Dangelico Serial Numbers
2021年11月13日Download here: http://gg.gg/wv5si
*D’angelico Serial Numbers
*Vestax D’angelico Serial Numbers
*D’angelico Serial NumbersPayment
D’Angelico Guitars of America 141 West 28th Street, 4th Floor New York, NY 10001. Info@dangelicoguitars.com (646) 460 8472. Become a Dealer. The D’Angelico Premier Series consists of nine different models that include various semi-hollow and solidbody guitars as well as a true hollowbody. We took a look at a single-cutaway, semi-hollow Premier SS (PSFBSSSP) and a double-cutaway, semi-hollow Premier DC (PSDCSP) to see how they compare to previous D’Angelico models we know and love. Serial Number: 9910311 Neck Specifications. 1 11/16’ nut width. Selected Maple, White neck binding. Ebony fingerboard. Pearl Zig zag position marker. 14°pitch peghead with pearl ’D’Angelico’ and ’New Yorker’ inlays. Multiple black and white binding. Body Specifications. Full sized original ’New Yorker’ style body(17. John D’Angelico was born in 1905 in New York to an Italian-American family, and was apprenticed in 1914 to his great-uncle, Raphael Ciani, who made violins. Original D’Angelico guitars are identified by a serial number punched inside the bass f-hole—the serial numbers ranging from 1001 to 2164. D’Angelico Archtop Guitars D’Angelico Guitars.
Fender Serial Dating. First, narrow it down by the country of origin. Serial dating is easiest for instruments made in the USA or Mexico, but is also possible for those made in Japan, Korea, China, and Indonesia. For US instruments, the serial number will start with a letter. That letter indicates the decade. S for 1970s; E for 1980s; N for.
Payment Terms - Orders Internet orders may be paid for using the following methods: VISA, MasterCard, American Express, Discover, and PayPal. For phone or mail orders you may pay money orders and cashier’s checks by mail. Just call us at 773-525-7773 to place your order. All non-credit-card orders are subject to a 10-business-day hold. We do not accept international credit card or PayPal payments from international accounts. For international security reasons, please call the store to arrange a Bank Wire: +01-773-525-7773. Shipping
Shipping Charges - Taxes and Title Separate charges for shipping and handling will be shown on your order form. As a security precaution, initial orders and orders shipping to alternate addresses may be held for extended verification. We reserve the right to make partial shipments, which will not relieve you of your obligation to pay for the remaining deliveries. All items purchased from Chicago Music Exchange are made pursuant to a shipment contract. This means that the risk of loss and title for such items passes to you upon our delivery to the carrier. The published rates are for US domestic shipping only. Contact us directly if you wish to place an international order. For more information on our shipping policies, including rates, delivery times, and delays, please visit our website at chicagomusicexchange or call us at: 773-525-7773. If applicable, a separate charge for taxes will be shown on the invoice. We are required to collect sales tax on all orders shipped to Illinois. Returns
3-Day / 15-day Return Policy If you are not completely satisfied with any product, return it for a full refund of the product purchase price, full credit, or exchange of your choice. We give you 3 days from the shipping date on Vintage instruments, and 15 days on New instruments. Credit card returns are issued a credit for purchase price. Refunds are made for product value only, excluding shipping and handling charges. New, Unopened items: You may return most NEW, untouched, unopened items within 15 days of delivery for a full refund. if the return is a result of our error (you received an incorrect or defective item, etc.) we’ll also pay the return shipping costs. AmEx credit cards: Note that if your order was paid using an AmEx card we may pass on a 3.5% fee of the purchase price to process your refund. Vintage, Used items: We have to evaluate vintage and used guitars, amps, and other items on a case by case basis. We spend a lot of time with you and the item before your purchase to try to avoid any surprises after your purchase. AmEx credit cards: Note that if your order was paid using an AmEx card we may pass on a 3.5% fee of the purchase price to process your refund. You should expect to receive your refund within four weeks of giving your package to the return shipper, however, we strive to issue your refund sooner. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days). Send your return to: Chicago Music Exchange 3316 N Lincoln Ave Chicago, IL 60657 The following items are returnable only if defective OR unopened or unused: strings, harmonicas, microphones, cleaners, polishes, and polishing cloths. Software/soundware, cassettes, CDs, DVDs, and videos may be returned for credit only if they are in their original, sealed packaging. If defective, these items will only be exchanged for the same product. For complete details on our guarantees, shipping, and return policies, please contact our Customer Service Department at 773-525-7773; fax us at 773-525-2775; visit our website at www.chicagomusicexchange.com, or write us at Chicago Music Exchange, 3316 N. Lincoln Ave, Chicago, IL 60657.
