Gibson Epiphone Banjo Serial Numbers

Timeline 1931-1956: A chronology of Epiphone instruments

Gibson Epiphone Banjo Mb 250
Gibson Banjo Serial Number Guide
Gibson Epiphone Banjo Serial Numbers

This timeline provides a chronology of milestones, developments and changes related to Epiphone instruments over the years 1931 to 1956. The timeline focuses on general aspects, while detailed info about individual models and their development can be found on the Models page. Click on links to see photo of example.

Note: The quoted serial numbers (SN) refer to the first/last examples of a model/feature as documented in our Registry – i.e. not necessarily the first/last example in existence.

The labels with an image of Orville Gibson are generally found on instruments with serial numbers below 10,000. If the serial number is legible the instrument can be relatively easy to date. Serial numbers are addressed elsewhere on the web site but can be found also on Gibson’s website and George Gruhn & Walter Carter’s book: Gruhn’s Guide to.
The Unofficial New York Epiphone Registry. Pre-War Gibson L-5 Owners' Club Banjo Hangout. Is successor as President of Epiphone Inc. Serial numbers.

The timeline is a working document and subject to corrections as new evidence material surfaces.

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The only difference is mine says Gibson on the headstock (in vertical letters) below the inlay of 'Epiphone.' I have the serial number X960028406 and I was wondering if any of you seasoned veterans would be able to tell me when and where it was made.

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Last updated: 10 May 2019

1931

General features:

June 1931: Masterbilt model line 'announced' (no further details documented) ¹
Serial numbers (SN): starting at SN 5000, stamped inside body
Label inside body: oval label, printed in black on silver paper (next to stamped SN); earliest examples: no label

Headstock: asymmetrical shape on higher models, rounded peak shape on lower models; black plastic (pyralin) veneer with engraved and tinted 'Epiphone' + 'Masterbilt' banners, model name in between, banners pearl on higher models; plain veneer on low-end models
Tuners: single Waverly clipped plate (higher models, until 1936); strip Waverly square-end (lower models, until 1939);
strip Waverly arrow-head (4-string models, until 1939)
Neck width: around 1¾' at nut (6-string guitars)
Fretboard: curved end
Top construction: arched or flat top, ladder-braced
Soundholes: 3-segment f-hole shape
Top finish: sunburst (translucent); Olympic: dark;
Beverly: natural
Pickguard: black plastic (pyralin), straight shape, bound on DeLuxe model; mounting: no screw (last SN 5308), later 2 screws (first SN 5279)
Bridge: two-foot base, saddle with bone insert (until 1932, last SN 5842)
Tailpiece (guitars): trapeze, 'wrap over' style, short mounting bracket (until 1933)

Archtop guitar models (6-string) introduced:

DeLuxe: 16⅜' (first SN 5009)
Broadway: 16⅜' (first SN 5047)
Triumph: 15½', walnut back (first SN 5010)
Royal: 15½', mahogany back (first SN 5119)

Zenith: 13⅝', maple back (first SN 5128)
Olympic: 13⅝', dark top (first SN 5454)

Tenor/plectrum guitar models (4-string) introduced:

Empire: 13⅝' (first SN 5137)
Bretton: 15½' (first SN 5375)
Hollywood: 13⅝' (first SN 5044)
Regent: 13⅝' (first SN 5287)
Melody: 13⅝' (first SN 5086)
Beverly: 13⅝' (first SN 5253)

Mandolin family models introduced:

Strand: 2-point body (1931 pic in 1932 catalog, first SN 5550)
Rivoli: teardrop body (first SN 5162)
Adelphi: teardrop body (first SN 5164)

1932

Sales literature (see Catalogs):

Catalog 'Masterbilt Fretted Instruments', published late 1932 ²

General features:

Company name/address: Epiphone Banjo Corporation, 35–37 36^th Street, Long Island City, NY
Serial numbers: on models with floating bridge, SN also penciled under the bridge foot (first SN 5765)
Top construction: carved top with parallel tonebars on all archtop and tenor/plectrum models (except Beverly)
Neck: Wider laminate strips on higher models (first SN 6009, last narrow laminate strips SN 5994)

Pickguard: mounting with 1 screw (first around SN 5681)
Bridge: solid base, angled saddle with straight top (no individual string compensation)

Archtop model changes:

Blackstone: new 14¾' model, all black finish, maple back (first SN 5707)

Olympic: sunburst top (first SN 5752)

4-string tenor/plectrum model changes:

Empire: body upsized to 15½' (in catalog, no example documented)
Hollywood: body upsized to 15½' (first SN 5691)
Regent: body upsized to 15½' (first SN 5681)
Beverly: sunburst top (first SN 5919)

Flattop guitars (Spanish/Hawaiian) introduced:

Madrid: 4 f-holes
Navarre: (in catalog, no early example documented)

Mandolin family models changes:

Windsor: new(?) top model, 2-point body (first SN 5530)
Adelphi: banners on headstock (first SN 5597)
4 mandola models (in catalog, model names same as mandolins, no example documented)
3 mandocello models (in catalog, 'No. 1 similar to Blackstone, No. 2 similar to Triumph, No. 3 similar to DeLuxe guitar', no example documented)

1933

Sales literature (see Catalogs):

Flyer 'Masterbilt Guitars' ³

General changes:

Headstock: decoration simplified, engraved gothic script banners on most lower models (first SN 6375); 'Epiphone Masterbilt' banner decal on Olympic + Beverly (first SN 6829)
Serial numbers: DeLuxe + Broadway only: SN stamped onto oval label (first SN 6254); on models with floating bridge transition to SN stamped under bridge foot (first SN 7019)
Top finish: sunburst semi-opaque (first around SN 6448, until 1934)
Tailpiece (guitars): trapeze, 'through' style, large mounting bracket around endpin (first around SN 6265)

Archtop model changes:

Triumph: body upsized to 16⅜' (first SN 6437)
Royal: walnut back (first SN 6904)
Blackstone: sunburst top (first SN 6231)
Zenith: walnut back (first SN 6372)

1934

Sales literature (see Catalogs):

Catalog 'Masterbilt Fretted Instruments', dated 1934, published by November 1934 ⁴

General changes:

Label inside body: rectangular Long Island label, printed in black on tan paper, model name typed, serial number typed (first SN 7449); penciled guide line for label position, by running pencil along f-hole (first around SN 8364, until 1943)
Headstock: 'Epiphone' block letter logo (first SN 7415), with pearl inlaid neoclassical motifs on most models; later transition to script logo (first around SN 8065; last block letter logo SN 8546)
Tuners: single Grover clipped plate (some higher and middle models, until 1935)
Fretboard: straight-cut end (first around SN 7543)
Top finish: back to sunburst translucent (around SN 7929)
Pickguard: mounting with screw at neck; bound on Broadway and higher models
Manufacturing of guitars for other brands: Howard, Sorrentino, Ideal; typically with standard Epiphone SNs stamped or on special labels (first SN 7253; produced until 1935, last SN 9331)

Archtop model changes:

