DOCSLIB.ORG

Gold Tone Beanie This Beanie Is Black with Gold Embroidered Lettering

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gold Tone Beanie This Beanie Is Black with Gold Embroidered Lettering Gold Tone Family and Staff Robyn and I started in the retail music business in 1976. Our early local success sparked our passions and entrepreneurial spirit. Nineteen years ago we began with a simple concept for an affordable travel banjo, and it was this idea that has developed into a world-wide enterprise now comprising over 130 instrument models. As a musician and salesman in retail, it was obvious that the supply of affordable banjos and “alternative instruments” were poorly designed and could be improved with cost saving efforts. I partnered with a Korean factory, engineered my product to the very last detail, and then set up a luthiery shop in Florida to assemble and set up every instrument as only a real player can do. Visitors to our factory are amazed by our attention to detail, the setup jigs, and our entire team of dedicated workers. In 2009, our family-owned and operated business in Titusville, Florida opened a 14,000 sq. ft. facility for our employees to produce the most affordable, best sounding and playing quality instruments in the world. Our office folks use no answering machines. we have retained a non-corporate USA-style work shop. Because of our diversity in alternative instruments, Wayne and Robyn Rogers many well known professionals seek out our products, adding to their arsenal of available sounds. Our mission is to provide you with quality instruments that exceed your expectations at the very best price. Thank you for a great 19 years. We couldn’t have done it without you, our workers, and our professional endorsers putting our instruments to the test every day, and for that we are eternally grateful. It has been a dream come true, and we look forward to bringing you quality instruments for many years to come. All the best on your musical journey, Wayne Rogers, President & Founder Our staff is directly responsible for allowing Gold Tone instruments to become one of the largest and unique instrument suppliers in the industry. Check out BanjoHangout.org and other acoustic websites to see what folks are saying about us. We are able to fill special custom orders, do vintage repairs, and develop new instruments and accessories. We are always open to new ideas and constantly push the envelope. Musicians are playing Gold Tone instruments at home, out on the road, and in recording studios all over the world. See a small list of artists on the back page that have helped grow the company over the years. 2013 Catalog Changes: Pg. 4 – OB-500 Discontinued Pg. 7 – OB-275 Discontinued Pg. 10 – BG-150F has a 14” Resonator Pg. 20 – CC-BG has Maple Resonator Pg. 28 – Dojo Dlx includes Magnetic Pickup only Pg. 30 – PC-Banjola includes Magnetic Pickup only and Volume Control Pg. 31 – Banjola Dlx Discontinued Pg. 31 – BT-2000 has Straightline Tailpiece; Now available with Resonator Pg. 38 – GM-A+ Discontinued Pg. 42 – Mandola and BZ-500 have Gloss Finish Pg. 46 – GRSS Discontinued Pg. 48 – Style 4 upgraded to Style 4+ now in Solid Koa Pg. 51 – GBG has Transducer pickup Only; Gloss Body, Satin Neck Pg. 53 – BB-400+ Nut Width: 1-3/4”; ABG-4 Nut Width: 1-5/8” Pg. 54 – ResoUke is Chrome Plated Brass Pg. 55 – Banjolele and Banjolele DLX are Soprano Scale Pg. 55 – All Banjo Ukes incl. D’Addario/Aquila Nyltech Strings Zero Glide Nut Systems are available on all Gold Tone Instruments 2 Table of Contents Gold Tone’s Unique Warranties Table of Contents Unlike any other in the music business BANJOS 5-String Resonators...................................4 Cripple Creek Model Banjos 5-String Openbacks.................................12 7 year warranty Cripple Creeks.........................................18 Transferable to the second owner for 1 year Travelers & Minis......................................24 Gold Tone Banjos 10-Strings.................................................26 Lifetime warranty to orginal owner Cello.........................................................27 Transferable to the second owner for 5 years Dojos & Electrics......................................28 Banjolas..................................................30 Wood & Metal Body Instruments 6-String Banjitars.....................................32 5 year warranty to the original owner 4-Strings...................................................34 Banjo Ukuleles.........................................55 Weissenborns Banjo Kits................................................56 1 year warranty to the original owner. For best tone we use the original plans by Herman GUITAR-STYLE INSTRUMENTS Weissenborn. Since they’re extremely fragile Banjitars (6-String Banjos)........................32 instruments, extra care must be taken with string Tenor Guitars...........................................36 gauge selection, humidity control, and tuning. Resophonic Guitars.................................44 Metal Body Guitars..................................45 International sales warranties provided