In 1926 Gibson introduced the L-series guitars with the L-0 at $35 and the L-1 at $50 (1928 prices). 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.

• Epiphone Guitars Serial Numbers
• Vega Guitars Serial Numbers
• Vega Guitars Serial Numbers

Find the best selection of Vega Guitars at Guitar Center at the guaranteed lowest prices and free shipping. I have a vega guitar that I use a lot for gigs and at home there is no serial number on it and no model number, I hope someone can tell me when it was made. It is made from a light wood (neck, top, back and sides)with rosewood finger board mother of pearl inlays on the finger board and round the edge and hole. It was made in the Netherlands.

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. The Gibson LG series of flat-top guitars were developed as the natural evolution of the earlier L-Series. World War II changed many aspects of the guitar world. Gibson had helped in the war effort and seen many employees enlist. During the war years women played a greater role in manufacturing while young men were fighting overseas.

Materials and methods of production were reviewed and revised. The flood of returning soldiers with a broader world-view brought new musical tastes and new hopes for the future. Several other forces were at work for change:. Good size logs of spruce were government controlled during the war and were not easily available shortly after. The narrower guitar sizes allowed for available materials. The LG-Series is 2” narrower than the J-Series. Gibson had changed its neck profiles and headstock shape on the successful J-Series.

The necks and heels were rounder. Gibson needed to revitalize its lineup of flat-top guitars – the LG-Series was born. Introduced 1963, these were designed as dual-purpose instruments. They could be strung with steel or nylon strings. Introduced 1934 and modified late 1935. Martin introduced the large body dreadnaught in 1932 – It was bigger, bolder, and louder than anything Gibson had to offer. At the time, the Nick Lucas model was the largest flat-top Gibson offered.

It took Gibson 2 years to develop their response: The Jumbo of 1934. It was the heart of the depression and the instruments cost $60 without a case. They didn’t sell well but did live up to their design intent of a heavier, booming tone with good overall balance.

Dimensions: 16″ wide, 10 1/4″ long and 4 1/2″ deep. The promotional material in the Gibson catalog of 1934 said: “This greater body size produces a heavy, booming tone so popular with many players who do vocal and small combination accompaniment for both personal and radio appearances. The bass of this model will amaze you, and of course the clear brilliant treble is in perfect balance.” For once, the hyperbole may have been closer to the truth. 1934 was in the depth of the depression, and at $60 without a case, most families put food ahead of guitars. Not many were sold and the production run was therefore limited to 2 years.

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. They were popular with the Cowboy Singing Stars like Bob Baker (National Barn Dance – WLS). Wiley Morris of the Morris Brothers Hillbilly Band and Charlie Monroe (Bill Monroe’s brother) took to the instrument for it’s potential in the roots of Bluegrass music. The 1934 version had a classic Gibson sunburst: the small amber center around the bridge – about 1/4 of the top area.

This was expanded in 1935 to about 1/3 of the top area. The sides and back were tinted mahogany with a sunburst red spruce top. There was some amber color expressed on the sides and back of the 1934 versions. The 1934 was single bound, front and back with dot markers on the rosewood fretboard and a horizontal script logo inlay on the headstock.

The rosettes were simple white-black-white. The bridge were early simple rectangular with through-saddles. The tuners were individual Grover G-98’s. 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. The Jumbos had a slight V shaped neck with the Gibson truss rod and a pointed ‘French’ heal – somewhat unusual for Gibson.

In 1935, binding was added to the fretboard. Introduced in 1936 and discontinued in 1942. Reintroduced in 1984. Martin introduced the large body dreadnaught in 1932 – It was bigger, bolder, and louder than anything Gibson had to offer. At the time, the Nick Lucas model was the largest flat-top Gibson offered.

It took Gibson 2 years to develop their response: The Jumbo of 1934. It was the heart of the depression and the instruments cost $60 without a case. They didn’t sell well but did live up to their design intent of a heavier, booming tone with good overall balance. Dimensions: 16″ wide, 10 1/4″ long and 4 1/2″ deep. 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. It was a refinement of the slope-shoulder design of the original Jumbo but slightly deeper: 4 13/16″. Several cost-cutting measures existed between the Advanced Jumbo and the J-35 including scalloped braces on the advanced Jumbo and not on the J-35.