Vintage Guitars Info’s
Other Vintage Guitar Makers:
Kay, D’Angelico, Stromberg, Hofner.D’angelico, Stromberg, Kay, Hofner vintage guitars history and collecting.Private vintage guitar collector. Pictures, history for other makes of vintage guitars.
Contact the Vintage Guitar Info Guy.1958 Kay Barney Kessel Pro
Model Information for:
*Picture Gallery, Other makers
There are lots of other cool makes of instruments out there. But theseare the ’big’ ones that I have some information on. Note the Hofnersection has been greatly updated and moved to its own section, and removed from here.Contact the vintage guitar info guy
Back to the Table of ContentsKay.Kay primarily manufactured ’department store’ style, inexpensive guitars from the 1930’s to the 1960’s. But they also made some hi-end, qualityarchtop guitars. The most collectable Kays are any model with the ’Kelvinator’plastic headstock overlay with art deco patterns. Used from 1957 to 1960, this headstock was named after the brand of refrigerator that looked quite similar.This overlay was injection molded with clear acrylic plastic and thenback-painted either white or black, with gold highlights in the crestand gold dots outside of the crest. Starting in late 1960, Kay switched to a less expensive ’half’ Kelvinator that used just the triangle Kay crest from the full Kelvinator, screwed to a simple black plastic headstockveneer. This ’half’ Kelvinator dropped the black or white back-painted acyrlic ’lunchcountertop’ surround with gold dots. This design only lasted till the end of 1961 when the Kelvinator headstock was completely dropped.
1957-1960 Kay full
’Kelvinator’ Headstock
Note that Kay also made guitar with other brand names on theheadstock. These are still Kay’s, just they are made for department storetype companies. This includes Spiegel (’Old Kraftsmen’), Montgomery Ward(’Sherwood Deluxe’), Sears and Roebuck (’Silvertone’), and Orpheum through the 1950’s and 1960’s. The most common name (other than ’Kay’) isby far ’Old Kraftsmen’.
Command and conquer torrent mac free. Kays are notorious for having bad neck sets and broken truss rod systems.Usually, this can be corrected by a good repair person for around$150 to $200.1959 Kay ad.
*Barney Kessel Pro.Single cutaway archtop, 13’ wide,="" veneer="" maple="" body,="" spruce="" top,="" no="" f-holes,="" 1="" or="" 2="" singlecoil="" ’gold="" k’="" pickups,="" block="" fingerboard="" inlays="" starting="" at="" the="" 3rd="" fret,="" ’kelvinator’="" peghead,="" ’barney="" kessel’="" signature="" on="" the="" silver="" colored="" acrylic="" pickguard,="" chrome="" open="" back="" grover="" tuners,="" rosewood="" bridge,="" sunburst="" or="" blond="" finish.="" available="" 1957="" to="" 1961.="" in="" 1960,="" barney="" kessel’s="" signaturewas="" removed="" from="" the="">
*Barney Kessel Artist.Single cutaway archtop, 15 1/2’ wide, veneer maple body, spruce top, bound F-holes, 1 or 2 single coil ’Gold K’ pickups, block fingerboard inlays starting at the 1st fret, rosewood fingerboard, ’Barney Kessel’ signature on the silver colored acrylic pickguard, ’Kelvinator’ peghead, chrome Melita bridge, nickel Grover tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel’s signaturewas removed from the pickguard.
*Barney Kessel Jazz Special.Completed with the Gibson L-5CES. Single cutaway archtop, 17’ wide, veneer maple body, spruce top, bound F-holes, 1 or 2 singlecoil ’Gold K’ pickups, split-block fingerboard inlays, ebony fingerboard, ’Barney Kessel’ signature on the silver colored acrylic pickguard, ’Kelvinator’ peghead, chrome Melita bridge, chrome Grover Imperial tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel’s signaturewas removed from the pickguard.