through the dealer Alternative Square Necks........................46 Lap Steels................................................47 12 Point Instrument Weissenborns..........................................48 MANDOLINS...............................................38 Final Assembly & Setup Octave Mandolin......................................41 1. Adjust head to proper tension (Banjos) Bouzouki & Mandola................................42 Guitar-Style..............................................43 2. Level all frets BASSES......................................................52 3. Crown and polish all frets UKULELES.................................................54 4. Oil fingerboard CHORD-A-HARP.......................................47 5. Adjust tuning machines “PLAY IT” Bluegrass Licks........................................11 6. Adjust coordinator rods (Banjos) Old-Time Tabs.........................................17 7. Adjust truss rod to correct relief Jam Tunes...............................................23 8. File nut slots to correct depth PARTS & FACTORY SERVICES ...............57 9. Sand bridge feet for fine adjustment Necks.......................................................58 Tuning Machines......................................61 10. Adjust tailpiece (Banjos) Truss Rod Covers & Nuts........................61 11. Polish any surface scratches Coordinator Rods....................................61 12. Final adjustment and quality control Tone Rings...............................................62 Rims & Resonators..................................63 Banjo Heads & Body Hardware...............64 Gold Tone offers a wide range of left handed Bridges, Armrests, & Tailpieces...............65 instruments. Look for the ‘left hand’ symbols. Resophonic & Lap Steel Guitar................66 Pickups....................................................67 ACCESSORIES Strings......................................................70 Straps.......................................................72 Titusville, Florida Tuners & Mutes........................................73 Instructional DVDs...................................75 Need Help? CASES........................................................76 See goldtone.com or call us at APPAREL & SWAG....................................78 (321) 264-1970 No answering machine before ARTISTS PLAYING GOLD TONE...............79 6:00 p.m. EST! goldtone.com 3 Orange Blossoms Prestige Series Sure to be collector’s items, the Gold Tone Prestige Series banjo models are works of art. A combination of maple highlights, pearl, abalone, and figured wood provide the best decorative touches. Tone wise, they very well could be the best sounding banjos you’ve ever heard. OB-500 Designed by Wayne Rogers, this extraordinary banjo has elaborate metal engraving, gold plating, radiused fingerboard, modified tree of life fingerboard inlay design, maple/abalone neck and body binding, sophisticated resonator inlay, highly flamed maple neck, and 3-layer backstrap on back of headstock; features only found on banjos for $10,000.00 or more! Includes a deluxe archtop case. Bell bronze tone ring Intricate engravings on tone ring, counter- GT Master planetary tuners hoop, armrest, and tailpiece Modified tree of life inlay 3-ply hard rock maple rim Heel cap inlay Maple & abalone binding Radiused fingerboard Mother of pearl & abalone truss rod cover Gold hardware Curly maple neck Scale: 26 3/16” Weight: 13 lbs. Prestige Series resonator and curly Nut width:1 3/16” maple neck with 3-layer backstrap “Unlike other tree of life patterns, we designed this modified tree of life inlay so the banjoist can easily determine the fret positions. Notice the fingerboard has flowers on the landmark fret positions and only vines on other positions. Simple but effective, and only the player knows the difference!” -Wayne OB-300 This gold-plated beauty has similar features to the OB-500 without the metal engraving and radiused fingerboard. A curly maple neck and matching curly maple/abalone binding combine for a highly decorative 5-string. The sand-cast bell bronze tone ring is used in only the best banjos and provides a loud penetrating tone. A unique abalone/pearl truss rod cover matches the exquisite inlay throughout the banjo. Includes a deluxe archtop case. Bell bronze tone ring 3-ply hard rock maple rim GT Master planetary tuners Maple & abalone binding Modified tree of life inlay Mother of pearl & abalone truss rod cover Heel cap inlay Curly maple neck Gold hardware Straightline tailpiece Scale: 26 3/16” Weight: 13 lbs. Nut width:1 3/16” ** Limited supplies of these models
Load more

Recommended publications
  • SCHOOL SES Run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS
