Is a Gibson Gibson ES120T SN86357, it is in good condition, very playable, all the electronics are in working order, just looks a little used, the other is a 1947 Martin 00018, SN 177409.Gibson introduced the line in 1968 as a 'no frills,' stripped-down, rosewood, more economically friendly version of Gibsons famed J-45something like the Working Man series which would replace the J-40 in the 1980s. A-jr.I have 2 vintage guitars I would like to find the value of. Higher numbers also meant more money. You can use this database to find correct Gibson pots, or correct value replacement pots for your vintage Gibson guitar.In general, higher model numbers meant more binding and ornament. This Gibson pot database contains part numbers with respective models for all Gibsons from the early 1960s until the early 1980s as described in the various replacement parts lists distributed by Gibson.Dark stained plain birch back and sides. Sounds quite nice, but the.Brown or black finish, some binding only on the top and in the soundhole with one ring around the soundhole. This guitar was made in Japan by by the Kiso Suzuki Violin Company company. A (also known as the A-0)UP FOR SALE IS A KISO SUZUKI Mod. It was available with a brown finish and came as a snakehead or paddle headstock. No binding, no inlay and no decoration.
Gibson Guitar Value By Series Which WouldIt had binding on front, back, soundhole and the fretboard “The Gibson” inlaid into the headstock and a better grade of spruce top. A-2This was available in brown, black or blonde finish. “The Gibson” stamped on tailpiece cover and inlaid in headstock. A-1Similar to A, but with double purfling on the soundhole. A-2ZSimilar to A-2 but with snakehead headstock, blonde finish, b/w binding, and A2-Z on the label. There was a line of black inlay (or ebony layer) along the centerline of the back of the neck. The headstock face was veneered in black. There are a few examples of A-2Zs with black tops, though this was probably used to cover some imperfection in the selected tops. In 1923 it appears that Gibson began to assemble A-2s with left-over blonde tops from A-3s. A-3’s had refrigerator white tops with a black perfling line, adjustable truss rods and adjustable bridges. It was bound on the top, back, sides and around the fretboard. A flourish inlay under “The Gibson” in the headstock. A-3Similar 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. A2-Zs were theoretically made during the Loar period of 1921-25, but only between 19. The headstock had a black wood face veneer. The fretboard was bound but without extension and “The Gibson” was stamped into the tailpiece cover. The birch sides and back were stained red. The grade of top wood was tighter grained. It also had a black veneered headstock (front and back) and a black inlay in the back of the neck. It was available with a “Snakehead” and had a shaped fingerboard extension. The soundhole had an additional thick white purfling ring. It was available in red, black or two-tone sunburst finish, fleur-de-lis under “The Gibson” Handel inlaid tuner buttons prior to 1916 (WWI) with a dotted “+” in each button. A-4For a period of time, this was the top of the line. Identification:“A” Style mandolins were symmetrical and shaped like a teardrop. They were well suited for orchestral arrangements as well as individual play and accompaniment. It became apparent early that the new design concept was good: they were, in fact, louder and more ‘cutting’ in tone. The new design was thinner and much easier to handle and play. The tradition had been ‘Bug’ style mandolins: bowl-backs with flat or bent tops. Historical Context: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. Occasionally the labels have fallen out or been removed during repairs making it a bit trickier to date the instruments. 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. 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. They generally had birch or walnut back and sides – sometimes flat and later (1904+/-) carved. The Gibson Company was formed in late 1902 and the early mandolins evolved from the original Orville Gibson designs. 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. Factory numbers (when the exist) appear in pencil inside on the block where the neck meets the body. Serial numbers are addressed elsewhere on the web site but can be found also on Gibson’s website and George Gruhn & Walter Carter’s book: Gruhn’s Guide to Vintage Guitars. If the serial number is legible the instrument can be relatively easy to date. 1921 early: 3/8″ adjustment wheels, short base and aluminum compensated bridge top. Though it has gone through a number of refinements over the years, the basic design has not changed since. Then Gibson developed the adjustable bridge. These bridges had movable saddles up to about 1917 when they changed to a one-piece compensating bridge design through early 1921. The current bridge height and neck angle was reached around 1910. Bridges after 1921 show a patent date of Jan. 1946 onward: No feet – the bottom of the bridge flush on the instrument top. Late 1930’s through 1942: ?” adjustment wheels 2 feet and extensions on top of the base for the wheels. 1916 into 1921: the pin to the bridge was dropped. 1908 into 1916: Elevated pickguards of plastic tortoise shell clamped to the body with a removable clamp and pinned to the bridge. In some cases there are no pickguards. The examples we’ve seen vary from the Gibson catalogs quite a bit. Pickguards1890’s into 1907: Inlaid into the top of the instrument. It is, therefore, not unusual to find older mandolins with replacement bridges. 1970 onward: 1 piece maple. 1923 into 1970: 1 piece mahogany necks. Though there appear to be exceptions, necks between 19 are 3-piece mahogany. NecksSome early necks were cherry before 1912. The later pickguard clamps have a stamped patent date of July 4, 1911. Pickguards between 19 +/- show a stamped patent date of Mar. The current bridge height and neck angle was reached around 1910. The early models had shallow neck sets that increased in angle around 1908. These appear to be the easiest to find and quite reasonable to buy. General InformationDuring the period of 1909 through 1920 Gibson produced large numbers of mandolins. The introduction of a truss rod cover to the headstock caused the inlay patterns to adjust as well. This was adapted to the mandolin over the next few years. The public seems to have favored this shape over time as it fetches better prices now. Other Features “Snakehead”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). The decade following saw a change in finish from varnish to shinier lacquer. Microsoft office buy for mac– Dan Beimborn’s original Mandolin Pages web site and later contributions to the Mandolin Archive. Information gathered from many sources but there are a few that need to be acknowledged: Neck Shape:The standard early Gibson A models had a soft “V” shaped neck. It is most common after 1923 when most Gibson model A’s had this shape. ![]() 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 it’s year of production.
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