*The Upbeat.Kay’s less expensive alternative to the Barney Kessel Jazz Special. Singlecutaway archtop, 17’ wide, veneer maple body, rosewood fingerboard with pearloid block inlays starting at the 3rd fret, rosewood bridge, closedback individual Kluson tuners with metal buttons, large scalloped pickguardsometimes with silver sparkle, sunburst, blond or black finish. Available with 1 or 2 ’Gold K’ single coil pickup from 1957 to 1959.In late 1959, 3 pickup ’ES-5’ type model available. Made from 1957 to 1961.Full Kelvinator headstock from 1957 to 1960, half Kelvinator headstock in 1961.
*K-161 ThinTwin (Jimmy Reed or Howlin’ wolf="">15’ wide, single cutaway, flat top semi-hollow maple body, blond top andsunburst back and sides, 1 or 2 blade pickups, block fingerboard inlaysstarting at the 3rd fret, rosewood fingerboard, trapeze tailpiece,rosewood bridge fixed to top. Available 1952 to 1960. Tortoise shell pickguard from 1952 to 1957, black pickguard from 1958 to 1960.
pre-1958 K-161
*Jazz II.15 1/4’ wide, double cutaway fully hollow 2’ thick veneer maple body (likean ES-330), rosewood fingerboard with ’shark fin’ inlays starting at the3rd fret, two ’Gold K’ single coil pickups, bolt-on maple neck, Bigsbyvibrato and aluminum bridge, silver painted scalloped acrylic pickguard,half Kelvinator headstock, nickel Grover tuners, bound top, back and fingerboard, blond or sunburst finish. Available 1961 to ?.
*K-11 acoustic archtop.Completed with the Gibson L-7C, Single custaway acoustic archtop, 17’ wide veneer maple body, spruce top, rosewood fingerboard, block or ’shark fin’ fingerboard inlays starting at the 3rd fret, large scalloped pickguard, closed back individual Klusontuners with metal buttons, trapeze tailpiece, blond or sunburst finish. Available 1953 to 1959. Starting in 1958 came with a full Kelvinator headstock.
*K-21 acoustic archtop.Completed with the Gibson L-5C. Single cutaway acoustic archtop, 17’ wide,="" veneer="" maple="" body,="" spruce="" top,="" ebony="" fingerboard,="" split-block="" fingerboard="" inlays,="" scalloped="" fingerboard="" extension,="" ebony="" bridge,="" kluson="" sealfast="" tuners,="" es-300="" style="" trapeze="" tailpiece,="" large="" scalloped="" pickguard,="" blond="" or="" sunburst="" finish.="" available="" 1953="" to="" 1959.="" starting="" in="" 1958="" came="" with="" full="" kelvinator="">
1961 Kay Jazz II with semi-Kelvinator
*K-27 Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body, spruce top withX-bracing, ebonyfingerboard, pearl block inlays starting at the 1st fret, small screwed-onpickguard, belly bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.D’angelico Serial Numbers
*K-23 Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body, spruce top with X-bracing, rosewoodfingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, rectangle bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
*K-22 Flattop.Same size as a Gibson J-200. 17’ wide="" mahogany="" body,="" spruce="" top="" with="" ladderbracing,="" rosewood="" fingerboard,="" pearloid="" block="" inlays="" starting="" at="" the="" 3rd="" fret,="" small="" screwed-onpickguard,="" rectangle="" bridge.="" available="" 1952="" to="" 1963.="" fingerboard="" inlayschanged="" to="" ’double="" parallelagrams’="" in="" 1955.="">
*Kay Professional Cutaway Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body with cutaway, spruce top with X-bracing, rosewood fingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, belly bridge. Available 1955 to 1959.Contact the vintage guitar info guy
Back to the Table of ContentsHarmony Guitars.I do *not* collect Harmony guitars, and franklydon’t know a lot about them. But I get constant questionson them. This is all I know, so please do not email mewith any Harmony questions.
Harmony was THE department store guitar until theearly 1970s for cheap flat top and arch top guitars. Usually the stores would re-brand theguitar to their store guitar name (like Silvertone or Catalina, etc.)But I am constantly asked when they are made.Inside there are usually some ink-stamped numbers,as seen in the picture below. In this picture, thedark numbers (0129H929) represent the Harmony guitarmodel. In this case model Harmony (’H’) H929. The light blue number(f-70) represents Fall 1970, which was when thisguitar was made. Harmony used this type of markingsfrom the 1950s to the 1970s.