Tudor: new 16⅜' model (first SN 7449)
Triumph: maple back (first SN 7415)
Royal: discontinued (last SN 7591)
Spartan: new 16⅜' model, round soundhole (first SN 7555)
Blackstone: mahogany back (first SN 7582); body upsized to 15½' (19¼' long; first SN 7768)
Zenith: body upsized to 14¾' (first SN 7738)

Flattop model changes:

Madrid + Navarre: not listed in catalog

Mandolin model changes:

Windsor Special: new scroll model (pictured in 1934 catalog with banner headstock)

1935

Sales literature (see Catalogs):

Updated version of 1934 catalog 'Masterbilt Fretted Instruments'
Flyer 'Electar Electric Music'
In catalog Chicago Musical Instruments: 'Sorrentino guitars'

General changes:

Company name changed: Epiphone, Inc. (by April 1935)
New company address: 142 West 14^th Street, New York, N.Y. (by March 1935)
Body shape (archtop guitars, most pronounced in new large size models): design of upper bouts changed to join at the neck in a more curved, slope-shoulder shape.
Logo on electric instruments (headstock) and amps: Electar logo plate without 'EPIPHONE'
Neck width: narrower, around 1⅝' at nut (6-string guitars)
Heel: rounded neck heel shape on (Super) DeLuxe and Emperor (first SN 9433; later also on Zephyr Deluxe + Zephyr Emperor)
Soundholes: 'cello' f-hole shape, squared off at scroll (first SN 8457)
Pickguard: black plastic, curved shape (first SN 8320);
large, tortoise plastic, with hump on Emperor + DeLuxe only (first SN 9674)
Tailpiece (guitars): large 'compensating' tailpiece on Emperor + DeLuxe (1936: also on Broadway + Triumph)

Archtop model changes:

Emperor: new top model, 18½' wide (first SN 9674); announced in Nov 1935 ⁵
DeLuxe: body upsized to 17⅜', early examples named 'Super DeLuxe' (first SN 9433), announced in Nov 1935 ⁵
Tudor: discontinued (last SN 9082)
Spartan: walnut back + sides, round soundhole changed to f-holes, early examples named 'Spartan Special' (first SN 8986) ⁶
Blackstone: body upsized 2^nd time, still 15¼' wide but now 20¼' long; maple back (first SN 9501) ⁶
Zenith: body upsized 2^nd time, now to 15¼' (first SN 9136) ⁶
Olympic: body upsized to 14¾' (first SN 8904) ⁶

4-string tenor/plectrum models:

Empire, Bretton, Hollywood, Regent, Melody, Beverly: models discontinued (last SN 9213); replaced by tenor/plectrum versions of Broadway, Triumph, Spartan, Blackstone, Zenith, Olympic (first Triumph Plectrum SN 8232, Olympic Tenor SN 9868)

Flattop guitar models:

Madrid: reintroduced, 16½', round soundhole, Hawaiian setup
Navarre: reintroduced, 16½', round soundhole, Hawaiian setup
FT 75: new 16½' model
FT 37: new 15½' model
FT 27: new 14½' model (earliest labeled 'FT #1')

First 'Electar' electric instruments:⁷

Electar Hawaiian, teardrop body, horseshoe pickup
Electar Spanish + Electar Tenor, 14¾', hollowbody, high f-holes, horseshoe pickup
Electar amplifier: black leatherette, 8' speaker

Sales literature (see Catalogs):

Catalog 'Instrument Builders' (orange cover), published by July 1936 ⁸
Flyer 'The Emperor' ⁸
Catalog 'Electar', published c. Dec 1936 (dated 1937) ⁹

General changes:

Label inside body: rectangular Masterbilt label, gothic script letters printed in black on white paper, serial number printed, model name typed (first SN 10465) ⁸
Serial numbers: new SN systems for electric instruments + amplifiers, stamped on top edge of headstock / on logo plate of amp (numbers possibly starting around SN 1, earliest documented SN 25)
Logo on electric instruments (headstock) and amps: Electar logo with 'EPIPHONE' (first SN 478)
Miessner patents plate: on electric instruments (first SN 44)
Tuners: single Waverly clipped plate wide, on middle models (first SN 11232, electric SN 402; until 1937);
single Grover pointed plate ratio 6:1, on higher/middle models (first SN 10080, electric SN 784; until 1939)
Pickguard: long tortoise plastic pickguard on Broadway, Triumph, Windsor + Artist (first SN 10278); long black pickguard on lower mandolin models (first SN 10255)
Pickup: nonadjustable blade pickup on new Model C Hawaiian

Archtop model changes: ¹¹

Broadway: body upsized to 17⅜' (first SN 9888)
Triumph: body upsized 2^nd time, now to 17⅜' (first SN 10278)
Blackstone: body upsized 3^rd time, now to 16⅜' (first SN 10421)
Zenith: body upsized 3^rd time, now to 16⅜' (first SN 10396)
Olympic: body upsized 2^nd time, now to 15¼' (first SN 10889)

Mandolin model changes:

Windsor Special renamed Windsor (2-point model discontinued)
Artist: new scroll model
(also mandola versions in catalog, no examples documented)

Electric model changes:

Electar Hawaiian, Electar Amplifier: models discontinued

New models introduced:

Electar Rocco: two-neck Hawaiian model, stepped shape, nickel plated top ¹²

Electar Hawaiian: redesigned, now with stepped shape, nickel plated top (replaced by Model M Hawaiian later in 1936) ¹³
Model M Hawaiian: stepped shape, black art deco top (replacing Electar Hawaiian) ¹³
Model M Amplifier: grey cloth, 12' speaker, AC or AC-DC
Model C Hawaiian: guitar shape, blade pickup ¹⁴
Model C Amplifier: grey cloth, 10' speaker, AC or AC-DC ¹⁴
Super AC-DC Amplifier: taller case, black keratol, 12' speaker, higher output than Model M
Electar Banjo: tenor/plectrum, round body, horseshoe pickup

1937

Sales literature (see Catalogs):

Catalog 'Instrument Builders' (blue cover) ¹⁵
Flyer 'Instrument Builders' ¹⁵
Updated version of catalog 'Electar' (dated 1937)

General changes:

Tailpiece: 'Frequensator' tailpiece on Emperor, DeLuxe, Broadway + Triumph models, starting late 1937 (around SN 12690) ¹⁶
Neck reinforcement: adjustable 'Thrust Rod' on archtops (first SN 12190) and electric Spanish guitars (around SN 1131); ¹⁷
flattops and mandolins still with nonadjustable neck reinforcement (named 'cantilever brace' in catalog)
Pickup: Model M line instruments receive new pickup with adjustable poles for each string, covered by handrest (first SN 1595) ¹⁸
Tone control: Model M line equipped with a 3^rd tone control knob dubbed 'Rhythm Control' (first SN 996, last SN 2368) ¹⁹

Archtop model changes:

Apollo: New low-end model marketed in the UK only; Epiphone banner decal on headstock; features suggest instruments were not built by the Epiphone NYC factory but by a Chicago manufacturer, possibly Regal (until c. 1940) ²⁰

Electric model changes:

Model C Spanish: new low-end model, 13⅝' body, blade pickup (first SN 1537) ²¹
Model M Spanish + Model M Tenor: model renamed from Electar Spanish / Electar Tenor
Model M Mandolin: new model, teardrop body, no f-holes, pickup with adjustable poles, no handrest (no example documented) ²¹
Super AC Amplifier: AC version of Super AC-DC Amplifier
Special Amplifier (Model EL): cloth, 12' speaker, higher output than Model M, with tone control

1938

General changes:

Tuners: single Grover pointed plate ratio 12:1, on higher models (first SN 13688, electric SN 1595), on lower models by 1939; until 1940 (last SN 16905, electric SN 4167)
Bridge, electric Hawaiian models: PAF stamp (first SN 1974)

Archtop model changes:

Emperor + DeLuxe: blond finish optional

Flattop model changes:

'Gut string' models introduced (November 1938): ²²

Concert: 16½' top model (no example documented)
Alhambra: 14⅜' (no example documented)
Seville: 14⅜' (first SN 14365)

Gibson Epiphone Banjo Mb 250

Electric model changes:

Model M Hawaiian: versions with gold art deco top (first SN 2072) + blue art deco top (first SN 2301)

1939

Sales literature (see Catalogs):

Catalog 'Musical Instruments' (purple cover), published August 1939 ²³

General changes:

Label inside body: rectangular green label, printed in green on white paper, serial number printed, model name typed (first SN 15491)
Headstock: 'short' center-dip shape (archtops: first SN 14423; electric hollowbody instruments: on all new models + last few Model M Spanish/Tenor, first SN 2145; flattop guitars: center-dip shape with straight sides, first SN 14383)
Headstock logo (electric instruments): Epiphone 'bikini' logo plate (all new models, first SN 2507, also on some Model C Spanish, first SN 1538)
SN stamp (electric instruments): now on back of headstock (with introduction of center-dip headstock, first SN 2145; last SN top of headstock SN 2350)
Headstock inlays: simplified designs on Emperor, DeLuxe, Triumph (first SN 15731)
Tuners: single Kluson (Triumph + Zephyr, 1939 only); single E-logo enclosed tuners cataloged as option but not standard before 1940 ²¹
Neck width: wider again, 1 11/16' at nut (6-string guitars)
Bridge, FT models: 'through' bridge with trapeze tailpiece
Pickguard: long, tortoise plastic pickguard also on lower archtop guitar + mandolin models (first SN 15491) and all new electric hollowbody models (first SN 2502)
Cases: introduction of branded 'E under lid' cases, with raised 'E' logo in the lining of the lid ²³

Archtop model changes:

Broadway: 'New Broadway' cataloged with maple back + sides (first around SN 15263; SN 14803 still walnut)

Flattop model changes:

FT DeLuxe: new 16½' top model

Electric model changes:

Model M + Model C lines discontinued (last SN 2488)

New models introduced:

Zephyr Hawaiian: stepped shape, white top, Master pickup ²⁴
Zephyr Spanish + Zephyr Tenor/Plectrum: 16⅜', Master pickup
Zephyr Amplifier: maple, 12' speaker ²⁴
Zephyr Dreadnaught Amplifier: like Zephyr Amp, more power
Century Hawaiian: teardrop shape, bar pickup ²⁴
Century Spanish + Century Tenor/Plectrum: 14¾', bar pickup
Century Amplifier: maple, 12' speaker ²⁴
Century Banjo: model renamed from Electar Banjo, bar pickup
Century Mandolin: teardrop body, bar pickup (pictured in catalog with retouched image of Model M Mandolin)
Coronet Hawaiian: guitar shape, bar pickup
Coronet Spanish: 13⅝', bar pickup
Coronet Amplifer: cloth, 10' speaker
Zephyr Banjo: round body, Master pickup
Zephyr Mandolin: teardrop body, Master pickup
Solo + Duo Console: rectangular shape, Master pickup
Electar Grande: cabinet-style stand with Solo/Duo Console and integrated Zephyr/Dreadnought amplifier chassis+speaker

1940

Sales literature (see Catalogs):

Flyer 'Blondes'
Flyer 'Basses'
New Prices list, Oct 10, 1940

General changes:

Body shape (archtop + hollowbody electric guitars, most pronounced in larger size models): design of upper bouts changed to join at neck in straight right angle for a more square-shoulder shape (first around SN 16481; electric first SN 3442)
Headstock (archtop guitars): 'long' center-dip shape (first SN 16191, 'short' last SN 16500; 4-string 'long' first SN 17848; electric 'long' first SN 3442)
Headstock (flattop guitars): sides now curved (first SN 16500)
Tuners: single E-logo enclosed tuners standard on all models priced $75 or higher ²⁵: Emperor, DeLuxe, Broadway, Triumph, Spartan, Blackstone, FT 75 (first around SN 16379; Blackstone + FT 75 back to open tuners by late 1941, around SN 18309), Zephyr Spanish+Hawaiian (first around SN 3313, some with open tuners in 1942 only);
single Waverly 'yoda head', on middle models (first SN 15861, electric SN 4355), temporarily discontinued during WW2 (last pre-war SN 19446, electric SN 6992);
strip Waverly bell-end, on lower models (first SN 16040), until 1942 (last SN 18957)
blond finish: new option for Broadway, Triumph, Spartan, Blackstone (+ new Ritz model: blond only)
Neck wood: cherry replaces mahogany on some models
Bridge, FT models: pin bridge on new FT models
Bridge, electric Hawaiian models: no PAF stamp (last stamp around SN 4612)

Soundholes: lower position of f-holes (level with bridge) on electric hollowbody instruments (first SN 4441; last high f-holes SN 4277)
Jack socket: Moved to rim on electric hollowbody instruments (first around SN 4528; last jack socket in top SN 4925)

Archtop model changes:

Soloist Emperor + DeLuxe: one single batch with cutaway body (documented examples: SN 16501, 16503, 16504, 16505)
Spartan: primavera back + sides on new blonde finish version (first SN 16941)
Ritz: new 15¼' model, blond finish only (first SN 17071)

Flattop model changes:

FT 50: new 14½' model, 'conventional shape' (first SN 16948)
FT 30: new 14½' model, 'conventional shape' (first SN 16720)
FT 27: discontinued (last SN 16459)

Bass models introduced: ²⁶

B-4, B-3, B-2, B-1

1941

Sales literature (see Catalogs):

Price list, Feb 1, 1941
Flyer 'Two additions', Apr 1941
Price list, Oct 7, 1941
Price Changes list, Dec 1, 1941

General changes:

Headstock inlays: (further) simplified designs on Emperor (first SN 18212) + Broadway (first SN 18264)
Neck reinforcement: FT models with rod adjustment at headstock (first SN 17718); mandolins keep nonajustable neck reinforcement (named 'cantilever brace' in catalog)
Finish: ivory opaque finish on some blond Ritz, Triumph, Zephyr Spanish + Zephyr DeLuxe models (first SN 17197)
Tailpiece: trapeze tailpiece stamped 'EPIPHONE' introduced on electric Spanish models (first SN 5278); after electrics halted in 1942 used on some Olympic and Zenith examples (until replaced by wartime tailpiece with rosewood bar); in 1947 on some Blackstone examples (last SN 57223)