    LATE SPRING 2012 CLAS e 17 SCHOOL SES run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS Ukefest & summer camp information inside! welcome to the CORE PROGRAMS Guitar • Ukulele • Banjo • Mandolin • Fiddle • Harmonica Our progressive Core Instrument Pro- up an accessible repertoire of songs and grams allow adults to discover (or redis- skills. Each level seamlessly progresses Julie Davis School of Music cover) music in a relaxed and fun group into the next at the same day and time. Founded in 1979, Swallow Hill Music now teaches over 4,000 adults, teens, environment. The Core Program is the The skills you’ll have after several levels kids, and pre-school students per year. We have workshops, classes, and private starting point for many people at Swallow of core classes will allow you to jump into lessons for every interest, age, and skill level – covering pop, rock, blues, jazz, Hill Music, and all Core Program classes our specialty classes or ensemble classes, bluegrass, punk, indie, roots, folk, gypsy, old-time, Irish, country, world and more. meet weekly for one hour throughout where you’ll learn to play as a band with Each session we offer more than 200 classes and workshops, and private lessons the 8-week session. your peers. for guitar, fiddle/violin, mandolin, piano, voice, harmonica, bass, banjo, ukulele, With an emphasis on Of course, private hand drums, drum kit, dobro and more. We also offer classes and workshops in actually playing, you’ll lessons are available start making music songwriting, recording, theory and musicianship. for students at any and playing songs from level to accelerate your day one.
    [Show full text]
  • The Ffotm Caller
    THE FFOTM CALLER AFF FRIE ST N FEBRUARY 2014 G D A S o L f F l T l hanks to all of you who attended the Jeff Scroggins and Colorado concert C R I T A S at Firecreek, and the lively house concert with Reed Island Rounders at the Pole D U I T M I O N A L House. Concerts are something FFOTM members consistently ask for in our surveys, so please come out and support these shows and visit the website for Flagstaff Friends of Traditional Music’s more detailed information. February is a quieter planning month for FFOTM, mission is to share, preserve but we do have our regular weekly jam at Old Town Shops and a Bookman’s banjo and promote American folk music, workshop to look forward to. bluegrass, and traditional dance We are working hard to get out regular e-mailings also. You can check your membership status on the mailing label, and go to the website to be sure we have in Northern Arizona. Our programs include: your e-mail for regular updates if you wish to receive them. Pickin’ in the Pines Bluegrass & Additionally, and always, we rely on volunteers. If you’d like to host a house Acoustic Music Festival concert, volunteer at any of our events—taking tickets, or tabling, offering pro- The Flagstaff Folk Festival fessional services, etc. please contact us through our website form. Young Jammers OUR ACTIVITIES INCLUDE: In this issue of the FFOTM Caller we say goodbye to Pete Seeger: 5/03/1919-01/27/2014 Bluegrass & Oldtime Jams * Campouts * Concerts on whose banjo read: “This Machine Surrounds Hate & Forces It To Surrender.” * Contra Dances * Music Workshops FFOTM & Flagstaff Cultural Partners ffotm.org for membership information present: RED MOLLY WED.
    [Show full text]
  • Downbeat.Com July 2010 U.K. £3.50
    .K. £3.50 .K. u downbeat.com July 2010 2010 July DownBeat Victor Wooten // clauDio RoDiti // Frank Vignola // Duke RoBillarD // John Pizzarelli // henry ThreaDgill July 2010 JULY 2010 Volume 77 – Number 7 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg Sales Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Marga- sak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Nor- man Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Go- logursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, Dan Ouellette,
    [Show full text]
  • ARC Music CATALOGUE
    WELCOME TO THE ARC Music CATALOGUE Welcome to the latest ARC Music catalogue. Here you will find possibly the finest and largest collection of world & folk music and other related genres in the world. Covering music from Africa to Ireland, from Tahiti to Iceland, from Tierra del Fuego to Yakutia and from Tango, Salsa and Merengue to world music fusion and crossovers to mainstream - our repertoire is huge. Our label was established in 1976 and since then we have built up a considerable library of recordings which document the indig- enous lifestyles and traditions of cultures and peoples from all over the world. We strive to supply you with interesting and pleasing recordings of the highest quality and at the same time providing information about the artists/groups, the instruments and the music they play and any other information we think might interest you. An important note. You will see next to the titles of each album on each page a product number (EUCD then a number). This is our reference number for each album. If you should ever encounter any difficulties obtaining our CDs in record stores please contact us through the appropriate company for your country on the back page of this catalogue - we will help you to get our music. Enjoy the catalogue, please contact us at any time to order and enjoy wonderful music from around the world with ARC Music. Best wishes, the ARC Music team. SPECIAL NOTE Instrumental albums in TOP 10 Best-Selling RELEASES 2007/2008 our catalogue are marked with this symbol: 1.