Internal Harmony marking for model H929
made in the Fall of 1970 (F-70).
1959 Hofner Committee
Hofner Archtop Guitars.See the new and updated Hofner section by clickinghere.
Ne40e manual.Contact the vintage guitar info guy
Back to the Table of Contents
1954 D’Angelico Excel
D’Angelico.Players and collectors consider D’Angelico Excel and New Yorker models tobe amoung the finest archtop guitars ever made. They are extremelycollectable. Note that John D’Angelico died in 1964, and his apprenticeD’Aquisto finished his last few models that were ’work in progress’.Serial Numbers 1932 to 1964.D’Angelico serial numbers are not strictly chronological. Some overlapsin date ranges occur.
*Style A:16 5/8’ wide,="" parallel="" bracing,="" unboundf-holes,="" smooth="" edge="" pickguard,="" block="" inlay="" (some="" early="" examples="" with="" dot="" inlays),="" rounded="" peak="" and="" 2="" small="" points="" on="" top="" of="" peghead="" (some="" withno="" points).="" available="" 1936="" to="">
*Style B:16 5/8’ wide, parallel bracing (possibly a few with ’X’ bracing afterWWII), unbound F-holes, peghead with broken-scroll pediment framing ornamental cupola (button), pointed angels on scroll. Available 1936 to 1948.Vestax D’angelico Serial Numbers
*Excel: Available in late 1934, the first Excels were 16 5/8’ wide, had’straight’ f-holes, and engraved fingerboard inlays. Then in late1937 the body changed to 17’ wide and curved single bound f-holes.All models have multiple bound top and back, block inlays, peghead with broken scroll pediment framing ornamental cupola (button), rounded angles on scroll, and in 1943 stairstep tailpiece. It is thought that hestarted using ’X’ bracing just after WWII. Available 1934 to 1964.
*New Yorker: 18’ wide, X-braced top, triple bound F-holes, black bindinglines on body sides and side of fingerboard, split-block fingerboard inlays, gold plated parts, skyscraper peghead logo. Some examples withpeghead with broken scroll pediment framing ornamental cupola (button) androunded angles on scroll). Available 1936 to 1964.
*Excel Special:17’ wide, New Yorker trimmed Excel. Available 1943 to 1964.D’angelico Serial NumbersContact the vintage guitar info guy
Back to the Table of Contents
Vsampler 3 5 2 keygen crack key. 1953 Stromberg Master 400
Stromberg.Stromberg’s workmanship is generally considered amoung the best, thoughnot quite as good as D’Angelico archtops. Stromberg’s late model guitarsfrom the 1950’s have great sound that makes them quite collectable. The early models with multiple top braces do not sound as good, but are collectable because of the Stromberg’s reputation.
*G-1:tailpiece with 2 horizontal plates and 4 vertical tubes, triplebound top and back, bound pickguard, notched-diamond or 4-point fingerboardinlays, bound peghead, nickel plated parts.
*G-2 and G-3 Cutaway: 17 3/8’ wide,="" bound="" pickguard="" with="" straight="" edges,ebony="" fingerboard,="" slashed-block="" fingerboard="" inlays,="" gold="" plated="" parts,natural="" or="" sunburst="">
*Deluxe and Deluxe Cutaway: 17 3/8’ wide, tailpiece with 3 cutouts and Y-shaped center section,bound pickguard with stairstep treble side, bound F-holes, bound ebonyfingerboard with pointed end, ’Deluxe’ on peghead, natural or sunburstfinish, gold plated parts.
*Master 300: 19’ wide, bound stairstep pickguard, block inlay.
