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Gibson dobro serial numbers

Some about three-on-a-plate tuners were what with a set shield to Regal mfg. Gibson dobro serial numbers Ready in research sometime after Gibdon, On-built Model 27's were bound both on the top and the back and even the most was up. Awesome-produced guitars also had routed wisecracks. By production started in the on 20's the Site 45 of the awesome was the best christmas Model that Dobro had to join while at the end of Very's production inthe Comedian 45 was the most famous everything they offered.

They had been working for some time outside the company on a new-style resonator assembly, which they were quick to patent upon their departure from National. The result of this new invention is the resonator Mother daughter team fuck on slutload, as we know it today. There were five Dopyera brothers and the name has five letters; it is a contraction of Dopyera Brothers; and, in their Lldm san francisco coro Slovak tongue, dobro is a literal form of the word for good.

Since no written records were either kept or saved At least, to date none have surfaced. These sources include, among numerous others, old music company catalogs and interviews with members of the Dopyera family. During this period, which covered the late 20's and early 30's the Dopyera brothers, with the exception of John and Rudy, continued their affiliation with both companies, primarily through financial investments. Inin response to the depression and a subsequent reduced demand for its more expensive Tricone, National, in an attempt to remain competitive, began producing its own single-cone, wooden-bodied guitar. Unfortunately for National, these new, more economical guitars did not immediately catch on with the public, and the company's sales continued their downward slide.

These included Kraftsman, Melobro and Radio Tone, among others. The reason for this speculation follows: It is ironic that these deeper bodied guitars were consistently some of the better sounding guitars produced in California. All Regal-built guitars had a deeper body than any of the early California models. Problems continued to plague the National Company from the late 's into the early 's and, inthe Dopyera family gained control of the National String Instrument Company. Yutubed has been reported that during this time a yellow line was painted down the floor dividing the manufacturing facility into two separate production lines.

It is a known fact, however, that interchangeable parts such as necks, tuners, and tailpieces, were freely exchanged back and forth across that yellow line. Some of these exchanges will be discussed later, in the section addressing the various models. During the middle 's, acoustic resonator guitars fell out of favor as electric guitars of various types were becoming the instruments of choice. America's entry into Gibson dobro serial numbers War II marked the end of this chapter of the resonator guitar's history. If you are interested in learning Fuck tiny about resonator guitar history there is a wonderful book, by Bob Brozman, titled "The History and Artistry of National Resonator Instruments," published by Center Steam Publishing.

On top-of-the-line walnut models, the Avenue chat sex free were also made of walnut. Although most joined the body at the 12th fret, fret instruments were not uncommon. Just as there were roundneck and squareneck fret guitars, the fret instruments were also available in both roundneck and squareneck models. During interviews, the Dopyeras have stated that all fret instruments were made by Regal. This assertion has been called into question, however, as numerous fret instruments both roundneck and squareneck have surfaced displaying features which can be attributed to the McKinley Avenue plant in Los Angeles.

The two Beverley mitchell naked types of necks came in many different shapes and configurations, leading to speculation that neck blanks were purchased from a variety of suppliers and then finished in-house to the required specifications. Roundnecks on some high-end models Model 37 and above may have a celluloid cap on the neck heel, while walnut-model roundnecks had a black heart in this heel cap. Most, if not all, California-built, squareneck guitars had a Gibson dobro serial numbers heel The heel of the neck was the same width as at the fretboard.

Chicago-built squarenecks traditionally had a tapered heel. Necks had an extension rod which ran into body of the guitar, extending to just inside the soundwell where a screw attached it to a block of wood, thus securing it to the back of the guitar. This was used as the means of attaching the neck to the body. Shims were used between the neck extension and the block of wood to achieve a tight neck-to-body joint and provide for a slight amount of backset on the neck. For the most part, necks were plain except for sunbursts. The exceptions to this were the squarenecks on high-end walnut models Model and higherwhich had binding inlaid along the length of the neck on both sides, similar to an outline pattern.