Over time the J-35 braces began to appear scalloped. 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. This moved the X away from the soundhole a bit.

Between 1934 and 1938, Gibson only offered the sunburst finish. According to the Gibson catalog, natural finish was the only option in 1939 but we are told that at least 2 examples exist of a cherry sunburst from the same period. By 1941, either natural or sunburst were available. A total of 2,477 J-35s were made according to Gibson records. The Advanced Jumbo has been described by some as the finest – no compromises – most powerful flat-top guitar Gibson ever designed and built. $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. Though it was discontinued in 1942, the last Advanced Jumbo left the Kalamazoo plant in 1940.

The first group in late 1936 had larger soundholes and long scales: 25 1/2″. The back and sides were Brazilian rosewood and the tops Adirondack red spruce. Due to the plain marks on the bracing, it is believed that every top was tuned by the same Gibson employee. There were 2 tone bars and a treble side X brace with a 102 degree angle – about 1″ below the 4″ soundhole. The bridge was a small rectangular block type with a ‘through’ saddle. The necks were 1-piece mahogany ‘V’ shape with a Brazilian rosewood fretboard at 12′ radius. The finish was sunburst.

Worthy of mention is the Jumbo Deluxe, though it is believed that only 3 were ever made in 1938. They are essentially an Advanced Jumbo with minor compromises: they filled a gap between the J-35 and the J-55. They were mahogany back & sides with single layer binding front and back. They had dot markers on the fretboard and a moustache bridge with individual adjusters on each string.

The headstock carried an inlayed script “Gibson”. The Jumbo 55 (J-55) was introduce in late 1939 and discontinued in 1942. It’s price tag was $55 as compared to the Martin D-18 at $65 and D-28 at $100. Like the SJ-100 of the same year, the J-55 had a stair-step headstock that persisted for only 2 years. The pickguard was longer than earlier models and it had a moustache bridge (though slightly smaller and less ornate than that used on the SJ-200).

The tuners were individual Kluson with amber buttons. The neck was a broad round profile single piece mahogany with a bound coffewood fretboard and dot markers. In 1941 the fretboard became Brazilian rosewood. The bracing was revised to accommodate the moustache bridge and generally heavier than earlier models.

By the records, between 200 and 300 were built. Introduced August 1942 and J-45’s are still available today. Please read the section on J-35’s and J-55’s as the J-45’s and Southerner Jumbos replaced the earlier models – it was a natural evolution. The first Gibson J45 guitars were only slightly different from the discontinued J-35. Internally, changes from the J-35 included strengthening the top bracing by moving the “X” brace 1 additional inch behind the soundhole. The back braces were tall and thin and Gibson scalloped the top braces. The original “V” shape of the necks of the J-35s was replaced by distinctly round necks (“baseball bats”) and a tear drop pickguard.

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. In 1947 a natural finish J-45 was finally offered and given the designation: J-50.

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. Also, the first batch of J-45s had more binding both on the body and soundhole. This was quickly reduced to avoid model confusion between the J-45’s and the more expensive Southerner Jumbos. The Southerner Jumbos were the most expensive flat-top guitars Gibson offered at the time. The concept behind the J-45 was a high quality, affordable, big-sounding acoustic flat-top guitar.

The original price in 1942 was $45. It was intended to be more affordable and more readily available than it’s main competition: the Martin D-18. It became the working man’s choice and one of the most enduring instrument designs in history.

Approximate Chronology (there are always exceptions): 1942. Body shape: 16″ wide, round shoulder dreadnought shape.

Body material: mahogany. Top: Select spruce, 2-piece bookmatched with scalloped X-bracing. Neck: mahogany, single piece, unbound, 19 fret, dot markers. Bridges: Rosewood belly-down.

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Some rectangular examples, black bridge pins (2 pearl dots on rectangle bridge). Headstock appointments: gold decal: “Only a Gibson is Good Enough” banner.