*Master 400: 19’ wide, heavy tailpiece with 5 cutouts, bound pickguard withstairstep treble side, bound F-holes, pointed end ebony fingerboard withslashed-block inlays, celluloid peghead veneer with ’400’ engraved, goldplated parts, sunburst or natural finish. Cutaway models very rare.Contact the vintage guitar info guy
Back to the Table of Contents
Download here: http://gg.gg/wv5si
https://diarynote-jp.indered.space
*D’angelico Serial Numbers
*Vestax D’angelico Serial Numbers
*D’angelico Serial NumbersPayment
D’Angelico Guitars of America 141 West 28th Street, 4th Floor New York, NY 10001. Info@dangelicoguitars.com (646) 460 8472. Become a Dealer. The D’Angelico Premier Series consists of nine different models that include various semi-hollow and solidbody guitars as well as a true hollowbody. We took a look at a single-cutaway, semi-hollow Premier SS (PSFBSSSP) and a double-cutaway, semi-hollow Premier DC (PSDCSP) to see how they compare to previous D’Angelico models we know and love. Serial Number: 9910311 Neck Specifications. 1 11/16’ nut width. Selected Maple, White neck binding. Ebony fingerboard. Pearl Zig zag position marker. 14°pitch peghead with pearl ’D’Angelico’ and ’New Yorker’ inlays. Multiple black and white binding. Body Specifications. Full sized original ’New Yorker’ style body(17. John D’Angelico was born in 1905 in New York to an Italian-American family, and was apprenticed in 1914 to his great-uncle, Raphael Ciani, who made violins. Original D’Angelico guitars are identified by a serial number punched inside the bass f-hole—the serial numbers ranging from 1001 to 2164. D’Angelico Archtop Guitars D’Angelico Guitars.
Fender Serial Dating. First, narrow it down by the country of origin. Serial dating is easiest for instruments made in the USA or Mexico, but is also possible for those made in Japan, Korea, China, and Indonesia. For US instruments, the serial number will start with a letter. That letter indicates the decade. S for 1970s; E for 1980s; N for.
Payment Terms - Orders Internet orders may be paid for using the following methods: VISA, MasterCard, American Express, Discover, and PayPal. For phone or mail orders you may pay money orders and cashier’s checks by mail. Just call us at 773-525-7773 to place your order. All non-credit-card orders are subject to a 10-business-day hold. We do not accept international credit card or PayPal payments from international accounts. For international security reasons, please call the store to arrange a Bank Wire: +01-773-525-7773. Shipping
Shipping Charges - Taxes and Title Separate charges for shipping and handling will be shown on your order form. As a security precaution, initial orders and orders shipping to alternate addresses may be held for extended verification. We reserve the right to make partial shipments, which will not relieve you of your obligation to pay for the remaining deliveries. All items purchased from Chicago Music Exchange are made pursuant to a shipment contract. This means that the risk of loss and title for such items passes to you upon our delivery to the carrier. The published rates are for US domestic shipping only. Contact us directly if you wish to place an international order. For more information on our shipping policies, including rates, delivery times, and delays, please visit our website at chicagomusicexchange or call us at: 773-525-7773. If applicable, a separate charge for taxes will be shown on the invoice. We are required to collect sales tax on all orders shipped to Illinois. Returns
3-Day / 15-day Return Policy If you are not completely satisfied with any product, return it for a full refund of the product purchase price, full credit, or exchange of your choice. We give you 3 days from the shipping date on Vintage instruments, and 15 days on New instruments. Credit card returns are issued a credit for purchase price. Refunds are made for product value only, excluding shipping and handling charges. New, Unopened items: You may return most NEW, untouched, unopened items within 15 days of delivery for a full refund. if the return is a result of our error (you received an incorrect or defective item, etc.) we’ll also pay the return shipping costs. AmEx credit cards: Note that if your order was paid using an AmEx card we may pass on a 3.5% fee of the purchase price to process your refund. Vintage, Used items: We have to evaluate vintage and used guitars, amps, and other items on a case by case basis. We spend a lot of time with you and the item before your purchase to try to avoid any surprises after your purchase. AmEx credit cards: Note that if your order was paid using an AmEx card we may pass on a 3.5% fee of the purchase price to process your refund. You should expect to receive your refund within four weeks of giving your package to the return shipper, however, we strive to issue your refund sooner. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days). Send your return to: Chicago Music Exchange 3316 N Lincoln Ave Chicago, IL 60657 The following items are returnable only if defective OR unopened or unused: strings, harmonicas, microphones, cleaners, polishes, and polishing cloths. Software/soundware, cassettes, CDs, DVDs, and videos may be returned for credit only if they are in their original, sealed packaging. If defective, these items will only be exchanged for the same product. For complete details on our guarantees, shipping, and return policies, please contact our Customer Service Department at 773-525-7773; fax us at 773-525-2775; visit our website at www.chicagomusicexchange.com, or write us at Chicago Music Exchange, 3316 N. Lincoln Ave, Chicago, IL 60657.
