 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. B-series Factory location: Grand Street, New York City from 1972 to 1973. Gold War era logo - This type is called "Banner logo". There are a few examples of A-2Zs with black tops, though this was probably used to cover some imperfection in the selected tops. Hard-case rugged and gig-bag light! Considering that Gibson was using a double X bracing for most of its other flat top guitars during that period, these instruments, with their modified fan bracing, stand out as some of the better sounding Gibsons of the time. Please note this is an archived topic, so it is locked and unable to be replied to. The sunburst finish was generally $30 less than natural finish. At the time, the Nick Lucas model was the largest flat-top Gibson offered. MK-81 models were rosewood back & sides, ebony fingerboard with figured abalone block inlays & gold plated hardware. Collector's Corner
Made in USA. Identification: "A" Style mandolins were symmetrical and shaped like a teardrop. They were too late Gibson owned the market and the Martins were dropped 6 years later having only sold about 540 combined. Headstocks say LoPrinzi. Another useful
A total of 2,477 J-35s were made according to Gibson records. string peg perch is typically carved out from the side of the neck as shown
The 1975 price was $549. The Southerner Jumbos were the most expensive flat-top guitars Gibson offered at the time. During the period of 1909 through 1920 Gibson produced large numbers of mandolins. 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. It is very showy though. Factory Order Numbers (FON) include the 2100s to 2500s, The adjustable truss rod reappeared in 1944, Tuners cogs got slightly thicker and with beveled edges. The name evolved from De Luxe Jumbo to Super Jumbo in 1939, and then to the Super Jumbo 200 (reflecting the price at the time, the case would be $28 extra). Materials and methods of production were reviewed and revised. Ohio banjo player Steven Moore has his first solo project, Just a Little Talk with Myself, just recently released. STONE BANJO CO - PEGHEAD SHAPES. 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. I'm thinking it was made by the Iida folks for a NAMM show or something. Customers can choose from these shapes or provide an alternate. 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. In 1893, he patented a banjo neck fitted with a channel for the 5th string to pass through so it could be tuned at the headstock instead of its usual location. The following numbers are the earliest known serial number for the year listed. The labels with an image of Orville Gibson are generally found on instruments with serial numbers below 10,000. The 5th string is not only shorter than the other four banjo strings, but this string is also the highest in sound (or pitch ). Angled (Tilted-Back) Headstock. Good size logs of spruce were government controlled during the war and were not easily available shortly after. 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. 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. 3 hrs, 'Pisgah 12 Builders Choice Custom Walnut Dobson 5+1 String Banjo' 3 hrs, 'Custom 12inch Billybilt Banjo w Figured Maple neck and Curly maple RIckard Pot and Balch head' 4 hrs, '11inch Billybilt Banjo with Antique Spunover SS Stewart Pot and Curly Maple neck' 4 hrs, I see no collectors market for banjos like yours.<, We use cookies to ensure that we give you the best experience on our website. The grade of top wood was tighter grained. ', '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'. Thanks for the history, I always love the story. 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. Maybell was a Slingerland brand name. Depending on the selected source, there is disagreement about these numbers. Brown or black finish, some binding only on the top and in the soundhole with one ring around the soundhole. 593 Similar to 590 but with pearl (vs ivoroid) tuner buttons. Other similar details include: single-cutaway body, ebony fingerboard with block inlays, flowerpot headstock inlay, L-5 tailpiece with contrasting silver on gold with L-5 engraving (changed to TP-6 in 1978) and multilayer body binding throughout. Inlays and bindings are remarkably consistent through the years. Introduced 1967, Basically an more economical LG-0. This makes up for the shallow break angle, and also does away with string trees, which are not needed in this case. Several other forces were at work for change: Introduced 1963, these were designed as dual-purpose instruments. Naming the parts of a banjo. Rated 5.00 out of 5. The fingerboard of the L-5S is in with select abalone. Dimensions: 16 wide, 10 1/4 long and 4 1/2 deep. Sha-Sw. T-V. W-Y. CONTACT US; Headstock Shape. Notable endorsers of this model include Leon Redbone. Style Designations (There are many exceptions to the following). 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. Saga Bella Voce 70/80. 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. The standard "Huber' shape, the popular "Double Cut" shape or the "Fiddle Cut" shape. Mid to late 1944, the neck block revert back to mahogany, though poplar is occasionally used. The early models had shallow neck sets that increased in angle around 1908. Headstocks say LoPrinzi. The tradition had been Bug style mandolins: bowl-backs with flat or bent tops. Take your playing to the next level with the help of a local or online banjo teacher. Many banjo manufacturers, in addition to making banjos under their own names,
