In 1922, mandolin designs began to change, as did the musical tastes of the time. The greatest Acoustic Engineer of the day began to develop designs that incorporated F-shaped sound holes instead of the Oval-hole designs that ultimately tightened-up the airy, woody nature of the traditional A-shape, and accentuated the treble frequencies often lacking in previous designs. All combined, these instruments offered the musician better balance and greater volume to meet the ever-changing musical styles to come.
|Back and Side Material||Solid Maple|
|Bridge Material||Rosewood with Adjustment Wheels|
|Fingerboard Binding||White ABS|
|Fingerboard Inlay||M-O-P Dots|
|Finish||High-gloss Transparent Brown Nitrocellulose|
|Neck / Body Joint||Dovetail|
|Neck Material||One-piece Maple|
|Number of Frets Clear||14|
|Number of Frets Total||22|
|Nut Width||1 1/8"|
|Peghead Inlay||Vintage Wreath white pearl and pearl Kentucky script|
|Peghead Overlay||Snakehead Rosewood|
|Pickguard||Black/White/Black ABS with beveled edge|
|Plating||Nickel-plated / Pattern and Logo Stamped|
|13 7/8" (352.40mm)|
|Sound Hole Shape||Traditional F-Hole|
|Tailpiece||Nickel-plated with coverplate and leather insert|
|Truss Rod||Traditional 2-screw black ABS|
|Tuning Machines||High-quality tuning machines with white buttons|
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