1927 Catalog Descriptions

  1927 Gibson TB-6
            (click on image to enlarge)

The 1927 version of Gibson's banjo catalog took on a different tone than previous versions.  Gone were the detailed discussions of Gibson's prowess, innovation and patents pending.  These "technical" discussions were replaced instead by articles that extolled the popularity of the banjo and how a Gibson instrument could enhance your opportunities as a musician, or a socialite.  The late 20's were the heyday of tenor banjos.
 

"The Gibson Banjo is the modern "Open Sesame" to the world of good times, fun and happiness.  There is a sparkling quality, life and action in the voice of a Gibson which seems to fit a Gay Occasion, like a flashing diamond fits it's lovely platinum mounting.  Ability to play the banjo soon places one in a position to pick and choose from scores of social invitations.  Everywhere, the banjoist is assured of a hearty welcome."

"Specially dedicated to the banjoist who is ever alert to improve his art and give individuality to one of the most colorful and important instruments in all the world of music.  Orchestra leaders rejoice when their banjoist comes on the job with a "Florentine"; theatre audiences marvel at the sparkling beauty; recording companies are delighted with the tone and radio fans are amazed at the clarity and brilliance of the banjo as they tune in."

Strange that so little of the 1927 catalog was devoted to the technical innovation in these banjos.  This was the year that Gibson abandoned the ball-bearing tonering system in favor of the "Mastertone Perfected Tone Chamber".  Nowhere in the 1927 literature does Gibson mention the new archtop tonering that is an integral part of their new system.  Today, many view the 2-piece flange, archtop tonering banjos from this period as the best made instruments Gibson produced.  The archtop ring continues to be a favorite of many of today's banjo players.

   Mastertone Rim Construction in 1927
          (click on image to enlarge)

The lower end of the Gibson line of banjos changed very little in 1927.  The Style 0 was not included in the catalog and the flange changed from diamond holes to hex holes on the Style 1 and 2.  The middle grades of banjos Style 3, 4 and Granada were basically same in the 1927 catalog as shown in the earlier, 1925 ball-bearing catalog.  In fact, the similarities of the engraving are so similar I am almost convinced that the same plates were used in these two catalogs.  The front view of each of these banjos is rotated a bit to the right and the back view is a mirror image of the one used in 1923.  The shading and highlighting on the engraving is exactly for the Style 3, 4 and Granada when the two catalogs are compared despite the repositioning of the images.

(The images for the Style 1 and 2 are quite different from the 1923 catalog as these banjos had different flanges than were previously used.  In fact, it on close inspection, it seems these plates were prepared by a different engraver altogether based on shading techniques.)

The most compelling evidence that old engravings were used in the 1927 catalog is that the images depict 1923 models for the Style 3, 4 and Granada. Kirshner tailpieces are shown on the Style 4 and Granada.   Mastertone is shown on the pegheads of each of these images and the Style 3 shows binding only on the rear edge.  By 1927, Gibson had started using clamshell tailpieces on the Style 4 and Granada; eliminated the Mastertone lettering on the peghead and  moved it to a pearl block on the fingerboard; and the Style 3 resonator was bound on both the front and back edges.  The other change that was noted in the catalog was the introduction of new chrome plating for the Style 4.
 

Style 3 Catalog Images

                    
1923 TB-3                    1927 TB-3                                            1927  MB-3

If corners were cut on the catalog engravings for the mid-level models, then the savings were offset by the color inset describing the custom Florentine and Bella Voce models.  A two-page, color centerfold was used to describe these two models with no less that eight resonator variations shown depicting each of the four choices in woods that could be selected.

      Florentine Resonators in 1927

The big news in the 1927 catalog was the introduction of the new Style 6 banjo that replaced the Style 5.  This instrument was described as "An exquisite new model built of rare woods that grow in isolated spots known only to the old-time woodsman."   The Style 6 was finished in the new Argentine Grey shade and had alternating white and black ivoroid forming a checkerboard pattern.  The checkerboard pattern bound the fingerboard and was applied as a peghead binding in addition to being used with the standard binding on the neck and resonator edges.

(The Style 6 engraving is completely different to my eye than that used for the Styles 3, 4 and Granada.  A clamshell style tailpiece is shown on the Style 6 image and Mastertone is not shown on the peghead.)

With the elimination of Style 0 from the catalog, Mandolin banjos were available in Styles 1, 2 and 3.  Unlike 1923, all of these MB's coorespond to the catalog descriptions for the other instruments.  The Styles 1 and 2 MB's had 10-1/2" rims and the Style 3 had an 11" Mastertone rim with 2-piece flange and tonering.

(Ironically, the MB-3 illustrated in the catalog does show binding on both edges of the resonator and an engraving style similar to that used on for the Style 1 and 2 catalog images.)

The series of Ukulele Banjos (UB) were modified and expanded in 1927.  Four styles were offered.  The UB-1 and UB-2 were unchanged from 1923.  Both had a flat plate resonator back.  The UB-1 had a 6" rim whereas an 8" rim was used on the UB-2.  The UB-3 was improved from 1923 by the addition of a diamond flange and flange style resonator of maple that was added to it's 8" rim.  The UB-4 had an 8" rim of walnut with a burled walnut resonator.  The hardware, including the diamond flange, was gold plated on the UB-4.

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