This is a - shall we say -- "semi-custom order" Granada 40-hole archtop plectrum with some interesting features. 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. We note that its gold plating is slightly dulled from time and oxidation; it shows light normal scratches and minor signs of use. 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. 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. The neck is bound in crème with white-black purfling, and exhibits the Mastertone block at the 21st fret.
Another interesting fact is that the stretcher band on this banjo has the repeating “X” etching pattern on the vertical side of the stretcher band along with small “hatch” or filigree marks on the top edge of the stretcher band, similar to a Gibson Mastertone PB-6. The armrest is etched with a filigree decorative pattern. On this banjo the tailpiece is flat Kirschner type but without a brand and it bears a “Pat. 2-29-14, 5-9-16” stamp on the bottom side; this tailpiece is adjustable with a thumbscrew. The inside of the maple 3-ply rim has an intact Gibson Mastertone gold label. The back of the neck is one piece of highly figured (tiger stripe) maple finished in a dark walnut stain; tuners are gold-plated and geared but have simple white plastic buttons that appear more modern than one might expect to see on a 1930 Granada; opinion is that somebody “Madoff” with the large pearl buttons.
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. It happens.). He says that the tailpiece is a replacement (and it could indeed be even with its “Pat. 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. Because of their “alternate” engraving pattern he says that the origin of the armrest and tension hoop are uncertain – but we had also said that above in the second paragraph. We wish to affect complete disclosure with these additional observations.
It has twin gold-plated coordinator rods through the body and a few insignificant marks on the heel cap from contact with the resonator. There is some arm contact wear on the armrest and tailpiece and, as we said, the gold plating is dulled on the tube and plate flange, stretcher band and tone ring. Although we don’t see many plectrum banjo players on the streets of West Brighton if you are a plectrum banjo player this one is an extremely fine one even if its paternity is not entirely documented. Although some questions are raised, everything about it cursorily lines up as being eccentric but not flawed. Even though it may not have the most perfect of pedigree, there is no reason, when seeing it, that one would find fault with its appearance, performance or provenance.