#Hohner professional guitar serial numbers serial numbers#
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. “F” Style mandolins have a carved nautilus shaped curl on the upper left-hand bout. “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:Īt 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. The hardshell case had a green or red silk lining. 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-4įor a period of time, this was the top of the line. The centerline of the neck had the black inlay. 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 was bound on the top, back, sides and around the fretboard. A flourish inlay under “The Gibson” in the headstock. 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. A2-Zs were theoretically made during the Loar period of 1921-25, but only between 19. There are also examples of A-2Zs without the ‘Z’ on the lable but still sporting the black perfling line. 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. Similar 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. 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 had binding on front, back, soundhole and the fretboard “The Gibson” inlaid into the headstock and a better grade of spruce top. This was available in brown, black or blonde finish. “The Gibson” stamped on tailpiece cover and inlaid in headstock. Similar to A, but with double purfling on the soundhole. A (also known as the A-0)īrown or black finish, some binding only on the top and in the soundhole with one ring around the soundhole. It was available with a brown finish and came as a snakehead or paddle headstock. In general, higher model numbers meant more binding and ornament.
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