Flattop model changes (October 1941 price list):

FT 79: new 15⅞' model, 'jumbo shape' (first SN 18115)
FT 45: new 14½' model, 'conventional shape' (first SN 51601)

Flattop models discontinued: FT DeLuxe, FT 75, FT 37

Hawaiian models discontinued: Navarre, Madrid

Gut string models discontinued: Concert, Alhambra, Seville ²⁷

Electric model changes:

Varichord: new Hawaiian model (Feb 1941 price list; patent filed in Oct 1939, first SN 3109)
Zephyr DeLuxe: new top model (Dec 1941 price list, first SN 5542) ²⁸
Century Spanish: upsized to 15¼' (first SN 6216)
Coronet Spanish: upsized to 14¾' (first SN 6239)

Bass model changes:

B-5: new top model (Feb 1941 price list)

1942

Sales literature (see Catalogs):

Catalog V 'Musical Instruments' (green cover), published early 1942 ²⁹
Price list, March 15, 1942

General changes:

Parallelogram fretboard inlays (Blackstone, FT 110): orientation reversed (first SN 19199); other models such as Strand mandolin unchanged inlay orientation
Strings: order numbers introduced

General changes – due to WW2:³⁰

Emperor + DeLuxe: production halted (last pre-war SN 18233)

Electric models + amplifiers: production halted (last pre-war around SN 7219)
Bass models: production halted

Flattop model changes:

FT 110: new 15⅞' top model, 'jumbo shape' (first SN 50507)

1943

General changes:

Epaminondas 'Epi' A. Stathopoulo passes away on June 6, 1943. Epi's brother, Orpheus 'Orphie' A. Stathopoulo, is successor as President of Epiphone Inc.
Serial numbers: new SN system introduced for acoustic instruments, starting around SN 50000 (last old SN 20301)
Label inside body: rectangular blue label introduced with new SN system; printed in blue on white paper, serial number printed, model name typed; by 1945 transition of label position from aligned with f-hole to aligned with rim, no longer with pencilled line (first SN 50556)

General changes – due to wartime material shortages:³¹

Tuners: single Kluson with riveted gear (first SN 19421, last SN 51601) and strip Kluson with riveted gear on all lower models (first SN 19266), until 1946 (last SN 55127); Broadway + Triumph stay with single E-logo enclosed tuners
Tailpiece: rosewood bar on trapeze tailpiece (first SN 19470), until 1947 (last SN 56291)
Bridge: octagonal nuts replace round, knurled thumbwheels on floating bridges (first SN 19544), until 1945 (last SN 52250); some 1943 bridges with bakelite thumbwheels
Carved top wood: a not readily identifiable wood species (possibly birch or poplar) replaces spruce in many if not most examples, typically concealed by an ivory opaque or sunburst opaque finish (first around SN 19470), until 1945 (last SN 52748)
Headstock logo: pearl replaced by celluloid on Olympic, Ritz, FT 45, FT 50 (first SN 20296)

1944

General changes:

Heelcap: gold sparkle heelcap on Blackstone + Zenith (first 51472), until 1945 (last SN 53286)

Archtop model changes:

Ritz: model discontinued (last SN 51024)
Tenor models: discontinued (last Olympic Tenor SN 51077)

1945

General changes:

Headstock + fretboard inlays: pearl replaced by celluloid on Triumph, Spartan, Blackstone, Zenith (first Zenith 52581; all models between SN 52922 and SN 56300)
Frequensator tailpiece: bracket often without stamp 'FREQUENSATOR / PAT. PENDING', until 1946 (first SN 52409, last SN 55839)

Archtop model changes:

Emperor + DeLuxe: models reintroduced; further simplified pearl inlays on headstock (first around SN 52834)
Olympic: model discontinued (last SN 52010)

Flattop model changes:

All models discontinued (last SN 52512)

Mandolin model changes:

All models discontinued (last SN 52176)

1946

Sales literature (see Catalogs):

Price list, April 1, 1946 + Notice sheet ³²

General changes:

Serial numbers: new SN system introduced for most electric instruments, used until 1949 (stamped on headstock back); initial SN digits represent model code (see Research, footnote 2)
Body shape (archtop + electric hollowbody guitars): upper bouts change from the square-shoulder shape introduced in 1940 back to a more curved, slope-shoulder shape (first SN 54189 / all post-war electric hollowbodies; last square-shoulder around SN 54130 / electric SN 7182)
Tuners: single Waverly 'yoda head' reintroduced on all lower models (first SN 55116), by 1949 tuner plates with hash marks (first SN 59179), until 1952 (last SN 65563);
transition to Phillips screws for mounting on some models
Heelcap: tortoise plastic heelcap on Spartan + Blackstone, until 1948 (first SN 55242, last SN 58040); and on Zephyr Spanish, until 1948 (first 25024, last SN 25186)
Miessner patent plate (electrics): discontinued (last Miessner plate SN 7219; first without SN 7307)
Pickup: new pickups surface-mounted on hollowbody guitars (backdoor discontinued); black pickup with large adjustable poles on higher models, nonadjustable bar pickup on lower models

Electric model changes:

Zephyr + Century model lines reintroduced
Century Spanish: upsized 2nd time, now to 16⅜'

Bass model changes:

B-4 + B-5 reintroduced ³³

1947

Sales literature (see Catalogs):

Price list, June 1, 1947

General changes:

Headstock + fretboard inlays: pearl reintroduced (with changed headstock inlay motifs) on Triumph, Spartan, Blackstone, Zenith (first Triumph SN 56492, last celluloid inlays Spartan SN 56986)

Electric models changes:

Zephyr Spanish: upsized to 17⅜' (first SN 25223)
Solo+Duo Console: reintroduced (first SN 100007)

1948

Sales literature (see Catalogs):

Price list, March 15, 1948 ³⁴

General changes:

Cutaway body: new option for Zephyr DeLuxe, Emperor, DeLuxe, Broadway, Triumph models; in price list named 'Advanced', on label 'Cutaway', later 'Regent' (first acoustic examples c. 1949)
'Concert' models: new Emperor + DeLuxe versions with trapezoid soundhole in price list (first examples c. 1949)
Headstock logo: modernized script with closed-loop 'e' replaces open 'ε' (standard around SN 57287; first used in 1946 on Zephyr DeLuxe and some Emperor models)
Linings: transition from kerfed to solid linings (first solid SN 58368, last kerfed SN 58793; also in electric models around same time)
Pickup: 'Tone Spectrum' pickup (replacing black large-pole and bar pickups) ³⁵

Electric model changes:

Zephyr DeLuxe Cutaway: new cutaway model (first SN 85000) ³⁵
Century Amplifier, Zephyr Amplifier, Dreadnaught Amplifier: new circuitry, all models with optional vibrato (first SN 30001) ³⁶
Eddie Alkire Eharp: 10-string electric Hawaiian model, built for and sold by musician Elbern H. 'Eddie' Alkire (special serial numbers; first SN 101, last c. 1950 SN 371)

