Martin Guitars seemed to take note of the successful sales of the Gibson acoustic-electrics J-160E and CF-100E’s. USA produced Epiphones of this era bear standard Gibson serialization and include the “Made in USA” stamp on the back of the headstock. 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. Gibson had helped in the war effort and seen many employees enlist. The AC-1 weighs less than 4 pounds, which makes it a great choice for anyone who finds other banjos too heavy. The system is not known for certain but might have restarted as consecutive numbers beginning at 1000. Headstock appointments: gold decal: “Only a Gibson is Good Enough” banner. 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. There were 431 made. MK-35 models were mahogany back & sides, rosewood fingerboards with dot inlays & nickel hardware. Ferrule? Similar to A-2 but with snakehead headstock, blonde finish, b/w binding, and A2-Z on the label. Also, the tailpiece on this banjo is a patent assigned to Lyon & Healy, further suggesting them as the makers. 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. Bodies: Rosewood, oak, mahogany, koa and maple. It was a refinement of the slope-shoulder design of the original Jumbo but slightly deeper: 4 13/16″. Generally harp guitars, L.H. It was reintroduced in limited editions in 1991. CLB, Classic guitar of Brazilian rosewood, gold tuners. OHSC, 1980 Gyphon Banjo - Gryphon Stringed Instruments. The instruments had modified fan bracing and asymmetrical bridges. The tuners cogs are peened on the shafts (the peening sometihas a “waffle” design). Ludwig made very high quality banjo ukuleles in the late 1920s through around 1930. 1-6 digits stamped into the top edge of the headstock-often difficult to read. Dimensions: 16″ wide, 10 1/4″ long and 4 1/2″ deep. Augustino LoPrinzi Guitar Maker – Clearwater Florida (LoPrinzi name bought back from AMF) – Instruments designed and built by Augustino and Donna LoPrinzi (daughter). The appointments matched the MK-35 but the bracing was modified to accommodate the additional string tension of 12 strings. Dr. Michael Kasha was a chemical physicist and the director of the Institute of Molecular Biophysics at Florida State University. The soundhole size coincided with the overall size of the instrument. The sides and back were tinted mahogany with a sunburst red spruce top. Pearl dots on fretboard. It appears to be all original except for the bridge, which appears to be a banjo bridge crudely slotted for 8 strings, and the head, which is probably plastic. B-series – Factory location: Grand Street, New York City from 1972 to 1973. (Folk Jumbo Natural and Folk-25). Some earlier specimens from 1903 to 1907 did not slant the logo, or went without a logo entirely. The 1975 price was $1,999. The only available finish was sunburst until 1954. The Southerner Jumbos were the most expensive flat-top guitars Gibson offered at the time. Most information about Larson Brothers instruments comes from their catalog published around 1930. For example: Gretsch stopped production of Bacon and B&D banjos. Headstocks say ‘LoPrinzi’. In some cases there are no pickguards. Serial number records exist for instruments built before 1975 and after 1980. 1980 – $1249 – By late 1980, the Gibson deluxe tuners with “Crank” button, and “Posi-Lok” strap button were added. The back and sides were Brazilian rosewood and the tops Adirondack red spruce. For more detailed information, get the following book: The Larsons’ Creations – Guitars & Mandolins by Robert Carl Hartman. It was available with a brown finish and came as a snakehead or paddle headstock. Labels say: ‘A. The name variations included ‘Bacon and Day’ and ‘B&D’ for all the instruments co-developed by Fred Bacon and David Day. The early models had shallow neck sets and low bridges that increased in angle around 1908 with taller bridges. For modern clawhammer style players who enjoy jamming in any style of music this powerful openback banjo can hold it's own with a loud, clear bell like tone normally only found in resonator banjos. These appear to have a unique serial number scheme. See also: Gibson J-160E for more historical context. Custom open back-banjos by Greg Galbreath. This was adapted to the mandolin over the next few years. Kay was established in 1931 in Chicago, Illinois, by Henry "Kay" Kuhrmeyer, from the assets of the former Stromberg-Voisinet (founded as "Groeschel Mandolin Company" in 1890).. 1890’s into 1907: Inlaid into the top of the instrument. The electronics cover on the back was matching solid figured maple. Gibson believed that these choices would allow them to focus on their more profitable lines. It was available with a “Snakehead” and had a shaped fingerboard extension. 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. 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. It also had a black veneered headstock (front and back) and a black inlay in the back of the neck. The rosettes were simple white-black-white. Because there are few of these instruments around, little has been written about them, though some did find their way into the hands of influential artists of the day. 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. Between 1934 and 1938, Gibson only offered the sunburst finish. The braces were generally thin and numerous compared with other manufacturers. Unfortunately it is not the most desirable combination that most are looking for and why the approximate value is between $1600-$2000. Some banjo models have the serial number stamped on the inside of the rim. $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. The guitar designs, however, were not the problem. The original “V” shape of the necks of the J-35s was replaced by distinctly round necks (“baseball bats”) and a tear drop pickguard. The headstock carried an inlayed script “Gibson”. Having the highest-pitched string next to the string with the lowest pitch is unusual in comparison to how pitches are arranged on the strings of a guitar, but this is one of the things that makes the banjo sound so great! S2R, size 2 guitar with East Indian rosewood back & sides, chrome tuners. $100.00 shipping. In 1947 a natural finish J-45 was finally offered and given the designation: J-50. Many have no identification at all. This is the smallest model, chrome tuners. They were well suited for orchestral arrangements as well as individual play and accompaniment. The original partners were Fred and Cassie Bacon and Mr. and Mrs. Oliver Winship. 1970 onward: 1 piece maple. Where no serial numbers are shown – they simply are not known. Neck: mahogany – single piece. AMF ceased production of ‘LoPrinzi’ guitars. In general, the Larsons used fancier hardware on the more expensive instruments – so the date of the hardware should coincide with similar instruments of the period. CMI acquired Gibson around May 1944. This information is approximate and has not been verified by the LoPrinzi family. Ebony armrest has the name Ruth inlaid in pearl. There are four fingerboard and five headstock inlay patterns you can select in customizing a Huber banjo. Features a wider neck and a bronze Deering -06- tone ring. Since the Larson brothers built guitars for many brand names, identification can be difficult, but there are a number of stylistic and structural building techniques that help narrow the exercise. The 1975 price was $439. And it's a 5 string, which I think is rare. Like everything else, we have seen exceptions to the listed dimensions; especially the nut widths. Gibson Banjo Construction Evolution: 1918 to 1938 Many interesting changes occurred in the development of the Gibson banjo line between its inception in October 1918, and the end of its "pre-war" era in 1938. Due to the plain marks on the bracing, it is believed that every top was tuned by the same Gibson employee. Timing is everything – In 1969 the Gibson parent company: Chicago Musical Instruments (CMI) was acquired by the South American brewing conglomerate: E.C.L.

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