12-29-14, 5-9-16” imprints), the L-brackets are shinier than the other gold-plated parts and are replacements, and the tuners are newer than the banjo, which we have said. He says that the tailpiece is a replacement (and it could indeed be even with its “Pat. Some of the issues pointed out by the person who had seen it included that he felt that he felt that the back and sides of the resonator and the neck were refinished he questioned whether this was an original Gibson Granada neck (although it sure looks like it is and matches the resonator and rim perfectly – we see nothing to indicate that it was not made by Gibson – perhaps its original owner purchased a Granada tenor and sent it back to be converted by the factory to plectrum. The neck is bound in crème with white-black purfling, and exhibits the Mastertone block at the 21st fret. It has the fiddle-cut black overlain headplate with the hearts-and-flowers inlay pattern on headstock and fingerboard, but in this instance the headstock is bound in single ply crème, and the inlay pattern begins at the first fret. It has the modestly figured maple resonator with the white-black purfling on four borders and the serial numbers written in chalk near the center back of inside resonator and also painted (with chalk for the last two digits) near the neck opening. We note that its gold plating is slightly dulled from time and oxidation it shows light normal scratches and minor signs of use. At this point we'd like to say that at least one person who has seen it feels that not all its parts are 1930 Gibson Granada parts, although most or many clearly are, and others seem correct for the overall era though not necessarily from the same Gibson instrument. This is a - shall we say - 'semi-custom order' Granada 40-hole archtop plectrum with some interesting features. #9193-12, in excellent minus condition with original worn hard shell case whose center pocket lacks a tab, and which we are providing a new handle.

Gibson Granada Banjo Serial Numbers