banjo headstock identification

The first number of the sequence indicates the decade of production, followed by the three digit day of the year, and finally the year. It took Gibson 2 years to develop their response: The Jumbo of 1934. 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). All Rights Reserved. Skip to main content. which do not feature a paper label. Ironically, the script logo on the headstock was old-style. The somewhat radical headstock shape was discontinued at Gibson with the Mark Series but appears to have been an influence on the young Paul Reed Smith who later used a similar shape for his electric instruments. These were Gibsons first flat-top cutaways. Late 1930s through 1942: ? adjustment wheels 2 feet and extensions on top of the base for the wheels. They were available in steel string or classical. S3R3H, Like S3R, with 3-piece back, full herringbone binding, gold tuners. Bridges: Ebony Sometimes with a flattened pyramid rectangular bridge shape. Introduced 1967, Basically an more economical LG-0. The body dimensions basically match the LG-series: 14 1/8 wide by 19 1/2 long by 4 1/2 deep. Here's the photo gallery that I put together:velkdesign.com/assets/banjo/. LoPrinzi Rosemont, New Jersey built by Augustino LoPrinzi (and apprentices) with Augustino on the headstocks. Some FONs for 1942 include 7116-7119, 7434, 7705, 7721, 907, 910, 923, 928, 2004-2006, 2059, 2098, 2110, 2119. Post war logo, 1947/8 to '60s found on various guitar like Melody Maker, Les Paul Jr, Special, Lg0, Lg2, Sg Jr, Special, ecc, ecc.Note the dot link to G. '70 Gold logo - Decal instead silkscreening. Kay company banjos were normally not that high-quality but this one is different. The neck heal had a white plastic cap. teachers who sold them to students, some of which are tagged with the name of The space between the headstock center and the top of the lathe bed is the radius of the lathe swing. banjo headstock identification new harrisonburg high school good friday agreement, brexit June 29, 2022 fabletics madelaine petsch 2021 0 when is property considered abandoned after a divorce The J-160E was Gibsons second design for an electric flat-top guitar following the CF-100. The fingerboard typically has inlays made of silver or steel. The soundhole had an additional thick white purfling ring. The Jumbos had a slight V shaped neck with the Gibson truss rod and a pointed French heal somewhat unusual for Gibson. They were well suited for orchestral arrangements as well as individual play and accompaniment. This is the smallest model, chrome tuners. Some SJNs with plastic Special Bridges. Gibson changed the name again in the 1950s to the SJ-200. Martin introduced their versions of acoustic-electrics: the D-18E in 1958 and D-28E in 1959. Back & Sides: Mahogany but some released as Brazilian rosewood. 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. 1979 $1149 Antique Sunburst added to Fireburst, Cherry Sunburst and Natural. Headstocks of US models also use the Gibson headstock shape. Some laminated maple necks with two walnut stripes down the center (5 piece neck), most with no truss rod (war time meallocations), Neck shape large and round (Baseball Bat) due to lack of truss rod, Poplar neck blocks. Some rectangular examples, black bridge pins (2 pearl dots on rectangle bridge), Headstock appointments: gold decal: Only a Gibson is Good Enough banner. Each type of banjo head has a unique contribution to your banjo's tone. 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. It is very showy though. F/FF = Factory code (No factory designator for some 1993 and earlier models) Y/YY = Year of manufacture (Single digit for some 1997 and earlier models) MM = Month of manufacture. So far as I can find Gibson appears to have only made "Stewart" instruments for a couple of years in the early 1930s. Example of custom shape is well represented below with the "Tennessee Banjo". Like everything else connected to instrument identification issues - there are many exceptions. Other attempts by Gibson to make-do with the materials available to them include laminated maback and sides finished in a dark mahogany stain and a few were built with a laminate maple back and a mahogany top. 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. 1921 onward: Metal 90-degree pickguard support screwed into the body and additional screw to the neck. 1970 onward: 1 piece maple. Dark stained plain birch back and sides. There were many name variations for The Bacon Banjo Company, Inc. but it remained in Fred Bacons name from 1920 until the company closed in 1938. For sale for $50 cash, firm. For photographic examples of the Gibson Cf-100 and CF-100E Click Here. The following are a rough guide. JR3H, like JR, but with 3-piece back, herringbone binding & gold tuners. No serial numbers etc. See Martin Serial Numbers for a dating information. Following many prototypes, shapes and bracing patterns, the Mark Series was launched in 1975. . He was also a guitar enthusiast with a passion for physical and psycho-acoustics. It also had a black veneered headstock (front and back) and a black inlay in the back of the neck. Please note this is an archived topic, so it is locked and unable to be replied to. . 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. ECL changed its name shortly afterwards to: Norlin Inc. for ECL president Norton Stevens and CMI president Maurice Berlin. Buckbee (1861-1897) banjos can frequently be identified by their Late 1930's Thicker Gibson Logo. Thanks for the history, I always love the story. Dimensions: 16 wide, 10 1/4 long and 4 1/2 deep. The examples weve seen vary from the Gibson catalogs quite a bit. The back braces were tall and thin and Gibson scalloped the top braces. 2005-2023 acousticmusic.org. department to department had 40 cubbyholes. To confuse matters, they also manufactured Bacon banjos that had been developed by Fred Bacon: the Professional, the Orchestra and the Blue Ribbon. The Mark Series guitars were particularly interesting among the Gibson flat tops made in the 1970s due to their unique bracing. The 2nd delivery to Ray Whitley was the more refined 14 fret SJ that is so well photo-dicumented. There are a few examples of A-2Zs with black tops, though this was probably used to cover some imperfection in the selected tops. He lived in Illinois all his life. Dimensions: 16 wide, 10 1/4 long and 4 1/2 deep. 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. set of identifying characteristics can be found at Late 1974 gold covered recording pickups are replaced with humbuckers. Gibson. Jun 24, 2020 - The Art of Banjo Headstocks. Gibson developed the truss rod in 1921. The early instruments built in Nashville suffered from inexperienced workers and climate-control problems in the humid South. thin heel footprints as shown below in the second row of pictures: J. Hand Engraving. All listed sizes are for 12 fret to body models: These dimensions were similar for all Larson made instruments. The USA distributors in the 60s and 70s used their own serial number systems and we do . 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. Gretsch appears to have started a new numbering system at about that time. These had black plastic laminate headstock overlays with Bacon engraved in blockletters and a small, metal plate engraved Bacon Folk Model. the bins that were used to move instruments from . You may, . The following are believed to be accurate known numbers: The following serial numbers are approximate at best. Some early necks were cherry before 1912. David L. Day was in his 70s. 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. Numerous articles in Vintage Guitar Magazine over the years. Similar to A-2 but with snakehead headstock, blonde finish, b/w binding, and A2-Z on the label. 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. 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. I like it. Acoustic guitars are punched inside the soundhole on a sticker behind the strings. The one delivered first to Ray Whitley was not the model now seen as the beginning of the Super Jumbos, but a simpler 12 fret version. 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. For example: The custom series of Epiphone Texans built with cooperation from Paul McCartney: some were built in Bozeman Montana and some in Japan. Ironically the first blond J-45s were actually built in July of 1942 (Called the J-45N for Natural) and the actual number of these shipped is not known for sure. If you would like to use content from this page, see our Terms of Usage policy. These appear to be the easiest to find and quite reasonable to buy. Identification: "A" Style mandolins were symmetrical and shaped like a teardrop. Your banjo is Asian made, likely Korea, but maybe Japan. Buy in monthly payments with Affirm on orders over $50. The labels with an image of Orville Gibson are generally found on instruments with serial numbers below 10,000.

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