Thinking back to our youth, we remember that the Gibson Company began making banjos in September of 1918. These earliest examples were much simpler in design than the models that followed starting from the mid-1920s. They were initially open back instruments without a “tone ring” – this means that the skin rested directly on the wooden rim with no metal buffer between them whose purpose was to expand the sound and give it the brassy distinctive tone associated with professional instruments. The original design is called a “hollow rim with wood spacers.”
In March 1923 Gibson introduced a new design rim with a “ball bearing” tone ring – a hollow tube upon which the skin now resided, which rested on a series of single ball bearings that rested in a trough. Originally, this tone ring was used on smaller model banjos that had a “trap door” back cover, with smaller diameter heads, but this did not prove popular. So, in early 1925 Gibson did two things: first, they introduced the “Mastertone” series of banjo, whose entry level model was the TB-3. This banjo was heavier, larger, had a full “dish” resonator on the back that projected sound forward. Second, they further modified the instrument with a system called “spring loaded ball bearing” in which a series of springs were implanted inside of the rim that put pressure on ball bearings, that put pressure on the brass hollow tube, which in turn pushed up on the skin head and kept it taut, since, during periods of high humidity the skin would become loosened. At least that was the theory, but it didn’t work out as well as planned.
Sometime during 1927 Gibson introduced the “arched top” tone ring, which was a solid ring of nickel-plated brass. Finally, starting in 1928-’29 Gibson introduced their final tone ring, the “flathead.” The ball bearing and the archtop tone rings each have a “ridge” of metal that contact the underside of the skin around 1” from the outer “stretcher band” – effectively making the vibrating diameter of the 11” head smaller and increasing upper midrange and high frequencies. Realizing that players wanted a mellower, richer tone, the “flathead” tone ring allows all 11” to vibrate unimpeded. The ball bearing tone ring is also known for its sweet, mellow response – some people say that it produces a welcoming sound that one’s significant other can listen to for hours without complaining (unless he or she likes to complain) since there is no stridency or wince-causing shrillness. For this reason it is referred to as the "poor man's flathead." Its sound is solid, stentorian, lovely and professional.
This banjo’s serial number tells us that the year made was 1925, and there are two features common to 1925 Model TB-3 banjos. One is that on the side of the rim of the banjo, through the tone ring, is a series of 70 holes, in sequence two are smaller and lower and one is raised and larger. This was probably done to “let the sound out.” It didn’t last long, only one year. And the second is that in 1925 Gibson Mastertone model banjos were inlaid with the word “Gibson” on the headstock, in prewar cursive script in mother of pearl, and just under that the word “Mastertone” is inlaid in individual block letters in mother of pearl. The following year, 1926, Gibson changed the spec so that the word “Mastertone” no longer appeared on the peghead, it was moved to an engraved block of pearl at the last fret of the ebony fingerboard. Under the logo and “Mastertone” on the headstock, there is a five-inlay flower, and then twin lower case f-shaped inlays facing in opposite directions, and then a black plastic bell shaped truss rod cover.
The four-string tenor neck on this instrument shows considerable finish checking on the back which finish is flaking off from hand contact. There is some light oxidation on metal parts (not much), the frets are a bit worn from normal playing, but our repair staff has cleaned them and performed their world-renowned set-up and now this banjo plays with an extremely comfortable action. Some of the lacquer over the pearl on the headstock has chipped away, leaving some of the pearl yellow and some parts of it white. The banjo has a two-piece flange (tube and plate) in excellent condition and 24 original brackets and nuts, the brackets all attach to a continuous groove in the stretcher band, a technique common to 1925 and 1926 Mastertones.
The interior of the instrument is quite clean. Of course it has the 60-hole, hollow tube, “ball bearing” tone ring, the twin coordinator rods (one of which bears a “Pat. Applied For” stamp). That same coordinator rod shows a bit ‘o’ wear from a pliers or wrench and the second coordinator rod was apparently moved or re-seated and there the wood is disturbed around its terminus at the bottom side. There is a small swelling in the center of the heel cap. The 2nd string tuner on the headstock is replaced, the other three are “Grover Pat.” with two screws and dog ears; the 2nd string tuner is also “Grover Pat.” but without dog ears and the screws are in a different place, leaving one hole on back of headstock. There are small scratches on the inside of the rim and on the back of the resonator – but nothing out of the norm. The resonator is held to the flange by four small hexagonal-headed original screws. The skin head is old, but still in good condition. We’re going to leave it in place.
The interior gold Gibson label is interesting, in that a) during this early period it doesn’t say “Mastertone” on it, and it offers a caveat to the buyer: “This Gibson is hereby Guaranteed against faulty workmanship and material. The head and strings are highest quality obtainable, but as they are not manufactured by the Gibson Mandolin-Guitar Co. they cannot be included in the guarantee. Gibson Mandolin-Guitar Co., Kalamazoo, Mich.” Don’cha love it? The tenor neck has a diamond fingerboard inlay pattern. There arethree diamonds at the third fret (the middle one is larger), then two at the fifth, two at the 7th, three at the 10th, two at the 12th, and 3 at the 15th. This tenor neck has the “Fiddle-shaped” headstock design and, since it says “Mastertone” on the headstock it does not also say it on the block of pearl in the penultimate fret, as later Mastertones do. The serial number is stamped inside the rim; it also appears on the inside center of the resonator in chalk (as Gibson did) and then again, above that entry in pencil. You can never have two many serial numbers. This banjo shows light normal signs of wear on the back of the resonator (from contact with the shirt and belt while playing) and light signs of oxidation and hand wear on the metal parts. All of this is normal.
We offer you a very clean, notably original Gibson 1925 TB-3 tenor banjo, set-up by our staff of professional repairers, which banjo will be provided you with a period (worn but correct) carrying case.
THIS WAS $3603 BUT IS NOW ON SALE (AT A REDUCED PRICE):