Vintage Guitars Info’s
Other Vintage Guitar Makers:
Kay, D’Angelico, Stromberg, Hofner.D’angelico, Stromberg, Kay, Hofner vintage guitars history and collecting.Private vintage guitar collector. Pictures, history for other makes of vintage guitars.
Contact the Vintage Guitar Info Guy.1958 Kay Barney Kessel Pro
Model Information for:
*Picture Gallery, Other makers
There are lots of other cool makes of instruments out there. But theseare the ’big’ ones that I have some information on. Note the Hofnersection has been greatly updated and moved to its own section, and removed from here.Contact the vintage guitar info guy
Back to the Table of ContentsKay.Kay primarily manufactured ’department store’ style, inexpensive guitars from the 1930’s to the 1960’s. But they also made some hi-end, qualityarchtop guitars. The most collectable Kays are any model with the ’Kelvinator’plastic headstock overlay with art deco patterns. Used from 1957 to 1960, this headstock was named after the brand of refrigerator that looked quite similar.This overlay was injection molded with clear acrylic plastic and thenback-painted either white or black, with gold highlights in the crestand gold dots outside of the crest. Starting in late 1960, Kay switched to a less expensive ’half’ Kelvinator that used just the triangle Kay crest from the full Kelvinator, screwed to a simple black plastic headstockveneer. This ’half’ Kelvinator dropped the black or white back-painted acyrlic ’lunchcountertop’ surround with gold dots. This design only lasted till the end of 1961 when the Kelvinator headstock was completely dropped.
1957-1960 Kay full
’Kelvinator’ Headstock
Note that Kay also made guitar with other brand names on theheadstock. These are still Kay’s, just they are made for department storetype companies. This includes Spiegel (’Old Kraftsmen’), Montgomery Ward(’Sherwood Deluxe’), Sears and Roebuck (’Silvertone’), and Orpheum through the 1950’s and 1960’s. The most common name (other than ’Kay’) isby far ’Old Kraftsmen’.
Command and conquer torrent mac free. Kays are notorious for having bad neck sets and broken truss rod systems.Usually, this can be corrected by a good repair person for around$150 to $200.1959 Kay ad.
*Barney Kessel Pro.Single cutaway archtop, 13’ wide,="" veneer="" maple="" body,="" spruce="" top,="" no="" f-holes,="" 1="" or="" 2="" singlecoil="" ’gold="" k’="" pickups,="" block="" fingerboard="" inlays="" starting="" at="" the="" 3rd="" fret,="" ’kelvinator’="" peghead,="" ’barney="" kessel’="" signature="" on="" the="" silver="" colored="" acrylic="" pickguard,="" chrome="" open="" back="" grover="" tuners,="" rosewood="" bridge,="" sunburst="" or="" blond="" finish.="" available="" 1957="" to="" 1961.="" in="" 1960,="" barney="" kessel’s="" signaturewas="" removed="" from="" the="">
*Barney Kessel Artist.Single cutaway archtop, 15 1/2’ wide, veneer maple body, spruce top, bound F-holes, 1 or 2 single coil ’Gold K’ pickups, block fingerboard inlays starting at the 1st fret, rosewood fingerboard, ’Barney Kessel’ signature on the silver colored acrylic pickguard, ’Kelvinator’ peghead, chrome Melita bridge, nickel Grover tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel’s signaturewas removed from the pickguard.
*Barney Kessel Jazz Special.Completed with the Gibson L-5CES. Single cutaway archtop, 17’ wide, veneer maple body, spruce top, bound F-holes, 1 or 2 singlecoil ’Gold K’ pickups, split-block fingerboard inlays, ebony fingerboard, ’Barney Kessel’ signature on the silver colored acrylic pickguard, ’Kelvinator’ peghead, chrome Melita bridge, chrome Grover Imperial tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel’s signaturewas removed from the pickguard.