1949

Sales literature (see Catalogs):

Price list, March 1, 1949
Catalog 'Acoustic Guitars and Mandolins' ³⁷
Catalog 'Electar Electronic Instruments' ³⁷
Flyer 'Basses' ³⁷

General changes:

Serial numbers: special systems for early examples of new electric models Kent Spanish + Kent Hawaiian (SN on headstock)
4-string guitars: reintroduced, models Triumph Tenor, Zenith Tenor + Zephyr Tenor/Plectrum listed in catalog
Tuners: strip Waverly square-end, on new low-end models (until 1954)
Soundholes: 'modern' f-hole shape (pointy at scroll) replaces 'cello' shape; (acoustic: first SN 59243; Zephyr Spanish first SN 25722; Century Spanish first SN 60327; Zephyr DeLuxe Cutaway first SN 85204)
Pickup: large metal Tone Spectrum pickup; later in year replaced by smaller 'New Yorker' Spectrum pickup (except Kent Spanish)
Pickguard: tortoise plastic, now with silver E logo (first SN 59381)
Linings: laminated solid linings replace kerfed linings (first around SN 58368)
Strings: new company/address 'Epiphone Musical Strings Inc., Box 55, E. Station, Yonkers 4, N.Y.'

Archtop model changes:

Emperor Cutaway/Regent: new cutaway version (first SN 59092)
Emperor Concert: new model version with trapezoid soundhole (first SN 58809, 3 examples documented, discontinued in 1949)
DeLuxe Cutaway/Regent: new cutaway version (first SN 58823)
DeLuxe (standard+cutaway version): body upsized to 18½' (first SN 59900)
Broadway Cutaway/Regent: new cutaway version (first SN 58820)
Triumph Cutaway/Regent: new cutaway version (first SN 59051)
Devon: new 17⅜' model, sunburst, mahogany back (first
SN 59323)
Spartan: discontinued (last SN 59073)
Blackstone: discontinued (last SN 59154)
Zenith: blond finish optional (first SN 59513), maple back
Byron: new 15¼' model (first SN 59460)

Flattop model changes:

FT 110 + FT 79: models reintroduced, changed to slope-shoulder Jumbo shape (first SN 58549)

Mandolin model changes:

Strand + Rivoli: models reintroduced, changed to oval soundhole (Rivoli SN 58807 still with f-holes; first with oval hole SN 60286)

Electric model changes:

Kent Spanish: new 15¼' model (first SN 3031, last special SN 4039, first new SN 60493)
Kent Hawaiian: new low-end lap steel model (first special SN 75, last special SN 171, first new SN 9055)
Triple Console: new Hawaiian model with 3 necks
Century Amplifier: redesigned, cloth, 12' speaker (first SN 10506)
Kent Amplifier: new low-end model, cloth, 10' speaker (in catalog, no example documented)
Zephyr Mandolin: model reintroduced (first SN 62043)

1950

Sales literature (see Catalogs):

Price list, July 15, 1950
Flyer 'Masterbilt Strings', Oct 15, 1950
Price list, Nov 15, 1950

General changes:

Gibson Banjo Serial Number Guide

Serial numbers: new systems introduced for all electric instruments; electric hollowbody instruments now join the SN system formerly reserved to acoustic instruments, with blue label (first Zephyr Cutaway SN 60182); electric Hawaiian instruments now with SN stamped on the metal bridge/tailpiece unit (starting around SN 9000)
Bridge: offset saddle (for individual string compensation) on most high-end archtops

Electric model changes:

Zephyr Cutaway/Regent: new cutaway version of Zephyr (first SN 60182)
Zephyr Emperor: new 18½' top model (first SN 63168) ³⁸
Century Amplifier, Zephyr Amplifier, Dreadnaught Amplifier: vibrato version only
Asta Amplifier: new low-end model, cloth, E grille, no vibrato ³⁹
Kent Amplifier: discontinued

1951

General changes:

Neck reinforcement: rod adjustment at headstock on all models (last with adjustment at fretboard end: SN 63684)

Archtop model changes:

DeLuxe: body size back to 17⅜' (first SN 62762)
Devon: blond finish optional (first SN 64711), maple back

1952

General changes:

New company address: 130 West 3^rdStreet, New York
Production moved to Philadelphia, after strike in NY factory shut down production for 4 months ⁴⁰
Continental Music, Division of C.G. Conn Ltd., made distributor in 26 states
Tuners: single Waverly bell-end, on most lower models (first SN 64506; until 1956)
Heel: rounded neck heel shape also on some lower models, until 1953 (first SN 64539, last SN 65986)

1953

Sales literature (see Catalogs):

Price list, July 1953

General Changes:

Bridge: offset saddle (for individual string compensation) also on most low-end archtops

Archtop model changes:

Byron: discontinued (last SN 65400)

Electric model changes:

Kent Spanish: discontinued (last SN 65704)
Kent Hawaiian: discontinued
Console: single-neck model discontinued
Dreadnaught Amplifier: redesigned, grille 7 vertical slots, 15' speaker
Century Amplifier: redesigned, grille 6 vertical slots, 12' speaker
Asta Amplifier: discontinued

1954

Sales literature (see Catalogs):

Catalog 'Dedicated to the best'

General changes:

Pickups: transition to DeArmond pickups (first SN 67239), last with NY Tone Spectrum SN 68919)

Flattop model changes:

FT 210 DeLuxe Cutaway: new 17⅜' model (first SN 67732)

1955

Electric model changes:

Volpe: new 15¼' model (first SN 68710, strip Waverly bell-end tuners) ⁴¹
Dreadnaught Amplifier: redesigned, 2x 12' speakers
Zephyr Amplifier: redesigned, 15' speaker
Century Amplifier: redesigned, 12' speaker

1956

General changes:

Production ended ⁴²

Notes:

Go to bibliography of quoted sources.

1) Source: Wheeler 1982, p29; quoted by later sources (Fisch, Gruhn, Carter), however no further details about the announcement documented. We have not located any Masterbilt instruments related adverts in any major music industry publication of 1931; the earliest documented advert found in 'Metronome', issue February 1932 (info: Rod McDonald, Anthony Hendrix).

2) See advert in 'Metronome', Jan 1933 p13, referring to 'Our New Catalog – just off the press', using some image printing blocks from the catalog.

3) Previously, this flyer was dated to 1931 by some researchers (Fisch, Gruhn, Carter). However we conclude it was published not before c. early 1933 – i.e. later than the 1932 catalog (reusing some of its image printing blocks):

Note that the Triumph model is described as 'Grand auditorium size' (16⅜') while the 1931–32 Triumph was 'Auditorium size' (15½');

the Royal model is listed with an increased price of $95;
guitarist Carl Kress who was prominently featured in the 1932 catalog is no longer mentioned (obviously because Kress had become an endorser of Gibson by 1933).

There are two slightly different versions of this flyer, the later one stating changes to the models Blackstone (increased price $75, 'brown mahogany') and Olympic (increased price $35).