Red bean was used on several early, California-built models, while Makkochuba was used only on one model, which was also built in California. By earlyboth red bean and Makkochuba were replaced by rosewood. Rosewood was used throughout the production years, with ebony or ebonized wood used on Model 45s and above and on all walnut models. Frets on both roundneck and squareneck models were traditionally raised; however, a very few squareneck models have been seen with flush frets. Position markers were located as follows: The most common markers were MOP, with a couple of different sizes commonly used. On early guitars up until about there was no marker at the 17th fret. High-end walnut guitars can be found with either dots or ornamental position markers, the latter predominately diamond-shaped.

Fretboards on Model 37's and above were usually bound in white celluloid, with some binding inlaid with side markers. On early models until aboutthe slots were cut with a special saw, which produced a squared-end in the slot. Upon merger with National and the subsequent move to a single building, this saw became misplaced or discarded and from that time all California-built guitars had routed slots which penetrated the peghead at an angle and had rounded ends. Regal-produced guitars also had routed slots. These slots, however, were slightly wider than those on California-built guitars and went straight through the peghead. They are, therefore, easily identifiable.

The solid peghead did not appear until late inby which time all final production had been shifted to Chicago. Many solid pegheads had sleeves where the tuning post penetrated the peghead, while others were produced without these sleeves. The predominant logo had a red border and is by far the most common. It is estimated that the switch to a red-bordered logo took place in The pre-war logo is very similar to the current logo with only a few exceptions. The red color on prewar logos was a bright red compared to the darker shade in use today. The width of the letters on pre-war logos was thinner than that of the letters found on current logos.

These logos consisted of black lettering and design on a white or cream-colored background. The word Regal is written inside the oval in gold letters, with a black outline around the letter. TUNERS Slotted headstock tuners were normally three-on-a-plate with open gears and had either black or white plastic tuning buttons. Very few, if any, original tuners of any type are thought to have had metal buttons. Higher-end guitars Models 45 and above may be found with MOP tuning buttons. The backing plates were, for the most part, plain nickel-plated steel with no engraving or ornamentation. On higher-end, California-built guitars Model 45 and abovea backing plate with stamped detail and figured ends was used.

These same tuners were also found on some National models of the same time period. On the walnut models with gold-plated hardware, these figured tuning plates were also gold-plated. The tuning buttons could be pointed either up or down, depending on players preferences. Solid-head tuners were either three-on-a-plate or single tuners of the open-back design. The tuning post peghead penetration may or may not have been fitted with sleeves. Tuning buttons were generally black or white plastic, although some Model 45 guitars were manufactured with pearlized tuning buttons.

Some late three-on-a-plate tuners were covered with a metal shield late Regal mfg. Serial Numbers Later in this article will be found a listing of serial numbers and the approximate years of manufacture, so we will not repeat it here. What will be discussed are the serial numbers in general and their use. No pre-war, screen hole resonator guitar has ever been found with a serial number exceeding four digits. Yet, in various interviews, John Dopyera has stated that production in the early-California period exceeded guitars a month.

Simple math tells us that this would mean that within two years serial numbers of over four digits would be required-or would it? They would, however, have been included in the total production figure of over guitars per month. It is a known fact that once production was shifted to Chicago serial numbers were started over as 3-digit numbers, Numbers with an "A prefix also appeared at that time. These numbers were made with smaller stamps than those used on California-built guitars and are, therefore, readily distinguishable. However, it also appears that the numbering of Chicago-built guitars was abandoned after a short period and cannot, therefore, be followed with any degree of accuracy.

The soundwell performed two functions: First, it provided an area on which the cone could rest, and second, it provided structural support for the top of the guitar. The soundwell extended from the front to the back of the guitar and was attached to both with glue. To provide extra strength to these glued joints, kerfing was sometimes used, but as usual, without any consistency. It was sometimes located on the inside and outside of the soundwell or only on one side or the other. More often, it was omitted all together. Soundwells were made in a variety of configurations. Some soundwells had round holes; others had parallelogram-shaped holes. Still others had no holes at all except for the hole that the neck extension projected through.

The number and size, as well as the placement of the round holes, varied throughout the entire production period. They numbered from as few as three to as many as The soundwells with parallelogram holes were more consistent, with nine holes, and their placement was always the same. Although there is debate over which configuration produced the best sounding instruments, it is generally agreed that, overtime, guitars with parallelogram-holed soundwells consistently produce the best tone and volume. There are, of course, many exceptions to this and it should not be considered a hard and fast rule. It has been noted that guitars with soundwells constructed of poplar wood tend to have good tone and volume with little regard to the hole type.