    [Show full text]
  • US 2009/0211431 A1 Zhang (43) Pub
    US 20090211431A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2009/0211431 A1 Zhang (43) Pub. Date: Aug. 27, 2009 (54) AUTOMATIC GUITARTUNING CASE and synchronously tune an acoustic guitar or electrical guitar without modifying the guitar has never be done before. (76) Inventor: Zhenxiang Zhang, St. Catharines Changing one string's tension will cause all other strings (CA) tension change, so all strings should be tuned synchronously and ended tuning together only when all Strings are in tone at Correspondence Address: the same time. As a closed-loop control system, the automatic ZHENXANG ZHANG guitar tuning case comprises six transducers sensing the 41 RYKERT ST, UNIT #108 vibration frequency of six guitar strings respectively, six tuner ST. CATHARINES, ON L2S3A4 (CA) units to analyze tones, and a center processor unit to control six electric tuning wrenches to tune the six guitar Strings. The (21) Appl. No.: 12/036,205 automatic guitar tuning case also consists of a control panel for a user to preset and select tuning patterns, control and (22) Filed: Feb. 22, 2008 monitor the system. To tune a guitar with this invention just need to put a guitar in the case and close the lid, the guitar will Publication Classification be in tone in seconds. It doesn't require installing any com (51) Int. Cl. ponents, means or devices on the guitar or modifying the GIG 7/02 (2006.01) guitar. It can either work on an acoustic guitar or electric guitar regardless of the gauge and material of the strings. This (52) U.S.
    [Show full text]
  • The Integration of the Banjo Into 19Th Century American Folk Music
    An Olive Branch in Appalachia: The Integration of the Banjo into 19th Century American Folk Music by Sean Peters Few instruments are as identifiable to Americans as the banjo and arguably no time period was more transformative for the banjo than the 19th century. Appealing to the wealthy, bridging racial gaps, settling the west, and finding its home in the mountains, the banjo witnessed American history transpire firsthand. A stick attached to a gourd and strung is a relatively simplistic invention, but the history of the banjo is full of challenges and intrigue that make this instrument an important symbol in American music. The banjo’s journey through the 19th century exemplifies what the “American Dream” is and shows the impact a symbol can have on a culture. A quote from Philadelphia Music and Drama from 1891 describes the banjo and its appeal. According to the publication “the banjo has a positive musical charm in the country. Here we can see that it fits the surroundings. Its half barbaric twang is in harmony with the unmechanical melodies of the birds.” 1 The association of African American culture and the banjo led to the minstrel shows of the 19th century. The minstrel show brought the banjo into the mainstream, and at the beginning of the nineteenth century, represented African American music at the time. It was in the 1840s that the minstrel shows began to popularize the banjo in America. These minstrel shows in the United States appear to have helped secure a permanent, albeit niche role, in American folk traditions.
    [Show full text]
  • Béla Fleck & Abigail Washburn
    2018-19 UMS LEARNING GUIDE Echo in the Valley Béla Fleck & Abigail Washburn BE PRESENT BE PRESENT 1 Table of Contents 04 05 06 16 ATTEND THE DETAILS LEARN CONNECT 07 Why? 17 Being an Audience Member 09 Artist 20 Arts Online 11 Art Form 21 Recommended Reading 13 Performance 23 Writing About Live Performance with Your Students 26 About UMS 38 Credits and Sponsors February 7 February UMS SCHOOL DAY PERFORMANCE Echo in the Valley Béla Fleck & Abigail Washburn Thursday, February 7 // 11 am Hill Auditorium BE PRESENT 3 Attend Coming to your email inbox! Map and Driving Directions Logistical Details (drop-off/pick-up locations) Venue Information 734.764.2538 ——— UMS.ORG BE PRESENT 4 The Details CELL PHONES We ask that all audience members turn off their cell phones during the performance. ACCESSIBILITY We aim to maximize accessibility at our performances, and below are details regarding this performance’s points of accessibility. If you have further questions, e-mail [email protected] or call 734.615.0122. PARKING There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 handicapped parking spaces on each level next to each elevator. There are a total of 15 handicapped parking spaces in the garage. VENUE ADDRESS Hill Auditorium, 825 North University Avenue, Ann Arbor, MI 48109 WHEELCHAIR ACCESSIBILITY Courtesy wheelchairs are available for audience members. Hill Auditorium is EMERGENCY CONTACT NUMBER wheelchair accessible and has 12 seats for audience members with special needs.
