1. Gibson Mandolin Serial Number Decoder
2. Gibson Mandolin Serial Number Guide
3. Gibson Mandolin Serial Number Lookup

This is a beautiful and mint condition gibson mandolin this is a model a with the serial number 17816. WHICH DATES THE INSTRUMENT TO 1914. THIS IS ALL ORIGINAL. I looked up my Gibson Les Paul Epiphone number 198050195 but it wasn't recognized. The number is on the headstock and is ink stamped on. Aparently it is an Epiphone limited edition, it has the stamp on the back of the headstock, the one with the Euro symbol E. Thanks for having me here. Best regards.

1918 to 1938Many interesting changes occurred in the development of the Gibson banjo line between its inception in October 1918, and the end of it’s “pre-war” era in 1938. (For a glimpse at the sequential development, see )Following are details of construction features that occurred during this period:Model designations: The banjo models were given letter codings to indicate the type of stringing: TB referred to a tenor banjo, PB stood for plectrum banjo, GB described a guitar banjo, MB was applied to a mandolin banjo, UB denoted a ukulele banjo, and RB indicate a regular (5-string) banjo. The letters were followed by a number indicating the grade or quality of the instrument: -00 (double zero) was bottom of the line (although there was a short-lived “Jr.” model which was the least expensive); -0 was next; -1 was slightly better, and usually meant nickel plating and plain-colored finish; -11 (double 1) was a secondary inexpensive version; -2 followed with fancier inlays and extra binding; -3 was fancier; -4 fancier yet; and -5 (for a brief period) was the fanciest model boasting gold plating, choice curly maple, and elaborate inlay designs. Thus a TB-5 was a tenor banjo with -5 grade fancy trimmings.From 1925 to 1930, several fancy modes made their debut; the style -6 with fancy black-and-white binding (or sometimes gold-speckled binding); the TF or Florentine; the TG or Granada; the Bella Voce (which means “beautiful voice” in Italian); and the All American — an elaborate instrument with a carved eagle on the peghead.For detailed descriptions of banjo models, seeRims: Except for the very first Gibson banjos, all of the rims for this period have been made of steamed, rolled, and laminated maple. Maple was selected for its superior bending qualities compared to other woods in it’s weight/mass class (cherry, oak, etc.) at approx 35-40 pounds per cubic foot.Depending on the model, there were either of three or four plies: three plies of 1/4″ maple to make up a 3/4″ rim machined down for one-piece flange models, and four plies of 1/4″ rim to make up the heavy rim used for tube-and-plate models. All of the laminate ends were taper-cut, a method of angling the joining ends of each laminate so that they would overlap rather than joint flat end-to-end.The added mass of the fourth ply on tube-and plate rims contributed to the brightness and amplitude of these banjo models.To the inexperienced observer, some rims appear to have been made of five thinner plies; but this is a misconception caused by a practice still in use today.

The bending and lamination process is a difficult one and several rims might come off the mold with unsightly glue joints. To improve the cosmetic appearance, a poorly glued three-ply rim would be placed on a lathe and a “cut” made into the glue joints. Then, thin filler strips would be glued into the cuts and then machined flush, resulting in a multiply appearance, while still basically a three-ply construction.One-piece flange models required that the rim be machined down so that the flange could slip over the rim. This resulted in a 9-1/2″ inside diameter and approximately 10-1/4″ outside diameter, and thus the lower portion of the rim had thin walls approx 9/16″ thick. The tube-and-plate models required an added lip to support the tube and did not require machining down of the rim, leaving the tube and plate rims to be a full 3/4″ thick.Flanges: The tube was the first non-shoe system used by Gibson to secure the tension hooks (that tighten the head). At the first introduction of the full resonator models, a stamped “plate” was added beneath the tube to fill the opening between the rim and the lip of the resonator. This plate had stamped perforations around its surface.

At one point, the lesser models had hex-shaped openings in the flange compared to the classic Mastertone arched opening with rounded ends. The first models used small hex-head screws that went through a hold the flange to hold the flange and rim assembly to the resonator. This was later changed to the hex-head screw going through a separate bracket below the flange that was attached to the rim, and still later to a serrated thumbscrew replacing the hex-head screw.Coordinator rods: One of Gibson’s developments for attaching the neck to the rim was the “coordinator rod” system; two brass rods that attached to two screws in the heel of the banjo neck. The rods secured the neck to the rim and provided a means for correcting the “action” (height of strings above the fretboard). By selectively tightening the nuts at the tailpiece-end of the rods, the angle of the neck could be changed to adjust the neck’s angle. Gibson’s first banjos had a nut on the top neck screw and only one rod on the lower neck screw. The earliest banjos with the double-rod coordinator rod sytem had one lag screw threaded into the neck and one “L”-shaped lag screw embedded into the bottom of the neck’s heel (these were permanently glued in and could never be removed).Tone chambers: The “tone chamber” was a metallic device that sat on top of the wood rim to enhance the vibrations of the (then) skin head.