Some late 30's guitars made by Regal have no soundwells and these instruments tend to vary widely in regards to tone and volume. CONES The cone is one part of the heart of a resonator guitar and serves the same purpose as the cone in a modern day speaker, providing amplification of the resonance created when a string is plucked. Spun cones were produced manually on a lathe by applying pressure to a spinning sheet of aluminum, then forcing it against a revolving form. Since this was a manual operation, the amount of pressure that was applied could vary from start to finish, and thereby produce a cone of unequal thickness.

Because of this, many players feel that pre-war spun cones varied greatly in their tonal qualities Stamped pressed cones, on the other hand, were produced by a totally mechanical process and the thickness never varied. For this reason, these cones shared more consistent tonal qualities. These latter cones were called lug cones. Lug Gibson dobro serial numbers and the modified spider bridge designed especially for use with them were developed to address a couple of design problems. During this period, thousands of cheap, off-brand guitars were being built with inferior parts, and many of these had coverplates which offered little, if any, rise towards the coverplates center.

This could create interference problems between the coverplate and the spider bridge assembly. Seating the spider lower inside the cone eliminated this interference. These metal-body guitars had no soundwell. Rather, the cone sat on a lip formed when the top of the Botol susu mimijumi was stamped. The cone simply didn't set as deeply inside the metal body of the guitar. This could also cause coverplate interference, which was alleviated through the use of these lug cones. Resonator guitars were in very high demand during this period, and it proved simply impossible to produce spun cones in the needed quantities.

Pressed cones were therefore introduced to help meet these growing demands. When interviewed, Milf whore madison Dopyera has stated that it was his opinion that, if both cones were made properly, there should be no variation in tonal qualities between a spun and a stamped cone. Spun cones had a definite bowl shape with circular grooves caused by the spinning operation whereas stamped cones had more of a flat side with metal wrinkles produced by the stamping process.

It transmits the string vibrations to the cone for amplification. These bridges were cast of aluminum alloy and could be found in two configurations. Both had eight legs there were some Gibson dobro serial numbers leg spiders but these are not as desirable as an eight legged spiderwhich were the part of the spider bridge that makes contact with the cone. Some had long legs which rested on the inner lip of the cone, while others had short legs which rested on the eight lugs of the lug-type cone. Early spider bridges were almost flat, with very little rise towards the center area where the bridge was located, while later spiders had a small amount of rise towards a central hub in which the bridge slot was located.

In [addition, each leg was connected by a web-like connector about halfway along each leg. The most desirable pre-war spider bridge had a 14 cast into the central hub. This spider bridge is still available today and is used by most custom builders. It was thought that this spider bridge, in combination with a good cone, would produce consistently desirable tonal qualities. The spider bridges with the slight rise towards the central hub were developed after the higher rise coverplates were introduced. Long-legged spider bridges could be used with any of the cones described earlier; short-legged spider bridges, however, could only be used with the lug-type cone for which they were designed.

In the center of the spider bridge is located the bridge slot, a machined slot into which wooden bridges are inserted. In addition, there is also a hole in the center of the bridge slot through which a tension screw is inserted vertically. This tension screw holds the spider to the cone and provides for pre-tensioning the assembly. Coverplate designs varied greatly, but we will only address those designs most commonly seen on the screen hole, wooden-body guitars. There were three common patterns: The fan-style design-These consisted of three rows of openings in a fan-shaped pattern and placed at four equally-spaced locations.

This was by far the most commonly-used coverplate. There was also a fan-style pattern which consisted of four rows of openings, but this coverplate was designed for and primarily used on electric and metal-bodied guitars in the late 's. These fan-style coverplates with three rows of holes were made in several styles and refined overtime. The earliest models were almost flat with very little rise towards the center palm rest, which covered the spider bridge. This coverplate had a wide outer flange where the screws which held it to the body were located.

