Jay Roberts built these licensed 5 string electric mandolins in the 1970s as affordable versions of the 1952 Paul Bigsby instrument that Tiny used for the remainder of his career. Western Maple body and neck with single layer white binding, Rosewood fingerboard with Moserite-style serial nuymber stamp at last fret, Schaller chrome mini tuners. Two cream colored soapbar pickups with individual adjuster, Adjustable truss rod, Cast aluminum tailpiece, pickup surrounds, Nut, and strap attachment. Tiny Moore played fluid jazz and a pre-rock distored hot take-off solo style with Billy Jack Wills' band in Sacramento and later occasionally played western gigs with his wife and sister-in-law in the 1960s and 1970s. I remember seeing Tiny Moore in his role of Ranger Roy (with mascot monkey "Anna Banana") on a kiddie cartoon show in the 1960s. I still treasure and use my brown leather guitar strap that I bought from Tiny in his small teaching studio and Music store in Sacramento whre these electric mandolins were sold to his students and fans. Some finish crazing and oxidation from long-term storage, a few small nicks on the back of the neck from leaning against something rough. The guitar size frets are in great shape and the instrument plays beautifully. With orignal hardshell case.

This model was prominently featured in the 1960s Framus catalogues, but it's the first one that I've ever seen! Maple body with 3-color Fender-style sunburst, Multi-laminate neck with no truss rod, japanese singel unit tuners, 2 pickups with separate volume and tone controls, Great Italian plastic stripey pickguard, 16 3/4" string scale. This kind of instrument can be strung and tuned in a variety of ways, standard mandola C-G-D-A, ocatve mandolin G-D-A-E, or any of the mulititude of middle eastern light-string tunigs popular with world music crossover players. Pick wear on metal pickup covers, otherwise pretty clean. This mandola was obviously played, but shows little fret wear. with soft cover.

Flame figured Rock Maple neck, sides, and back, Adirondack Spruce top, Original silver plated tuners with pearl buttons, Original pickguard, Original varnish finish, Original silver plated tailpiece and cover. Replacement parts and modifications are: 1 replacement pearl tuning button, Bone nut with wider string spacing (original pearl nut is in the case), Replacement arched fingerboard made by Chris Berkov (original fingerboard is in the case), Replacement bridge, Pickguard attachment screw is a chrome replacement, Virzi was removed through the treble F- hole and is in the case, endpin is likely a replacement. There is a repaired crack on the lower treble F-hole likely from the Virzi removal. The typical point crack in the top from shrinking binding is evident. Minimal wear from careful stewardship but consistent play by its 5 owners leaves this instument in fine condition and a wonderfully well- developed voice. The trebles in particular are very balanced and harmonically rich. This great instrument nearly plays itself. Currently strung with The Doyle Lawson silk & steel set, this mandolin sings in a variety of musical styles. A more conventional heavier gauging with nickel strings will bring out more volume in a Bluegrass setting. Truly a lifetime instrument. With the original rectangular case protected with a custom made zippered cover.

Gibson Master Model F-5 mandolin, serial #75703
Label signed and dated by Lloyd Loar, February 18, 1924
Virzi #10151, removed 1961

Notes on history, originality, and tone by Sandy Rothman, June 2004:

The mandolin was purchased by Mike Seeger from Charles Chase, who got it from his father, who bought it new. Mike had Tom Morgan remove the Virzi ("tone reducer") through the F-holes, keeping the spruce pieces which remain inside the case. Mike sold it to Scott Hambly in 1962. It was Scott's main instrument for the next 26 years, during which time he played it with the Redwood Canyon Ramblers (first Bay Area bluegrass band); filling Roland White's place with the Country Boys while Roland was in the service (before they became the Kentucky Colonels); recording with the Everly Bros.; gigging with Jerry Garcia; and in many other contexts. In 1988 he sold it to me.

By then, the original fretboard had been planed so many times that I felt it was too thin. Chris Berkov replaced it with a new ebony one with a slight radius, with plenty of height for planing flatter if I didn't like the radius. I liked it, felt it was appropriate for the instrument, and that it even improved the sound. (The original fretboard is taped to a maple block inside the case and could be reinstalled if desired.) Chris made a new bridge saddle to match the radius of the new fretboard. (The saddle the mandolin came with in 1962 is inside the case, and will match the original fretboard.) He replaced the original pearl nut at the same time, mainly because I prefer wider-than-standard string spacing but also as an experiment to see if a bone nut might slightly soften the brilliance of the mandolin. It did, and the bone nut remains. (Chris made it from old cowbone he found in the pasture next to his house, then in the El Sobrante hills.) The original pearl nut is in the case. It would be a simple matter to replace the original, if desired, or another nut with different custom spacing. Chris's work matching the fretboard, inlays, Ivoroid binding, nut, and saddle to 1920s Gibson factory standards is flawless. There have been no other physical changes to the instrument. I added a custom-made case cover (flannel-lined brown canvas trimmed with leather) to protect the worn original rectangular case.

Scott always played it with the pickguard on, so the upper treble quadrant of the top is in factory-mint condition. The rest of the instrument is in excellent condition considering the fact that it was played continuously. Mike Seeger reports that one pearl button was replaced by the factory some thirty years ago, as was the bridge. (The old tuners on this mandolin seem to know where standard pitch is. It's extremely easy to tune, and magically stays in tune.) The headstock is remarkably clean, given the scarring that often occurs in the string- changing area. The screw on the pickguard assembly is not original, and the endpin is questionable. On the back near the neck joint are a few indentations in the finish (not through to the wood) that could have been caused by western snaps or the ends of a bolo tie. The top and sides have various small scratches and signs of finish wear appropriate to age, all quite minor. The instrument has been extremely well cared for during its long life.

Appropriate to its venerable maturity, this instrument offers a wide palette of tonal possibilities. Something I learned from Bill Monroe's mandolin and his playing (also from the forced necessity of apartment living) is the value of an instrument that sounds fabulous when played very quietly. This mandolin is amazing in that regard. A most remarkable characteristic of this particular 1924 Loar is its astonishing treble response. Like a fine grand piano, there is literally no note on the A or E string, no matter how high on the fretboard, that isn't bell-clear, brilliant and sustained, yet with the same tonal depth the instrument produces overall. Steve Swan's comment: "It really plays itself."