Gold script Gibson logo. Pickguard: Tiger-striped & teardrop shape. Finish: brown sunburst top finish, dark brown mahogany back and sides and neck. Body Binding: 7-ply top binding and single ply back binding.

Rosette: multi-ply rosette binding. Tuners: “Kluson Mfg Chicago” and “Pat.” stamped into the plate in a circle around the attachment screws, plastic button usually white but sometimes black). Scale length: 24.75″ There were a few natural finished J-45N models made during 1942. First factory order number (FON) on neck block of J45s in 1942 was 907 and 923. The Gibson Southerner Jumbo was introduced in 1942 and discontinued in 1978.

It was reintroduced in limited editions in 1991. Mythology has it that the Southerner Jumbo was specifically targeted at the Southern market honoring rising Country music trends. When it came out in 1942 it was the most expensive Gibson flat-top in the line. During 1942 two new models were introduced to the Gibson line-up to replace the J-35 and J-55.

They were the J-45 and the Southerner Jumbo. The Southerner Jumbo (later shortened to: “Southern Jumbo” and then “SJ”) was a fancier J-45. The appointments of the Southerner Jumbo included more top binding and an additional set of rosette rings. (The 1st year of the J-45 actually had similar appointments but they were reduced and simplified for model clarity in 1943). The back and sides were still mahogany but the Southerner Jumbo had a dark wooden stripe separating the 2 back pieces. The neck heal had a white plastic cap. The only available finish was sunburst until 1954.

Approximate Chronology (there are always exceptions): 1942. Back & Sides: Mahogany but some released as Brazilian rosewood. Top: Select spruce. Neck: mahogany – single piece. Pearl twin parallelogram inlays. Bridges: Rosewood belly-down. Some rectangular examples.

Headstock appointments: Decal – “Only a Gibson is Good Enough” banner. The Gibson Super Jumbo first appeared in 1937.

It was built for Hollywood singing star Ray Whitley as the world’s biggest and fanciest acoustic guitar. Other singing cowboys who later owned Super Jumbos include Roy Rogers and Gene Autry. Western movies were tremendously popular and the singing cowboy heroes needed instruments as big and bold as untamed West. 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. The first versions of the Super Jumbo guitar had a neck joint with 12 frets clear of the body placing the moustache bridge geometrically in the center of the distinctly round 16 7/8″ lower bout. The soundboard was so large and the body so deep that the sound was immense.

Vega Guitars Serial Numbers

The following versions evolved quickly to 14 frets clear of the body. The neck was basically the neck stocks from the L-5 archtop: 3 ply maple with single wide bound scalloped fretboard ends and headstocks and the early models had the L-5 flowerpot inlay on the headstock. The model started production in 1938 as Gibson’s top-of-the-line flat top guitar. It was initially called the De Luxe Jumbo for the few versions that were delivered before the model went into production.

The original Factory Order Numbers (FON) appear to show the first De Luxe Jumbos were delivered bewteen March and June of 1938 to Joe Wolverton, Ray Whitley and Gene Autry. 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 2nd delivery to Ray Whitley was the more refined 14 fret SJ that is so well photo-dicumented.

Vega Guitars Serial Numbers

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). The final production versions had a double-braced red spruce top and rosewood back and sides with a sunburst finish. In 1947 the name changed to the J-200 and the standard back and sides became highly figured maple. Gibson changed the name again in the 1950s to the SJ-200. A simpler variation on the SJ-200 with fewer appointments and a lower price tag was the SJ-100. In the early years, due to the depression and the following wartime austerity, demand for this expensive instrument was limited and production quantities were small.

Year Deluxe Jumbo SJ-200 SJ-100 Total 1937 1 1 1938 10 27 32 39 67 106 1942 23 3 1 4 1944 2 2 Totals 11 158 177 346. Introduced 1954, discontinued in 1978, reintroduced in the 1980s and still produced today. The J-160E was Gibson’s second design for an electric flat-top guitar following the CF-100. It was basically a slope shoulder dreadnaught like a J-45 or Southerner Jumbo and designed for the country and western market. 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. To accommodate the pickup, the standard production neck was pushed up to a neck-body joint at the 15th fret.