The second type of headstock, as you can tell by its name, is the angled or tilted-back headstock. This peghead is found on low end, turn of the century, Lyon & Healy banjos, often with the L&H or Mystic brand stamped into the strut. teachers who sold them to students, some of which are tagged with the name of
All Rights Reserved. side of the top of the peghead (see last set of pictures below). The necks were 1-piece mahogany V shape with a Brazilian rosewood fretboard at 12 radius. There can easily be more numbers within each year listed. 541 Concert: rosewood back & sides with colored wood appointments. Mythology has it that the Southerner Jumbo was specifically targeted at the Southern market honoring rising Country music trends. The 1970s are viewed by many collectors and players as the low point of Gibson manufacturing. 156137I know this is a mandolin forum, but the admins suggested I start here. Like all other companies, there are exceptions. Weekly newsletter includes free lessons, favorite member content, banjo news and more. MK-35-12 models were only made in 1977. 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. Some J-45 models with non-bookmatched two piece Adirondack spruce tops and some examples with four piece tops. The other digits in the serial number can tell you when your banjo was made. Martin introduced the large body dreadnaught in 1932 It was bigger, bolder, and louder than anything Gibson had to offer. They are available for binding that is .060 and .090 binding. At least one model, the Epiphone Spirit, was manufactured in the USA during the early 1980s in the Gibson factory in Kalamazoo, MI. This information is approximate and has not been verified by the LoPrinzi family. It took Gibson 2 years to develop their response: The Jumbo of 1934. 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. Schall hardware is pretty unique and the fifth
Headstocks of US models also use the Gibson headstock shape. The 5th string is a crucial distinguishing characteristic of the five-string banjo, both in the instrument's appearance and in the sound of the music. Yet somehow, there's a certain cool factor to this one. My understanding is that only 12 of these particular banjos were ever manufactured by Kay. JR3H, like JR, but with 3-piece back, herringbone binding & gold tuners. $80 in depression era dollars was beyond the means of most people of the time but 300+/- were built during its 3 year production run. 519,409 In 1894, he patented this wild banjo with a neck that folds in on itself at the 10th fret in order to facilitate transportation. The Mark Series, though not a wild success in terms of overall sales, did sell reasonably well. One of the advantages of choosing a banjo made in a small shop environment is the easy availability of customization. There is a steel tone ring on the maple rim, and the rim has a maple cap. All Rights Reserved. It would have helped if the Larson brothers had sequential serial numbers but there is just enough contradictory evidence to prevent one from trusting numbers that appear to be sequential. How did you come to own it? Augustino & Thomas LoPrinzi Guitars usually have the date of manufacture on the label. I wouldn't be surprised if a few exist with other brand names. Martin introduced the large body dreadnaught in 1932 It was bigger, bolder, and louder than anything Gibson had to offer. See more ideas about banjo, guitar inlay, ukulele. I have owned a beautiful Kay company banjo for over 30 years. New Location:
It had a double ring of purfling around the soundhole, pearl dots on the fretboard, dark stained birch back and sides and The Gibson stamped on tailpiece cover. It is not clear how many were made, but it is likely that there are less than 12. A2-Zs were theoretically made during the Loar period of 1921-25, but only between 1923 and 1924. The Gibson LG series of flat-top guitars were developed as the natural evolution of the earlier L-Series. The birch sides and back were stained red. Mark Johnson; Regular Hours Mon-Fri: 10:00am-4:00pm Extended Hours January-April 8:30am-5:00pm; 239 West 400 North, Lindon UT; 801-785-3161 Back & Sides: Mahogany but some released as Brazilian rosewood. Body designations and style designations of Martin guitars are letter-number combinations separated by a hyphen. It was a refinement of the slope-shoulder design of the original Jumbo but slightly deeper: 4 13/16. It would surprise me if there were 12 of those made as K banjos, however. The binding on the top is b/w. The 1975 price was $1,999. S2M, size 2 guitar with mahogany back & sides. Late 1940's "i" touches the "G" on "Modern" non cursive/script Gibson Logo. 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?) B. Schall (1878-1907) manufactured many unmarked banjos for
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. Some rectangular examples, Headstock appointments: Decal Only a Gibson is Good Enough banner. Find the worth of your vintage banjo from 1920s to 1970s. During the Folk Boom of the 1960s, Gretsch produced a line of 5 string open back banjos with regular and long necks. Manchester University, Instruction * ConcertsJams * More
1908 into 1916: Elevated pickguards of plastic tortoise shell clamped to the body with a removable clamp and pinned to the bridge. 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.