*The Upbeat.Kay’s less expensive alternative to the Barney Kessel Jazz Special. Singlecutaway archtop, 17’ wide, veneer maple body, rosewood fingerboard with pearloid block inlays starting at the 3rd fret, rosewood bridge, closedback individual Kluson tuners with metal buttons, large scalloped pickguardsometimes with silver sparkle, sunburst, blond or black finish. Available with 1 or 2 ’Gold K’ single coil pickup from 1957 to 1959.In late 1959, 3 pickup ’ES-5’ type model available. Made from 1957 to 1961.Full Kelvinator headstock from 1957 to 1960, half Kelvinator headstock in 1961.
*K-161 ThinTwin (Jimmy Reed or Howlin’ wolf="">15’ wide, single cutaway, flat top semi-hollow maple body, blond top andsunburst back and sides, 1 or 2 blade pickups, block fingerboard inlaysstarting at the 3rd fret, rosewood fingerboard, trapeze tailpiece,rosewood bridge fixed to top. Available 1952 to 1960. Tortoise shell pickguard from 1952 to 1957, black pickguard from 1958 to 1960.
pre-1958 K-161
*Jazz II.15 1/4’ wide, double cutaway fully hollow 2’ thick veneer maple body (likean ES-330), rosewood fingerboard with ’shark fin’ inlays starting at the3rd fret, two ’Gold K’ single coil pickups, bolt-on maple neck, Bigsbyvibrato and aluminum bridge, silver painted scalloped acrylic pickguard,half Kelvinator headstock, nickel Grover tuners, bound top, back and fingerboard, blond or sunburst finish. Available 1961 to ?.
*K-11 acoustic archtop.Completed with the Gibson L-7C, Single custaway acoustic archtop, 17’ wide veneer maple body, spruce top, rosewood fingerboard, block or ’shark fin’ fingerboard inlays starting at the 3rd fret, large scalloped pickguard, closed back individual Klusontuners with metal buttons, trapeze tailpiece, blond or sunburst finish. Available 1953 to 1959. Starting in 1958 came with a full Kelvinator headstock.
*K-21 acoustic archtop.Completed with the Gibson L-5C. Single cutaway acoustic archtop, 17’ wide,="" veneer="" maple="" body,="" spruce="" top,="" ebony="" fingerboard,="" split-block="" fingerboard="" inlays,="" scalloped="" fingerboard="" extension,="" ebony="" bridge,="" kluson="" sealfast="" tuners,="" es-300="" style="" trapeze="" tailpiece,="" large="" scalloped="" pickguard,="" blond="" or="" sunburst="" finish.="" available="" 1953="" to="" 1959.="" starting="" in="" 1958="" came="" with="" full="" kelvinator="">
1961 Kay Jazz II with semi-Kelvinator
*K-27 Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body, spruce top withX-bracing, ebonyfingerboard, pearl block inlays starting at the 1st fret, small screwed-onpickguard, belly bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.D’angelico Serial Numbers
*K-23 Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body, spruce top with X-bracing, rosewoodfingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, rectangle bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
*K-22 Flattop.Same size as a Gibson J-200. 17’ wide="" mahogany="" body,="" spruce="" top="" with="" ladderbracing,="" rosewood="" fingerboard,="" pearloid="" block="" inlays="" starting="" at="" the="" 3rd="" fret,="" small="" screwed-onpickguard,="" rectangle="" bridge.="" available="" 1952="" to="" 1963.="" fingerboard="" inlayschanged="" to="" ’double="" parallelagrams’="" in="" 1955.="">
*Kay Professional Cutaway Flattop.Same size as a Gibson J-200. 17’ wide veneer maple body with cutaway, spruce top with X-bracing, rosewood fingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, belly bridge. Available 1955 to 1959.Contact the vintage guitar info guy
Back to the Table of ContentsHarmony Guitars.I do *not* collect Harmony guitars, and franklydon’t know a lot about them. But I get constant questionson them. This is all I know, so please do not email mewith any Harmony questions.
Harmony was THE department store guitar until theearly 1970s for cheap flat top and arch top guitars. Usually the stores would re-brand theguitar to their store guitar name (like Silvertone or Catalina, etc.)But I am constantly asked when they are made.Inside there are usually some ink-stamped numbers,as seen in the picture below. In this picture, thedark numbers (0129H929) represent the Harmony guitarmodel. In this case model Harmony (’H’) H929. The light blue number(f-70) represents Fall 1970, which was when thisguitar was made. Harmony used this type of markingsfrom the 1950s to the 1970s.