Gibson introduced their first adjustable belly bridge – 2 screws to raise and lower the bridge. Changes over the years included:. Knob changes – usually following other Gibson electrics.

Mid 1960s: Cherry sunburst added. 1955: larger 20 fret fingerboards. 1959: Larger crown frets and the adjustable bridge. 1968: Changed to a bottom belly bridge and 1960 style pickguard. 1969: Changed to a square shoulder dreadnaught. 1978: Production ceased. 1980s: Reintroduced.

Martin Guitars seemed to take note of the successful sales of the Gibson acoustic-electrics J-160E and CF-100E’s. Martin introduced their versions of acoustic-electrics: the D-18E in 1958 and D-28E in 1959. They were too late – Gibson owned the market and the Martins were dropped 6 years later having only sold about 540 combined. Standard production specifications:. 24 3/4″ standard scale length.

3-ply plywood Sitka top. Original version: solid mahogany back but laminated mahogany sides. Southerner Jumbo appointments.

1 piece mahogany neck & 17 degree headstock angle. Standard models were all sunburst. Bound Brazilian fretboard with trapezoid inlayed markers. Brazilian rosewood belly bridge.

Pearl script and crown headstock inlays. Individual Kluson tuners with white buttons – later: keystone Pearloid buttons. P-90 single coil pickup with adjustable pole pieces. Jack in the side lower treble bout. The Gibson CF-100 was introduced in 1950 (the CF-100E was introduced 1951) and discontinued in 1960. These were Gibson’s first flat-top cutaways. Notable endorsers of this model include Leon Redbone.

For photographic examples of the Gibson Cf-100 and CF-100E – Click Here The body dimensions basically match the LG-series: 14 1/8″ wide by 19 1/2″ long by 4 1/2″ deep. It had a 24 3/4″ scale and was constructed of all solid woods. The electric version included a P-90 pickup at the end of the soundboard like the later versions of the J-160E. 1952: The headstock gold decal logo was replaced by an inlayed pearl script and crown. Mid 1950s: the pickguard changed from the teardrop to the larger undulating shape like the pre-war J-35s. 1955: Gibson stopped scalloping the bracing – it was faster to produce but not as strong.

See also: Gibson J-160E for more historical context. Between 1975 and 1979, Gibson worked with Dr. Michael Kasha’s acoustic theories for guitar and Luthier Richard Schneider’s design applications to create a unique instrument for the Gibson acoustic lineup.

The Mark Series guitars had 16 3/16″ lower bouts with very narrow waists, and a headstock like no other in Gibson tradition. The instruments had modified fan bracing and asymmetrical bridges.

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. Michael Kasha was a chemical physicist and the director of the Institute of Molecular Biophysics at Florida State University. He was also a guitar enthusiast with a passion for physical and psycho-acoustics. 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.

Gibson hoped to score the same type of success that had occurred with Lloyd Loar in the 1920s: redefining the acoustic guitar for generations to come. Richard Schneider and assistant Abe Wechter acted as the on-site, full-time luthiers to collaborate and develop Kasha’s theories and bring them to a manufacturing reality. Following many prototypes, shapes and bracing patterns, the Mark Series was launched in 1975.

The Mark Series guitars were particularly interesting among the Gibson flat tops made in the 1970s due to their unique bracing. 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. The 1970s are viewed by many collectors and players as the low point of Gibson manufacturing. These instruments live a bit outside that critique.

Each model of the Mark Series was available in natural or sunburst finish. The sunburst finish was generally $30 less than natural finish. The selected tuners varied randomly by model and year.

New guitars were supplied with user applied pick guards, and extra saddles of different heights that could be easily inserted to adjust the string action to accommodate the swelling of the instrument with seasonal humidity changes. The saddles were wider than usual. 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. Dimensions:. 11 3/4″ – Upper Bout. 10 3/16″ – Waist.