4) See advert in 'Metronome', Sep 1934 p24: Coupon 'Send me your new Guitar Book as soon as it is off the press'; advert in 'Metronome', Nov 1934 p27: 'Our new 1935 Catalog is just off the press'.

5) See advert in 'Metronome', Dec 1935: '2 new and greater Epiphone guitars' (Fisch 1996, p85).

6) These changes can be found in an updated version of the 1934 catalog (corrected by text stickers) which also was stamped with the new NYC address (see catalogs).
Advert in 'Metronome', June 1935: 'New oversize Zenith' (Fisch 1996, p100).

7) Earliest known advert in: 'Metronome', Nov 1935, p32 (info: Rod McDonald, see also: Fisch 1996, p29+133); the earliest Electar instruments don't bear a SN.

8) Carter 1995, p26: photo of catalog cover with 'received' stamp dated July 6, 1936. The mandolin models were still illustrated with images from the 1932 and 1934 catalogs (not showing the changed specs).
The Emperor flyer shares similar artwork with an advert in 'Metronome', Dec 1936.

9) Fisch 1996, p148: Electar catalog 'released late 1936'.

10) The Masterbilt label – and later type labels – featured printed SNs (likely applied by a letterpress numbering machine). However in some cases 'blank' labels with a typed SN were used: There are numerous examples of instruments which have the original SN typed on an untypical, later period label – possibly glued in as replacement for the original label during a later repair at the factory. Apparently there were no 'blank' examples of green labels (1939-1943) – instead earlier 'blank' Masterbilt labels with typed SN were used as replacements during that period.

11) Fisch 1996, p69; quoting a letter to dealers dated July 17, 1936: 'All EPIPHONE Guitars are now furnished in the new large sizes and greatly enhanced in appearance, representing in many cases a 50% increase in value with no increase in prices.'

12) Rocco model named after musician Anthony Rocco; Frixo Stathopoulo filed patent March 9, 1938.

13) See advert 'Metronome', July 1936, p28: 'Electar New Design' (info: Rod McDonald); Epi Stathopoulo filed a patented design for Model M Hawaiian on June 12, 1937.

14) Advert 'The Music Trades', Dec 1936 (Fisch 1996, p146).

15) Specs and pictures in this catalog are almost identical to the 1936 (orange cover) edition, except:

on page 3, the 'compensating' tailpiece of the Emperor was retouched to a curved cut-out and engraved 'EPIPHONE' instead of 'Emperor' (this was first pubished in an advert in 'Metronome', Sept 1936);
on page 4, 'EPIPHONE' was added to the tailpiece of the DeLuxe model;
furthermore, some of the artists' photos were changed.

This catalog was likely published before fall 1937 (note: no reference to Frequensator tailpiece or adjustable neck reinforcement yet).

The 1937 flyer used the same images; the Spartan model now described with 'carved back'.

16) See advert 'Down beat', Sept 1937, p37; Frequensator prototype pictured in advert 'Down beat', July 1936, on Tom Morgan's DeLuxe (source: Fisch 1996, p188/p74); Herb Sunshine filed patent June 12, 1937; see also Fisch 1996, p71f.

17) Epi Stathopoulo filed patent Aug 2, 1937; Fisch 1996, p75.

18) Herb Sunshine filed patent Nov 10, 1937; Fisch 1996, p109f; initially named 'TruBalance' pickup (see note 21), renamed to 'Master' pickup in the 1939 catalog.

19) 'Rhythm Control' announced in a letter to dealers June 29, 1937 (Fisch 1996, p117).

20) Fisch 1996, p105. The catalog 'Orchestral Guitars' by Selmer of London, 1939, p5, features this model as 'Epiphone 8', obviously referring to its price of £8/8-.

21) Excerpts of 1937 flyer reproduced in Fisch 1996: Model C Spanish (p117); Model M Hawaiian (p133); Model M Mandolin, 'TruBalance' pickup with adjustable poles, no handrest, no soundholes (p179).
In an updated version of the 1937 'Electar' catalog, on p13 the Model M mandolin was added by stamp.

22) Wheeler 1982, p30: 'in November 1938 (Epiphone) formally introduced a line of gut-string guitars ($75-225).'

23) Fisch 1996, p35/p38. The 1939 catalog introduced Epiphone's 'E' logo, shown on the new enclosed tuners and in the lining of case lids; the 'E' logo was registered as trademark in 1941 with the statement 'claims use since Apr 15, 1939' (Official Gazette of the U.S. Patent Office', July 15, 1941, p539).
The Century Mandolin on p31 was illustrated with a retouched image of the Model M Mandolin as shown in the 1937 flyer.

24) Advert 'Down beat', Feb 1939 (Fisch 1996, p35/p38).

25) Announced in flyer 'Blondes'; this flyer introduced the new natural finish options for the Triumph, Spartan, Blackstone, and Broadway models; the flyer also mentioned the FT 30 + FT 50 as 'new additions' (prices $30/$50, raised in October 1940 list to $35/$57.50).

26) Bass models announced in 'The Music Trades', June 1940 (Fisch 1996, p172).

27) Fisch 1996, p165: quoting a letter dated August 18, 1941 sent to Epiphone dealers: 'We are discontinuing the Gut String Guitars as there isn't a sufficient market for this type of instrument in the Epiphone price range.'

28) Price Changes list, Dec 1, 1941: 'Announcing a new model: De Luxe Zephyr Spanish Electric Guitar' (sic!); this Price Changes list contains no reference to Catalog V, nor the FT 110 model.

29) Catalog V was commonly dated 1941 (Fisch); however we conclude it was likely not released before early 1942, since it features the new FT 110 model (not included in the Price Changes list, Dec, 1, 1941; see note 28). Price list, March 15, 1942 refers to Catalog V.

30) Quote from a letter to a customer, dated August 4, 1942, signed by Herb Sunshine: 'Some of the instruments shown in the catalog, especially those in which there is a preponderance of metals or other strategic materials, are not available for the duration of the war. These include the VARICHORD.'
Note that other guitar manufacturers such as Gibson and Martin also discontinued their high-end models and electric instruments around 1942.

31) Fisch/Fred quote a letter Epi Stathopoulo sent to dealers in August 1941: 'Owing to governmental restrictions on the use of certain materials, it has become necessary to use substitutes wherever possible. While the performance specifications of our instruments are not affected, substitute materials may be used. In accepting orders during the present situation brought about by the National Defense program, we reserve the right to make any necessary substitutions in the constructional features.' (Fisch 1996, p43). This exact notice is also included in the 1942 Catalog V (p42), and in the price list of March 15, 1942.
Regarding the substitute for spruce in carved tops: 'Certain carved-top models were fitted with limed mahogany tops in place of the traditional spruce' (Fisch 1996, p43). 'Some other interesting wartime features of at least one Olympic from 1943 included a rosewood crossbar on the tailpiece and brown bakelite adjusting nuts on the bridge. The top of this particular instrument was not spruce, but of some other not readily identifiable wood, possibly poplar' (Fisch 1996, p104).
Interestingly, Epiphone continued using metal neck reinforcement rods during the war years, while both Gibson and Martin replaced metal rods with wooden bars.