The screw positions on these very early coverplates were termed the "clock position screws', as the screws were located at the positions of the numbers on a clock. With this type of positioning one screw was located under the instrument's tailpiece. This low-rise, "clock position" coverplate had some distinct disadvantages. Due to manufacturing variations in the various components which went under the coverplate, and due to its very low rise, these coverplates would often interfere with the spider bridge assembly. This required reworking the cone to make the resonator assembly sit lower in the guitar body.

Another disadvantage was that, in order to remove the coverplate, the guitar had to be unstrung to gain access to the screw under the tailpiece. These problems were solved by a series of modifications. The rise towards the center handrest was increased to eliminate the spider bridge-to coverplate interference. This was accomplished by taking the additional metal required for the additional height from the wide flange and, on these coverplates, the flange where the screws were located was narrowed considerably. Both the original coverplate design and this early modified version may be found with "Pat Pen.

The screw position was handled by yet another modification, in which the rise was increased even more and the screw positions were changed so that there was no longer a screw located under the tail piece. At this point there is a little conjecture regarding exactly how many modifications were made to these coverplates, but there were definitely three and possibly four. After the "Pat Pend" series of coverplates, there were two patent numbers which appeared on future coverplates. The first was 1, This patent was issued in August,and was only used for approximately one year of production because in August ofpatent 1, was issued and this number appeared on all coverplates from the latter part of until the end of production.

These patent numbers were located on the inner portion of the coverplates, at the edge of the opening for the spider bridge. The poinsettia design - These coverplates appear to have come along following the association with Regal and are generally found on later production model guitars. Since this design was developed after the second patent was issued, they had the 1, number only. The poinsettia design consisted of four sets of six poinsettia petal-shaped openings arranged in a fan-shaped pattern and equally spaced around the coverplate. The row-style design - This design was originally produced to be used on metal-bodied guitars, and consisted of four groups of two rows of eight rectangular slots, which were located equally around the coverplate.

This particular design has shown up recently on some late Model 27, pre-war instruments. The major distinction between the prewar fan-style coverplates and the modern fan-style coverplates is the lack of patent numbers on the newer ones. The old fan-style plates which had patent numbers also had an arrowhead type shape stamped at the end of the palmrest, which is absent from present-day models. This arrowhead was also absent from the very early "Patent Pend" coverplates. Finally, today's coverplates have a higher rise than any of the standard coverplates which were designed to be used with the pre-war, wooden-bodied guitars. Pre-war coverplates were made in a variety of finishes.

These included painted, chrome-plated, nickel-plated and gold-plated versions, and they could be either plain or engraved. Nickel-plating was used on most guitars below Model 55's, with chrome-plated coverplates appearing on most models above the 55 and up to theat which point they were gold-plated up to and including the top-of-the-line Model Engraving began on later Model 86's.

Dobro/National Numerotation

Early advertisements don't mention it, but later ones Gibson dobro serial numbers. He did this by inverting the cone so that, rather than having the strings rest on the apex of dobrp cone as the National method did, they rested on a cast aluminum spider that had eight legs zerial on the perimeter of bumbers downward-pointing cone U. In the numbera years both Dobro and National built a wide variety numgers metal- and wood-bodied single-cone guitars, while National also continued with the Tricone for a time. Both companies sourced many components from National director Adolph Rickenbacherand John Dopyera remained a major shareholder in National.

Bythe Dopyera brothers had gained control of both National and Dobro, and they merged the companies to form the National-Dobro Corporation. From the outset, wooden bodies had been sourced from existing guitar manufacturers, particularly the plywood student guitar bodies made by the Regal Musical Instrument Company. Dobro had granted Regal a license to manufacture resonator instruments. Byit was the only manufacturer, and the license was officially made exclusive. Regal continued to manufacture and sell resonator instruments under many names, including Regal, Dobro, Old Kraftsman, and Ward. Emil Dopyera also known as Ed Dopera manufactured Dobros from under the brand name Dopera's Original before selling the company and name to Semie Moseley.

Moseley merged it with his Mosrite guitar company and manufactured Dobros for a time. However, inthey again acquired the Dobro name—Mosrite having gone into temporary liquidation. Gibson now uses the name Dobro only for models with the inverted-cone design that the original Dobro Manufacturing Company used.