16 3/16″ – Lower Bout. 20 5/32″ – Body Lenth.

5 3/64″ – Body Depth. 1 5/8″ – Nut width Like everything else, we have seen exceptions to the listed dimensions; especially the nut widths. There were some 1 3/4″ nuts available.

It is not clear how Gibson decided to set their nut widths and neck thicknesses. It appears that they experimented right up to the point of discontinuing the line. The choice to discontinue the Mark Series had to do with the general turmoil of the Gibson company in the last years of ownership by Norlin.

The Mark Series, though not a wild success in terms of overall sales, did sell reasonably well. Towards the end, the line actually continued to increase in sales. Timing is everything – In 1969 the Gibson parent company: Chicago Musical Instruments (CMI) was acquired by the South American brewing conglomerate: E.C.L. ECL changed its name shortly afterwards to: Norlin Inc. For ECL president Norton Stevens and CMI president Maurice Berlin.

Between 1974 and 1984 production of Gibson guitars was slowly being shifted from Kalamazoo MI to Nashville TN. The early instruments built in Nashville suffered from inexperienced workers and climate-control problems in the humid South. The Kalamazoo plant kept going for a few years as a custom-instrument shop, including the Mark Series instruments, and was ultimately closed in 1984. 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. Even the group of inexperienced entreprenuers could see and understand the value of the Gibson name. It marked the beginning of a new era for Gibson.

It was during the years of 1977 through 1986 that most of the high-end lines at Gibson were discontinued: The ES-350T, L-5S and the Mark Series among them. Gibson believed that these choices would allow them to focus on their more profitable lines. The guitar designs, however, were not the problem. The last of the Mark Series was built in 1979. By the end in 1985-86, Gibson was basically down to the Les Paul model alone. Model Designations:. MK-99 models were handcrafted and signed by Richard Schneider.

They were available in steel string or classical. It is not clear how many were made, but it is likely that there are less than 12. The 1975 price was $1,999.

MK-81 models were rosewood back & sides, ebony fingerboard with figured abalone block inlays & gold plated hardware. They had owner applied pick guards and multi-bound backs and tops (including red line highlights). There were 431 made. The 1975 price was $879. MK-72 models were rosewood back & sides, 3 piece ebony/rosewood fingerboards with dot inlays & nickel hardware. The top and back bindings were black plastic with red line highlights. There were 1229 made.

The 1975 price was $659. MK-53 models were maple back & sides, rosewood fingerboards with dot inlays & nickel hardware. The top and back bindings were black plastic with red line highlights. There were 1424 made. The 1975 price was $549.

MK-35 models were mahogany back & sides, rosewood fingerboards with dot inlays & nickel hardware. The top and back bindings were black plastic. There were 5226 made. The 1975 price was $439. MK-35-12 models were only made in 1977. The appointments matched the MK-35 but the bracing was modified to accommodate the additional string tension of 12 strings.

Only about a dozen were made. Body designations and style designations of Martin guitars are letter-number combinations separated by a hyphen.

After October 1930 the body and style designations and the serial number appears stamped on the neck blocks: Body designation – Style designation, Serial number See Martin Serial Numbers for a dating information. Body Designations: Martin Flat Top Guitar Body Sizes and Designations: The body size designation is stamped on the neck block starting in October 1930. All measurements are in inches. “Frets” refers to the number of frets that are clear of the body. “Introduced” is the year of introduction.

Size Frets Width Depth Body Length Total Length Year Introduced Scale 1/4 12 6 3/16 2 7/8 12 earliest 1/4 12 8 15/16 3 9/16 12 1/16 later version 1/2 12 10 1/8 3 3/8 15 1/16 pre 1852 7 12 13 11/16 4 3/8 17 5 12 11 3 7/8 16 1854 4 12 11 3 16 1857 3? 12 10 11/16 3 7/8 16 7/8 pre 1852 3 12 11 3 13/16 17 3/8 pre 1852 2? 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. Carl and August Larson built instruments between 1900 and 1944. They did not imprint the instruments with any particular brand.