Several variations were created by Gibson, and these can be followed in the. It has been thought that the spring loaded “ball bearing” tone chamber was designed to counter the effects of weather changes on the skin heads. This is not true, especially since a vertical change in the head’s position would cause improper playing. The springs were employed to improve the resilience (springiness) of the tone chamber. This design feature is attributed to Lloyd Loar.Gibson’s spring-loaded ball-bearing tone chamber system was a marvelous engineering feat of wood and metal parts. The assembly included (left to right) a grooved stretcher band, exterior tone chamber rim, tone tube with integral lip and arched upper ring, tube and plate assembly, 24 ball bearings, 24 coil springs, and 48 flat washers.Each spring was rated at 460 pounds per inch.Of the 48 washers, 24 were placed below the springs, and 24 were countersunk – to hold the ball and keep it centered – and placed above the washers.

Each spring, washer, and ball assembly went into a hole drilled in the rim. To ensure accurate height and contact of the balls to the tone tube, thin paper shims were placed beneath the bottom-most washer and the rim. (The shims are often discarded and rarely found on banjos today, except on those rare banjos that were never disassembled before.)With all the springs in place, the rim is finally ready to have the tone tube installed.

The assembly of these rims was very time consuming and it is no wonder that the Company eventually favored a one-piece tone chamber and lastly, a one-piece cast flange.The ball-bearing tone chamber was followed by its look alike (from the outside) cast one-piece arch-top tone chamber, and later by the wider active surface of the flat-top tone chamber.Woods: Each of the model designations indicated a particular species of wood used for that model (see Banjo Model Features, below). The lower numbers indicated that plain maple was used with a colored finish such as “dark mahogany” stain used over maple. Curly maple, burl walnut, and Honduras mahogany were available on their respective models. Other woods such as white holly, were available on fancy models like the Florentine and Bella Voce. In all cases, the rims were made of maple, and the majority of fretboards were made of Brazilian rosewood — not ebony as commonly believed. Only the pre-1925 (trapdoor period) and style -6 banjos had ebony fretboards. Except for the earliest models, all of the banjos made from 1925 to 1935 (in fact, until around 1969) had one-piece necks (however, pegheads were fitted with laminated “ears” to give them the necessary width, and the earliest models had a veneer over the back of the peghead to cover up the ear glue joints).Banjo serial numbers: During the 1920s, Gibson instruments were made in lots of 40s (for the most part, this procedure continues today).

The bins that were used to move instruments from department to department had 40 cubbyholes. An entire bin was a “lot” and would contain instruments of the same model.

Sometimes two or three bins or lots of the same model would be made at one time.

Hi, this maybe one of those daft questions so please bear with me.I own ( for the last hour) a Gibson `Pumpkin top`(?) Mandolin that is it seems quite old.It has a barely readable pencilled label inside it,but I think it reads 37693. I can make out the model `a` but not what it says after Gibson.The label also says at the topPatented Feb 1, `98# #' # # #March 30,`06Other patents pendingThis was brought in the USA from Gruhn Gituars,Nashville TN.Is there anyway of identifying it precisly to the year?Any help greatly appreicated.Keith. Just what I was going to say, you should 'Endeavour' (sorry UK joke) to read the, so called, Factory Order Number which, as Eddie says, should be stamped on the neck block. This will enable me/someone else to tell you the year the mandolin was built.

The serial number will suggest when it was shipped from the factory. If you can't read the pencilled number try different types of strong light - in some you can see it in some you can't.Bear in mind that its not a precise science. I've an A1 where the FON suggests '23, the s/n '24 and the tuners '25. Here is a summary of the differences in the various models:Models and DescriptionsL-R: A, A2Z, A3, F4AjrPlain model, with no binding or inlay decoration at all, brown finish. Jet fighter games free download for windows 7.

Plain tailpiece cover. Shaped hardshell or canvas case. Can have the 'snakehead' peghead (see below)A or A0Brown or black finish, binding only on face and in soundhole. One ring of purfling around the soundhole. Pickguard that is pinned into the fingerboard and bridge, clamped to the side of the instrument. Pearl dots on fingerboard.