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 8,987,568 B1 Fucci (45) Date of Patent: Mar
    US008987568B1 (12) United States Patent (10) Patent No.: US 8,987,568 B1 Fucci (45) Date of Patent: Mar. 24, 2015 (54) FUCCION 4,987,815 A * 1/1991 Shockley ........................ 84,291 6,346,661 B1 2/2002 Yaskoweak (71) Applicant: Ed Fucci, Lakeland, FL (US) 6,774,2916,660,918 B2B1 12/20038/2004 YaskoweakVartiainen (72) Inventor: Ed Fucci, Lakeland, FL (US) 200os3;8,319,081 B1R 1 65651/2012 RidgeWHS. 84.267 2005/0155480 A1 7/2005 Joseph (*) Notice: Subject to any disclaimer, the term of this 2013/0228060 A1 9, 2013 Linden et al. patent is extended or adjusted under 35 * cited b U.S.C. 154(b) by 0 days. cited by examiner (21) Appl. No.: 14/468,140 Primary Examiner — Kimberly Lockett (74) Attorney, Agent, or Firm — KB Patents: Luca D'Ottone (22) Filed: Aug. 25, 2014 Related U.S. Application Data (57) ABSTRACT (60) Provisional application No. 61/874,520, filed on Sep. The inventive device described in the application is a novel 6, 2013. musical instrument. The Fuccion is designed to be primarily played as a bass and a guitar simultaneously. This will provide (51) Int. Cl. the user with the ability to play music within a band or GIOD I/08 (2006.01) performance both as bass and as guitar. The Fuccion goes GOD IS/00 (2006.01) beyond just combining two different instruments because the (52) U.S. Cl. final result it is in fact a novel concept. The Fuccion is a 10 CPC. G10D 15/00 (2013.01); G10D I/08 (2013.01) String Instrument having a 6 string guitar formation above a USPC ...........................................................
    [Show full text]
  • A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival In
    A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Appalachian Virginia and North Carolina By David Henderson Wood B.A., College of William and Mary, 2005 M.A., Appalachian State University, 2009 May 2015 © Copyright 2015 by Dave Wood This dissertation by David Henderson Wood is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ____________ _____________________________________ Jeff Todd Titon, Advisor Recommended to the Graduate Council Date ____________ _____________________________________ Marc Perlman, Reader Date ____________ _____________________________________ Kiri Miller, Reader Date ____________ _____________________________________ Kenneth Steele, Reader Approved by the Graduate Council Date ____________ _____________________________________ Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE DAVE WOOD Born in Falls Church, VA, in 1982. EDUCATION Ph. D., Ethnomusicology, Brown University, 2015. Dissertation: “A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Virginia and North Carolina.” Advised by Prof. Jeff Todd Titon. M.A., Appalachian Studies, Appalachian State University, 2009. B.A., Music, College of William and Mary, 2005. PUBLICATIONS 2015. “Appalachian Music: Discussing the Top Ten.” Forthcoming in Appalachian Journal 42 (3 & 4). 2015. “Review: The Milliner-Koken Collection of American Fiddle Tunes.” Forthcoming in Appalachian Journal 42 (3 & 4). 2010. “The Hi-FiPod?: The Role of Sonic Fidelity in the Portable Digital Age.” Technomusicology: A Sandbox Journal 2(1). 2009. "'Waaaaay Back Up In The Mountains': An Interview with Storyteller Orville Hicks." With Lisa Baldwin, Anne E. Chesky, Rachel F. Westrom, Meredith Doster, Joshua Noah, Danielle E.