They did provide paper labels for the instrument that they represented but did not provide labels for custom instruments or other shops or manufacturers. First – The label: Brands that were always built by the Larson Brothers:. Maurer after 1900. Prairie State. Euphonon Brands that were sometimes built by the Larson brothers:.

WM. Stahl (1904 – 1938?). Dyer (1906 – 1923?) Generally harp guitars. Stetson. Knutsen. Wack (1932 – 1944).

Regal (1901 – 1904). Champion Brands that were occasionally (but very rarely) built by the Larson brothers:. C. Leland “Brilliantone” (1910 – 1918?). Southern California Music Company.

H.F. Meyers (1909-1912?). Mayflower Music (1904-1905?). Bradbury. Kaai Ukuleles Sizes of Maurer Guitars (from the 1932 Maurer / Prairie State Catalog): All listed sizes are for 12 fret to body models: Model Body Length Width at Bridge Scale Length Standard 18″ 12 3/4″ 24 5/8″ Concert 18 7/8″ 13 1/2″ 25″ Grand 19 1/8″ 14″ 25 3/8″ Auditorium 20″ 15″ 25 5/8″ Larson Sound Hole Dimensions: These dimensions were similar for all Larson made instruments. The soundhole size coincided with the overall size of the instrument. Brand Lower Bout Sound Hole Parlor 12 5/8″ 3 3/16″ Stetson 12 3/4″ 3 11/16″ Maurer 13 1/2″ 3 5/8″ – 3 11/16″ Stetson 14 1/2″ 3 15/16″ Euphonon 15″ 3 3/4″ – 3 7/8″ Dreadnaught 15 11/16″ 3 7/8″ Tuners and Hardware: Tuners, hardware and tailpieces were probably purchased from Lyon and Healy who had a factory just down the street from the Larson shop.

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. Materials used in Construction:.

Bodies: Rosewood, oak, mahogany, koa and maple,. Tops: Spruce.

Fretboards: Ebony. Bridges: Ebony – Sometimes with a flattened pyramid rectangular bridge shape. Top Bracing: The more economical Student Grade instruments were often ladder braced.

The braces were generally thin and numerous compared with other manufacturers. Intermediate Grade and Best Grade were generally X braced with laminated braces for added strength. General Notes on Larson Construction Technique: Prairie State instruments have the patented rod and/or tube reinforcing, occasionally found on other Larson built guitars. 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. On 12 fret to the body guitars, in a break with tradition, the Larson brothers frequently inlayed the 10th fret instead of the ninth.

Ebony Fretboards were generally thicker than other builders. If the fretboard was bound, they generally added a stripe of black under the side binding. The top and back are lightly arched, producing the deepest measurement in the center of the guitars body. Inlays and bindings are remarkably consistent through the years. The soundhole binding does not extend the full depth of the soundhole. Maurer & Prairie State Model Numbers: Most information about Larson Brothers instruments comes from their catalog published around 1930.

Unfortunately, the information is confusing and inconsistent. Sometimes a higher model number means a bigger and fancier instrument but there does not appear to be a thoughtful of consistent method for ascribing model numbers. The following are a rough guide. Maurer Styles:. 541 Concert: rosewood back & sides with colored wood appointments. 551 Auditorium.

562 Standard size with rosewood back & sides, MOP and colored wood appointments. 562 1/2 Concert. 564 Auditorium. 585 Grand Concert: rosewood back & sides, MOP, colored wood appointments and a Tree-of-Life fretboard inlay. 587 Similar to 585 but with pearl (vs ivoroid) tuner buttons.

590 Auditorium. 593 Similar to 590 but with pearl (vs ivoroid) tuner buttons Prairie State Styles:. 200s are Concert size. 300s are Grand Concert size. 400s are Auditorium size.

225 Rosewood back & sides. 235 MOP & colored wood appointments. 335. 340 Rosewood back & sides, MOP, colored wood appointments & a Tree-of-Life fretboard inlay.

350 Pearl (vs ivoroid) tuner buttons. 425. 426 Nut set high for Hawaiian players. 427 Geared pegs & reinforced neck. 428 Geared pegs, reinforced neck & high nut. 435. 440.