Internal Harmony marking for model H929
made in the Fall of 1970 (F-70).
1959 Hofner Committee
Hofner Archtop Guitars.See the new and updated Hofner section by clickinghere.
Ne40e manual.Contact the vintage guitar info guy
Back to the Table of Contents
1954 D’Angelico Excel
D’Angelico.Players and collectors consider D’Angelico Excel and New Yorker models tobe amoung the finest archtop guitars ever made. They are extremelycollectable. Note that John D’Angelico died in 1964, and his apprenticeD’Aquisto finished his last few models that were ’work in progress’.Serial Numbers 1932 to 1964.D’Angelico serial numbers are not strictly chronological. Some overlapsin date ranges occur.
*Style A:16 5/8’ wide,="" parallel="" bracing,="" unboundf-holes,="" smooth="" edge="" pickguard,="" block="" inlay="" (some="" early="" examples="" with="" dot="" inlays),="" rounded="" peak="" and="" 2="" small="" points="" on="" top="" of="" peghead="" (some="" withno="" points).="" available="" 1936="" to="">
*Style B:16 5/8’ wide, parallel bracing (possibly a few with ’X’ bracing afterWWII), unbound F-holes, peghead with broken-scroll pediment framing ornamental cupola (button), pointed angels on scroll. Available 1936 to 1948.Vestax D’angelico Serial Numbers
*Excel: Available in late 1934, the first Excels were 16 5/8’ wide, had’straight’ f-holes, and engraved fingerboard inlays. Then in late1937 the body changed to 17’ wide and curved single bound f-holes.All models have multiple bound top and back, block inlays, peghead with broken scroll pediment framing ornamental cupola (button), rounded angles on scroll, and in 1943 stairstep tailpiece. It is thought that hestarted using ’X’ bracing just after WWII. Available 1934 to 1964.
*New Yorker: 18’ wide, X-braced top, triple bound F-holes, black bindinglines on body sides and side of fingerboard, split-block fingerboard inlays, gold plated parts, skyscraper peghead logo. Some examples withpeghead with broken scroll pediment framing ornamental cupola (button) androunded angles on scroll). Available 1936 to 1964.
*Excel Special:17’ wide, New Yorker trimmed Excel. Available 1943 to 1964.D’angelico Serial NumbersContact the vintage guitar info guy
Back to the Table of Contents
Vsampler 3 5 2 keygen crack key. 1953 Stromberg Master 400
Stromberg.Stromberg’s workmanship is generally considered amoung the best, thoughnot quite as good as D’Angelico archtops. Stromberg’s late model guitarsfrom the 1950’s have great sound that makes them quite collectable. The early models with multiple top braces do not sound as good, but are collectable because of the Stromberg’s reputation.
*G-1:tailpiece with 2 horizontal plates and 4 vertical tubes, triplebound top and back, bound pickguard, notched-diamond or 4-point fingerboardinlays, bound peghead, nickel plated parts.
*G-2 and G-3 Cutaway: 17 3/8’ wide,="" bound="" pickguard="" with="" straight="" edges,ebony="" fingerboard,="" slashed-block="" fingerboard="" inlays,="" gold="" plated="" parts,natural="" or="" sunburst="">
*Deluxe and Deluxe Cutaway: 17 3/8’ wide, tailpiece with 3 cutouts and Y-shaped center section,bound pickguard with stairstep treble side, bound F-holes, bound ebonyfingerboard with pointed end, ’Deluxe’ on peghead, natural or sunburstfinish, gold plated parts.
*Master 300: 19’ wide, bound stairstep pickguard, block inlay.
*Master 400: 19’ wide, heavy tailpiece with 5 cutouts, bound pickguard withstairstep treble side, bound F-holes, pointed end ebony fingerboard withslashed-block inlays, celluloid peghead veneer with ’400’ engraved, goldplated parts, sunburst or natural finish. Cutaway models very rare.Contact the vintage guitar info guy
Back to the Table of Contents
Download here: http://gg.gg/wv5si
https://diarynote-jp.indered.space
コメント