32) The price lists 1946–48 are still referring to Catalog V from 1942; in the 1946 price list, discontinued items are listed with asterisks (***) instead of price. The 1946 notice sheet lists all discontinued items, with Zephyr and Century models marked 'distribution expected late spring'.

33) See: http://www.bassmonkey.net/epiphone.html.

34) This 1948 price list included under 'new models' also 'Advanced' (=cutaway) versions of the Emperor, DeLuxe + Broadway, and 'Concert' versions of the Emperor + DeLuxe (earliest documented example SN 58809, c. 1949). The short-lived Concert models disappeared from the price list by 1949.

35) Tone Spectrum pickup shown on Zephyr DeLuxe Cutaway model, adverts in 'Music Dealer', May 1948, and 'Down beat', June 16, 1948 (Fisch 1996, p124); this pickup type underwent several changes (see Fisch 1996, p15).

36) All early Epiphone amps were built with circuitry designed and manufactured by Nathan 'Nat' Daniel (who later founded the Danelectro company); after the exclusive cooperation with Daniel allegedly ended around 1947, Epiphone amps featured new circuitry with 'Harmonic Vibrato' option (see Fisch 1996, p143ff). At least some of Epiphone's 1950s amps appear to be made by Danelectro.

37) Price list, March 1, 1949, still refers to the old Catalog V; the 3 new catalogs basically list the same prices with some additional options, so likely published later in 1949 or early 1950; prices increased in price list, July 15, 1950.

38) Advert in 'Metronome', Nov 1950 (Fisch 1996, p126); the model also appears in the price list, Nov 15, 1950.

39) Asta Amplifier: price list, July 15, 1950; not mentioned in price list, Nov 15, 1950; we haven't found any picture of this short-lived amp model in Epiphone sales literature; however examples of an obscure amp model with E logo style grille have surfaced which we assume to be the Asta model (first SN 2027); Fisch 1996, p270.

40) Article in 'The Music Trades', April 1952 (Fisch 1996, p53ff).

41) Advert “Fretted Instrument News”, March/April 1955 (Fisch 1996, p214).

42) Fisch 1996, p57.

As one of the oldest and most widely recognized brands in music, Gibson has crafted some of the most cherished and valuable instruments of all time. Determining exactly when your Gibson specimen was made can have high stakes attached to it. A difference of only one year - sometimes even several months - can mean a four-figure difference in value.

Our hope is to make the dating process and, in turn, the valuation as easy, accurate and transparent as possible. You should be able to use this guide to determine the year of your instrument and then consult the Reverb Price Guide to find its value, all for free.

For many vintage instruments, determining the date of manufacture involves little more than running the serial number through a reference guide.

Whereas Martin guitars have been using a single, consistent numbering system since the 19th century, Gibson has used several different serial number formats since its inception in 1902, meaning that some formats and numbers overlap across decades. This makes it especially important to first identify the general era during which your instrument was made before pinning down the exact date of manufacture with a serial number.

If you know the backstory around when the instrument was purchased, this can provide some rough clues about its era. The most general physical piece of evidence on the instrument, however, is going to be the logo on the headstock.

1902 to Late-1920s

The original logo featured the words 'The Gibson' inlaid in pearl at a slant, with an almost hand-written cursive font. This is sometimes referred to as the slanted script logo.

Some earlier specimens from 1903 to 1907 did not slant the logo, or went without a logo entirely. Specimens built before 1902 had a star inlay or crescent in place of a logo.

Late-1920s to 1933

The script logo continues without the slant. Some flattop guitars of this era started to omit the word 'The' from the inlay.

1933 to 1947

By 1933 Gibson had dropped the 'The' from all of their logos while retaining the script 'Gibson.' The original thin script was replaced with a thicker font on higher-end models in the mid-’30s, and across the entire lineup by the end of the decade.

From 1943 to 1947, the logo was a thick golden script, known as the banner logo. Some models (LG-2, J-45, SJ, select L-50s) included an actual banner reading 'Only a Gibson Is Good Enough' in the middle of the headstock.

1947 to Present

The block logo debuted after WWII and remains the face of the company. There were minute changes to which letters were connected in the font between 1961 to 1981, but the main logo had the same look.

1968 to 1972

Gibson stopped dotting the i in their logo on some of their instruments. Most models get a dotted i again in 1972, with the rest following suit from 1981 onward.

Aside from the logos, each era of manufacturing included certain identifying traits such as the hardware (tuners, knobs, plates, etc.), the pickups, the type of finish, and the electronics inside that can give clues as to when an instrument was made. But not a final verdict.

Many older instruments may have reproduction or other non-original parts, including a non-original finish. This makes relying entirely on the physical features of a guitar potentially misleading.

The thickness of the headstock, however, is not as vulnerable to modification or replacement. Before mid-1950, most Gibson headstocks were thinner at the top when looked at from a side profile. After 1950, headstocks had uniform thickness.

Dating a Gibson by Factory Order Number (FON)

Gibson has historically used two different alpha-numerical formats to catalog its instruments: serial numbers and FONs (Factory Order Numbers). Instruments will generally have one or both of these numbers stamped or written either inside the body (generally the case on earlier models) or on the back of the headstock.

FONs were Gibson’s way of internally tracking batches of instruments throughout production. These will generally date an instrument earlier than the serial number, as they were typically applied in the early stages of assembly.

Some earlier lower-end models had no serial number at all, making the FON the sole numerical identifier in those cases. A FON usually consisted of a 3-, 4-, or 5-digit batch number followed by one or two other numbers in most cases.

1902 to 1945 FON Overview

Year	FON Batch # Range
1902 - 1916	1 to 3650
1917 - 1923	11000 to 12000
1924 - 1925	11000A to 11250A (suffix included)
1925 - 1931	8000 to 9999
1931 - 1933	1 to 890
1934	1 to 1500
1935	1A to 1520A
1936	1B to 1100B
1937	1C to 1400C
1938	1D to 1000D
1939	1E to 980E
1940 - 1945	1 to 7900 (some with letter, some without)

From 1935 to 1942, the FON included a letter suffix. The consistency around this stopped during WWII and resumed in the early 1950s.

To complicate matters further, there was sometimes a second letter from 1938 to 1941 indicating the brand (G for Gibson, K for Kalamazoo, W for Recording King) and sometimes even a third letter indicating 'Electric' (the letter E). The year is indicated by the first letter in any series of letters for these years.

1935 to 1942 FON Letter Suffixes

Year	FON Letter Suffix
1935	A
1936	B
1937	C
1938	D, DA
1939	Ex (x being any other letter)
1940	F, FA
1941	E (with no other letters)
1941	G
1942	H

Throughout the war and even for some time after, each year had its own quirks around FON batch numbers and letters

1942 to 1951 FON Info

Year	FON or Letter Code
1942	907, 910, 923, 2004, 2005, 7000s (all with banner logo)
1943	9xx to 22xx
1944	22xx to 29xx (some without FONs)
1945	1xx to 10xx (many without FONS)
1947	700s to 1000s
1948	1100s to 3700s (move from script to block logo)
1949	2000s
1950	3000s to 5000s
1951	6000s to 9000s

From 1952 to 1961, a consistent letter code resumed, with the letter appearing before the batch number.