450 Pearl (vs ivoroid) tuner buttons Larson Serial Numbers The Maurer Company records have been lost. 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. To complicate matters, the Larson brothers appear to have used different numbering techniques for different brands that they supplied.

The following are believed to be accurate known numbers: The following serial numbers are approximate at best. The following numbers are the earliest known serial number for the year listed. There can easily be more numbers within each year listed. This should be considered a guide to get you within a year of the correct date.

Where no serial numbers are shown – they simply are not known. See the notes below.

All Gurian Guitars have serial numbers stamped on the neck block in characters visible through the soundhole. The numbers are preceded by letters: A, B, C, or D which indicate the series.

A-series – Factory location: New York City from start to 1971. B-series – Factory location: Grand Street, New York City from 1972 to 1973. 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). The designation “M” is mahogany.

The designation “R” is rosewood. The designation “H” is herringbone Size 2. S2M, size 2 guitar with mahogany back & sides. This is the smallest model, chrome tuners. S2R, size 2 guitar with East Indian rosewood back & sides, chrome tuners. S2R3H, identical to S2R, but with 3-piece back, full herringbone purflings, gold tuners.

Size 3. S3M, Size 3 guitar with mahogany back & sides. Middle-sized, chrome tuners. S3R, Size 3 guitar with East Indian rosewood back & sides, chrome tuners. S3R3H, Like S3R, with 3-piece back, full herringbone binding, gold tuners. Jumbo.

JM, jumbo size guitar with mahogany back & sides, chrome tuners. JR, jumbo size guitar with East Indian rosewood back & sides, chrome tuners. JR3H, like JR, but with 3-piece back, herringbone binding & gold tuners. The Cutaway. Size 3 Gurian, either acoustic or amplified.

Classic and Flamenco Guitars. CLM, Classical guitar with mahogany back and sides. CLR, Classic guitar with Indian rosewood back and sides, decorated binding, gold tuners. CLB, Classic guitar of Brazilian rosewood, gold tuners. FLC, Flamenco guitar with Canadian cypress back and sides, friction pegs (machine heads on some examples). This information is approximate and has not been verified by the LoPrinzi family. If you have additional information or corrections, please contact us.

Augustino & Thomas LoPrinzi Guitars usually have the date of manufacture on the label. 1958 to 1973+/- LoPrinzi Guitars – most from Plainsboro New Jersey. Headstocks say ‘LoPrinzi’. 1973 to 1980: LoPrinzi Guitars – Plainsboro, New Jersey – AMF years (serial numbers: high 3,000 – 4,000s) Tom LoPrinzi was still with the company. Headstocks say ‘LoPrinzi’. 1980: AMF ceased production of ‘LoPrinzi’ guitars.

1975 to 1990: Labels say: ‘A. LoPrinzi – Rosemont, New Jersey’ – built by Augustino LoPrinzi (and apprentices) with “Augustino” on the headstocks. 1990 to Present: Augustino LoPrinzi Guitar Maker – Clearwater Florida (LoPrinzi name bought back from AMF) – Instruments designed and built by Augustino and Donna LoPrinzi (daughter).

Augustino LoPrinzi has developed a fine reputation for classical guitars, ukuleles, steel string and 12-string guitars. Serial number records exist for instruments built before 1975 and after 1980. They are maintained by Donna LoPrinzi in Clearwater Florida.

Does anyone have any information about the relevance of these serial numbers to Vega guitars? All the guitar sites I've checked seem to think the guitar serial numbers are a mystery, and that may be true. I have a Vega guitar with a serial number that would date it at 1919 according to the information above. But it has a typical Vega engraved pearl star in peg head with the word 'Vega' engraved in the star. My guess from looking at lots of photos of Vega mandolins, banjos, and mandolin banjos is that the word 'Vega' was not engraved in the stars until the late 1920s. It's possible they started doing that on guitars earlier, but it's also possible that they used a different serial numbering system for guitars. Any thoughts?