Gibson TB-3 Mastertone Tenor Banjo (1928)
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Item # 7592
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Gibson TB-3 Mastertone Model Tenor Banjo (1928), made in Kalamazoo, Michigan, sunburst re- finish, mahogany rim, neck and resonator, original black hard shell case.
This is a nice gigging example of a later 1920's Mastertone TB-3, Gibson's most popular professional tenor banjo. In typical "old man" fashion it was refinished decades ago but at least has escaped being converted to a 5-string, the eventual fate of many Mastertone tenors. While today collectors prize originality, 50 or more years ago most jazzy banjo players wanted their "old" instruments to look new and shiny, so refinishing (and often replating) was a standard practice.
The TB-3 was the least expensive banjo equipped with the full professional Mastertone flange, resonator, and tone ring hardware package. It became a best seller in the jazz age, a medium/fancy pro-grade instrument at a relatively affordable price. The resonator is bound on both edges, and the Gibson twin coordinator rods are installed inside. The 1928-era tone ring is a solid 40-hole arch-top piece, considered by most a huge improvement on the earlier ball bearing style. This is coupled with the 2-piece tube-and-plate flange in use at the time. While this combination is not as sought after by Bluegrass players this flange remains higher quality example of metalwork than the one-piece cast unit that replaced it a year or so later.
The slim mahogany neck has a bound rosewood fingerboard ornamented with the simple but effective diamond pearl inlay motif that is one of Gibson's classic looks. The headstock has a script Gibson logo and small filigrees in pearl. All hardware is chrome plated, considered an extravagance at the time. The TB-3 cost $150 in 1928, not a particularly high price for a 1920s tenor banjo but still an expensive proposition for many players. While not rare instrument per se the "working man's" Style 3 is getting harder to find today as over the last 6 decades large percentage of them have been used as the basis for 5-string conversions. This example has a later but pro-grade refinish but retains its original tenor form and still plays and sounds excellent.
Overall length is 34 1/2 in. (87.6 cm.), 11 in. (27.9 cm.) diameter head. Scale length is 21 in. (533 mm.). Width of nut is 1 in. (25 mm.).
Apart from the old (probably 50+ years on) sunburst lacquer refinish this is a nicely original instrument. The rim finish remains original; the later sunburst finish on the neck and resonator shows hardly any subsequent wear. There is a spot on the heel where the lacquer reacted to a plastic spacer set into the notch on the resonator wall and partially melted off; this is hardly visible when the banjo is assembled.
All hardware is original and complete except there is no armrest; this included the tube-and-plate flange, a full set of hooks and nuts, the Grover tuners and "Presto" tailpiece. All plating is original and in very nice shape; it was not re-plated when the finish work was done. The banjo has been refretted very nicely and the wire shows hardly any wear. Set up with an older Remo plastic head this is an excellent player, with the expected snap characteristic of the genuine Mastertone. The original blue-lines hard case is still present, fairly well worn on the exterior but still functional Restored to Excellent Condition.
This is a nice gigging example of a later 1920's Mastertone TB-3, Gibson's most popular professional tenor banjo. In typical "old man" fashion it was refinished decades ago but at least has escaped being converted to a 5-string, the eventual fate of many Mastertone tenors. While today collectors prize originality, 50 or more years ago most jazzy banjo players wanted their "old" instruments to look new and shiny, so refinishing (and often replating) was a standard practice.
The TB-3 was the least expensive banjo equipped with the full professional Mastertone flange, resonator, and tone ring hardware package. It became a best seller in the jazz age, a medium/fancy pro-grade instrument at a relatively affordable price. The resonator is bound on both edges, and the Gibson twin coordinator rods are installed inside. The 1928-era tone ring is a solid 40-hole arch-top piece, considered by most a huge improvement on the earlier ball bearing style. This is coupled with the 2-piece tube-and-plate flange in use at the time. While this combination is not as sought after by Bluegrass players this flange remains higher quality example of metalwork than the one-piece cast unit that replaced it a year or so later.
The slim mahogany neck has a bound rosewood fingerboard ornamented with the simple but effective diamond pearl inlay motif that is one of Gibson's classic looks. The headstock has a script Gibson logo and small filigrees in pearl. All hardware is chrome plated, considered an extravagance at the time. The TB-3 cost $150 in 1928, not a particularly high price for a 1920s tenor banjo but still an expensive proposition for many players. While not rare instrument per se the "working man's" Style 3 is getting harder to find today as over the last 6 decades large percentage of them have been used as the basis for 5-string conversions. This example has a later but pro-grade refinish but retains its original tenor form and still plays and sounds excellent.
Overall length is 34 1/2 in. (87.6 cm.), 11 in. (27.9 cm.) diameter head. Scale length is 21 in. (533 mm.). Width of nut is 1 in. (25 mm.).
Apart from the old (probably 50+ years on) sunburst lacquer refinish this is a nicely original instrument. The rim finish remains original; the later sunburst finish on the neck and resonator shows hardly any subsequent wear. There is a spot on the heel where the lacquer reacted to a plastic spacer set into the notch on the resonator wall and partially melted off; this is hardly visible when the banjo is assembled.
All hardware is original and complete except there is no armrest; this included the tube-and-plate flange, a full set of hooks and nuts, the Grover tuners and "Presto" tailpiece. All plating is original and in very nice shape; it was not re-plated when the finish work was done. The banjo has been refretted very nicely and the wire shows hardly any wear. Set up with an older Remo plastic head this is an excellent player, with the expected snap characteristic of the genuine Mastertone. The original blue-lines hard case is still present, fairly well worn on the exterior but still functional Restored to Excellent Condition.