Advanced Search
Mando-bass
Alternate name:Mandobass
Alternate name:Mandolin
Maker: Gibson
Date: 1916
Place Made:Kalamazoo, Michigan, United States, North America
Model: Mando-bass, Model J
Serial No: 25936
SignedInlaid mother-of-pearl on the head: The / Gibson
Paper label on inside of back: Patented Feb. 1, ’98 / Patented March 30, ’06 / Other Patents Pending / Gibson Mando Bass Style J / Number 25936 is hereby / GUARANTEED / against faulty workmanship or materials, should this instrument, with proper car and usage, go wrong, we agree to repair it free of charge at our factory, or to replace it with another of same style or value. / GIBSON MANDOLIN-GUITAR CO. / (Manufacturers) / Kalamazoo, Mich., U.S.A.
Paper label on inside of back: Patented Feb. 1, ’98 / Patented March 30, ’06 / Other Patents Pending / Gibson Mando Bass Style J / Number 25936 is hereby / GUARANTEED / against faulty workmanship or materials, should this instrument, with proper car and usage, go wrong, we agree to repair it free of charge at our factory, or to replace it with another of same style or value. / GIBSON MANDOLIN-GUITAR CO. / (Manufacturers) / Kalamazoo, Mich., U.S.A.
Markingsnone
DescriptionOne of the problems with the new mandolin orchestras was that the mandolin family historically lacked a bass instrument. Gibson was the only company to address the problem directly. Introduced in 1912 to supply a true bass to the mandolin orchestra, the Gibson mando-bass was modeled after the Style A mandolin and tuned like a double bass. With four over-spun strings, the instrument could be played with a plectrum, unlike double basses of the period, whose plain gut upper strings required finger picking. Alternatively, Gibson catalogs also say that a small felt-covered hammer could be used to play the mando-bass, suggesting a comparison with the piano, as well as the double bass. Indeed, Gibson also stated that the mando-bass was an instrument "with a tone as deep and powerful as the bass register of a concert grand, but with the plectral tone color."
Top: spruce
Sides: mahogany
Back: mahogany
Neck: mahogany
Peghead: mahogany
Frets: nickel silver
Tailpiece: metal
Fingerboard: rosewood
Bridge: rosewood
Saddle: maple
Nut: rosewood
Heel cap: none
Tuning machines: steel with steel heads
Each string has an individual bridge for compensation; i.e., better tuning of each
individual string. The string lengths are as follows:
E’: 108 cm (42 1/2”)
A’: 107.6 cm (42 3/8”)
D: 107.3 cm (42 1/4”)
G: 107 cm (42 1/8”)
Top: spruce
Sides: mahogany
Back: mahogany
Neck: mahogany
Peghead: mahogany
Frets: nickel silver
Tailpiece: metal
Fingerboard: rosewood
Bridge: rosewood
Saddle: maple
Nut: rosewood
Heel cap: none
Tuning machines: steel with steel heads
Each string has an individual bridge for compensation; i.e., better tuning of each
individual string. The string lengths are as follows:
E’: 108 cm (42 1/2”)
A’: 107.6 cm (42 3/8”)
D: 107.3 cm (42 1/4”)
G: 107 cm (42 1/8”)
DimensionsTotal instrument length: 159 cm (62 5/8”)
Fingerboard length: 68.5 cm (26 15/16”)
Nut to bridge: see Identifying Marks
Nut to neck and body joint: 60 cm (23 5/8”)
Belly width/diameter: 61.4 cm (24 3/16”)
Fingerboard width at nut: 4.5 cm (1 3/4”)
Fingerboard width at body joint: 6.7 cm (2 5/8”)
Body depth at neck: 14.1 cm (5 9/16”)
Body depth at bottom: 16.6 cm (6 17/32”)
Fingerboard length: 68.5 cm (26 15/16”)
Nut to bridge: see Identifying Marks
Nut to neck and body joint: 60 cm (23 5/8”)
Belly width/diameter: 61.4 cm (24 3/16”)
Fingerboard width at nut: 4.5 cm (1 3/4”)
Fingerboard width at body joint: 6.7 cm (2 5/8”)
Body depth at neck: 14.1 cm (5 9/16”)
Body depth at bottom: 16.6 cm (6 17/32”)
ProvenanceObtained by Arne B. Larson, about 1942.
Terms
Credit Line: Arne B. Larson Collection, 1979
On view
Object number: 02883