Dark stained birch (not the best 'wavy' or 'curly' cut) back and sides. 'The Gibson' stamped on tailpiece cover. Shaped hardshell case. More detail on this model.A1Similar to A0, has some features (double purfling on soundhole) of an A2. 'The Gibson' stamped on tailpiece cover, inlaid in headstock.A2 or A2ZBrown, black, or blonde finish all possible. Binding on front, back, soundhole, fingerboard; 'The Gibson' inlaid into the headstock, closer grained (most of the time!) spruce top then a model A0; pickguard that is pinned into the fingerboard, bridge, and clamps to the sides of the instrument.

Double ring of purfling around the soundhole. Pearl dots on the fingerboard.

Dark stained birch back sides (still not usually a 'Wavy' or 'curly' cut). 'The Gibson' stamped on tailpiece cover. Headpiece veneered in black on the front. Black inlay along the 'keel' in the back of the neck.A2-ZSimilar to A2, but with snakehead peghead, blonde finish, b/w binding, and (usually) A2-z on the label. Made in the Loar period (1924-25). More detail on A2 or A2-Z mandolins.A3Nearly identical to an A2, but with an orange top in the teens, and a refrigerator-White top in the late teens, early twenties.

Gibson Mandolin Serial Number Decoder

A squiggle inlay in the headstock under 'The Gibson'. Bound on top, back, sides, around the fingerboard.

Gibson Mandolin Serial Number Guide

The binding on the top is black then white. These are somewhat rare. Wood quality improving (tighter grain, more 'nice looking' features). Bitch sides and back stained red. Bound fingerboard, no extension 'The Gibson' stamped in tailpiece cover. Headstock with black wood veneer top. Black inlay along the 'keel' in the back of the neck.

Shaped hardshell case with red lining most of the time. More detail on the A3 model mandolin.A4The top of the line. Red, black, or red sunburst finish (red in the middle fading to black or brown at the sides), fleur-de-lis under 'The Gibson'; Handel inlaid tuner buttons prior to 1916 (WWI) (a dotted '+' in each button). Thick white ring between the double purfling around the soundhole.

Can have 'Snakehead peghead' (see below). Shaped fingerboard extension. Black veneered headstock, front back. Black inlay along the 'keel' in the back of the neck. Shaped hardshell case with green or red silk lining most common.

Fjestad's Gibson Serialization from the Blue Book of Electric Guitars (linked to Gibson's website) gives the sequence for 1916 as 32000 to 39500 for all instruments, in an initial sequence starting at 100 and running to 9999 for the period 1902-1947.The provide.net site lists the last serial numbers for the year. According to their method 32000 is the last number for 1916, not the first, and 39500 is the last number for 1917. Has it this way as well. This would put the OP's mandolin as a 1917, same as mine, SN 37492.The link I have for provide.net now goes to FWIW. There they have a list of all models and the years changes in each model were made. I understand these aren't 100% accurate, but I believe this will get you close.

Gibson Mandolin Serial Number Lookup

The 'patent pending' years mean nothing. Go to and you'll find lots of useful info and a list of serial numbers. If you ever forget it (I do), just go to Google and type in Gibson mandolin serial numbers. It will pop right up.I beg to differ.

'Patent Pending' instruments are very interesting. For c1908 instruments with elevated pickguards, Gibson only stamped them patent pending for a little over a year, until the patent was awarded to L.A. Williams 3/30/1909.

Patent pending adjustable bridges appear in 1921 when the patent was applied for, but it took nearly 2 years until TJ McHugh was awarded the patent. I have a Gibson Mandolin A-Jr. In original case. Sheraton Brown, finish is fair but original. Instrument structure is in great shape and plays well as is. Serial # 70054 and Stock # 11648.

Pick Guard pat date is MAR 30 / 04 and Pick Guard clasp pat date is July 4, 1911. I think it is a 1922 model as the closet ser # I can find is 70049 and the pictures are identical. Any info and estimate price would be much appreciated?I would say that this A-Jr. Mandolin was built in March of 1922 and shipped in May of 1922.Joe Spann.

Hi, this maybe one of those daft questions so please bear with me.I own ( for the last hour) a Gibson `Pumpkin top`(?) Mandolin that is it seems quite old.It has a barely readable pencilled label inside it,but I think it reads 37693. I can make out the model `a` but not what it says after Gibson.The label also says at the topPatented Feb 1, `98# #' # # #March 30,`06Other patents pendingThis was brought in the USA from Gruhn Gituars,Nashville TN.Is there anyway of identifying it precisly to the year?Any help greatly appreicated.KeithI would say this A model mandolin was shipped in January of 1917.Joe Spann.