1952 to 1961 FON Letter Prefixes

Year	FON Letter Prefix
1952	Z
1953	Y
1954	X
1955	W
1956	V
1957	U
1958	T
1959	S
1960	R
1961	Q

Acoustics and Electric Archtops 1902-1961

1902-1947

Gibson’s earliest serialization system was more or less sequential, where each new instrument was assigned the next highest available number. Below is a table of the the highest known number for each production year.

Year	Last Numbers
1903	1150
1904	1850
1905	2550
1906	3350
1907	4250
1908	5450
1909	6950
1910	8750
1911	10850
1912	13350
1913	16100
1914	20150
1915	25150
1916	32000
1917	39500
1918	47900
1919	53800
1920	62200
1921	69300
1922	71400
1923	74900
1924	80300
1925	82700

Year	Last Numbers
1926	83600
1927	85400
1928	87300
1929	89750
1930	90200
1931	90450
1932	90700
1933	91400
1934	92300
1935	92800
1936	94100
1937	95200
1938	95750
1939	96050
1940	96600
1941	97400
1942	97700
1943	97850
1944	98250
1945	98650
1946	99300
1947	999999

1947-1961

When the original serial system reached 999,999 in 1947, Gibson started over with an ‘A’ prefix

Year	Last Numbers
1947	A 1305
1948	A 2665
1949	A 4410
1950	A 6596
1951	A 9420
1952	A 12460
1953	A 17435

Year	Last Numbers
1954	A 18665
1955	A 21910
1956	A 24755
1957	A 26820
1958	A 28880
1959	A 32285
1960	A 34645

Solid Body Electrics 1952-1961

Early Gibson solidbody electrics received a serial stamp on the back of the headstock, with the first number indicating the year of production. The serial number on this Les Paul Junior indicates that it was made in 1956.

1961-1969

Starting in 1961, Gibson implemented a new serialization system designed to cover its entire lineup. However, while the intent was to maintain a more organized catalog, this system in practice achieved the exact opposite.

Numbers from this era were flipped, reused, and in many cases can date an instrument to several non-sequential years. The general system was as follows, though with instruments from this era it’s important to consult key features to get a more accurate age approximation.

Fortunately, Gibson was making more changes to its instruments during the ‘60s and ‘70s than any other period, so dating these instruments by features alone is relatively clear-cut in most cases.

Year	Approx Serial Range
1961	100-42440
1962	42441-61180
1963	61450-64220
1964	64240-70500
1962	71180-96600
1963	96601-99999
1967	000001-008010
1967	010000-042900
1967	044000-044100
1967	050000-054400
1967	055000-063999
1967	064000-066010
1967	0670000-070910
1967	090000-099999
1963, 1967	100000-106099
1963	106100-108900
1963, 1967	1090000-109999
1963	110000-111549
1963, 1967	111550-115799
1963	115800-118299
1963, 1967	118300-120999
1963	121000-139999
1963, 1967	140000-140100
1963	140101-144304
1964	144305-144380
1963	144381-145000
1963	147009-149864
1964	149865-149891
1963	149892-152989
1964	152990-174222
1964, 1965	174223-176643
1964	176644-199999
1964	200000-250335
1965	250336-291000
1965	301755-302100
1965	302754-305983
1965, 1967	306000-306100
1965, 1967	307000-307985
1965, 1967	309848-310999
1965	311000-320149
1967	320150-320699

Year	Approx Serial Range
1965	320700-321100
1965	322000-326600
1965	328000-328500
1965	328700-329179
1965, 1967	329180-330199
1965, 1967-68	330200-332240
1965	332241-327090
1965	348000-348092
1966	348093-349100
1965	349121-368638
1966	368640-369890
1967	370000-370999
1966	380000-385309
1967	390000-390998
1965-68	400001-400999
1966	401000-407985
1966	408000-408690
1966	408800-409250
1966	420000-426090
1966	427000-429180
1966	430005-438530
1966	438800-438925
1965-66, 1968-69	500000-500999
1965	501010-501600
1968	501601-501702
1965, 1968	501703-502706
1968	503010-503110
1965, 1968	503405-520955
1968	520956-530056
1966, 1968-69	530061-530850
1968-69	530851-530993
1969	530994-539999
1966, 1969	540000-540795
1969	540796-545009
1966	550000-556910
1969	558012-567400
1966	570099-570755
1969	580000-580999
1966-69	600000-600999
1969	601000-601090
1969	605901-606090

Gibson Epiphone Banjo Serial Numbers

Year	Approximate Serial Range
1966-67	700000-700799
1968-69	750000-750999
1966-69	800000-800999
1966, 1969	801000-812838
1969	812900-814999
1969	817000-819999
1966, 1969	820000-820087
1966	820088-823830
1969	824000-824999
1966, 1969	828002-847488
1966	847499-858999
1967	859001-880089

Year	Approximate Serial Range
1967	893401-895038
1968	895039-896999
1967	897000-898999
1968	899000-899999
1968	900000-902250
1968	903000-920899
1968	940000-941009
1968	942001-943000
1968	945000-945450
1968	947415-956000
1968	959000-960909
1968	970000-972864

1970-1975

Despite being purchased by the Norlin corporation in 1970, Gibson maintained the same confusing 6-digit serial system through 1975, meaning instruments with the same serial number could be from either the ‘60s or the ‘70s.

Fortunately, there were two notable changes to the entire lineup that occurred during the transition that make differentiating ‘60s and ‘70s Gibsons straightforward.

The Volute: c. 1969-c.1981

In 1969 Gibson began carving volutes-- small bumps of additional wood where the neck transitions to the headstock-- to cut down on warranty repair work.

'Made in USA' Stamp: 1970-current

Starting in 1970, ‘Made in USA’ was stamped on the headstock below the serial number.

The serial numbers from this period are generally as follows:

Number	Year
000000S	1973
100000S	1970-1975
200000S	1973-1975
300000S	1974-1975
400000S	1974-1975
500000S	1974-1975
600000S	1970, 1971, 1972, 1974, 1975
700000S	1970, 1971, 1972
800000S	1973, 1974, 1975
900000S	1970, 1971, 1972

1975-1977

Number	Year
99XXXXXX	1975
00XXXXXX	1976
06XXXXXX	1977

1977-Current

Starting in 1977, Gibson adopted the current date-based serial system which codes for the year and day of production. The first number of the sequence indicates the decade of production, followed by the three digit day of the year, and finally the year.

For example, the serial number 90237XXX corresponds to a production date of 1/23/97. The last three (or four as of 2005) digits signify the location of production and batch number, respectively, but this information isn’t necessary to accurately dating your instrument.

Working with a potentially very valuable old Gibson can be intimidating, particularly for someone who doesn’t have experience with vintage instruments.

If at any point you feel confused or just want a second set of eyes on your instrument, you can always chat live with a Reverb employee during normal business hours.

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