    [Show full text]
  • Wilkesboro’S Wilkes Community College
    2 • MerleFest • Wilkes Journal-Patriot • April, 2018 Expect diversity, surprises, quality at MerleFest Year after year for three found and Internet access. decades, MerleFest has delivered Mayes Pit in Thompson Hall a four-day experience best sum- and the Dance Stage both fea- marized in two words: uniqueness ture workshops and dance and excellence. instructions. Fans have every reason to The Pickin’ Place provides expect this year’s 31st edition of musicians of all levels and genres MerleFest to live up to its lofty opportunities to meet old friends reputation, along with special and make new ones while sing- onstage surprises. ing and playing favorite tunes “The programming this year is together. incredibly diverse in both musi- Beginners and yogis alike are cal styling, origin, culture and welcome to start their day with gender,” said Steve Johnson, Mer- a little Downward Facing Dog; leFest artist relations manager. a yoga class is offered on Friday “We have artists/bands from at 9:30 a.m. on the Dance Stage. Australia, Canada, France, Ger- Ken Crouse leads nature walks many, United Kingdom, Sweden, through the gardens and forest Ireland, Cuba and the United on the WCC campus on Friday, States on our 2018 lineup…. We Saturday and Sunday. couldn’t be more excited to show- Other activities include back- case that talent on our 13 stages” stage tours and a new interactive spread across the campus of display in the MerleFest Museum. Wilkesboro’s Wilkes Community College. For children MerleFest’s family atmosphere Krugers to Kristofferson and the lack of alcohol and drugs Thursday kicks off with the are important aspects of the Kruger Brothers and follows event’s reputation.
    [Show full text]
  • 1893 Catalogue.Pdf
    ^iiiiiiiiiiimiiiiiiiiiiiiiiimmmiiiiiiiiiiiiiiiiimiiiimiiiiiiiM = illlllllllliinilllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllHIIIIIIIIIIIIIIIIIIIIIIIIIIllllllllllllllllllllllllll^ E These Trade-Marks, adopted by S. S. Stewart, and Stamped upon the S. S. Stewart Banjos, are registered in the U. S. Patent Office. BE SURE when you purchase 3 Stewart Banjo, that it has his Trade-Mark Stamped upon it. CATALOGUE AND PRICE-LIST S. S. STEWAET'S CELEBRATED WBUOS _3_V_NTCTO IUTTTSIC! _* INSTRUCTION BOOKS, STRINGS AND FITTINGS # «U. -4i. Ji. Jt -iU -l£. -4i- -4A- «J£. Jt. Ji. -"- JA. 4t *4£. •JA. 4£. iii. JA. >iA. JA. Jt -JA. *7V* _* "7V* _* _* VV* *_* "?** "TV* _• "*7V* "TV "Tv" __ *7P* *7^ *?. "7V* "TV* "7. _* "7_ "TV* ___• ___• ___ -__. •__- __* _1_* _1_- ___• ___ •7. *7v' *7p _• *7_ *7y* *7v* TV* *7r -7v" MANUFACTURED AND FOR SALE BY S_ S. S_.___-W-____T Nos. 221 and 223 CHURCH STREET, PHILADELPHIA, PA, = ^Tilllll 1(1111311111111 Jllli IIIIIIIllllIllltI_) ItlirilMIlIlltllllltllllilllllflltlilll 11II(I[I1ILII1_ JII MIlIMiM III Iltllll i) I)} 1WII IM! M M111111 j I _ J1C1111111111!: i [ J i i, I tl 1111111111111111111 j 111111111111J111111J11 _= = ^llllllllllllllllllllllllllllllHlillUIIIIII lillHIIIISI!!lll!IUIilllllillllllllll/IIHnil!IUIIIIIII!llil!l!ll!l!::iMIIEIIIIIIIM •£_ mrorcnnTien in mm The " UNIVERSAL FAVORITE " Banjo, with 11 inch rim, is carried in stock with 19 inch neck. Those who desire the said Banjo with 18 inch neck can have the same furnished to order at a few days notice. The price is the saml.* The Jiyi inch rim Banjos, styles "CHAMPION" and " THOROUGHBRED " have also 19 inch necks, but may be had with 18 or 20 inch necks, when so ordered.
    [Show full text]
  • The VIRTUAL 46Th Annual Alaska Folk Festival
    The VIRTUAL 46th Annual Alaska Folk Festival April 5-11, 2021 It gives me tremendous pleasure to say these words that we have all been waiting far too long to hear -- Welcome to the 46th Annual Alaska Folk Festival! After the disappointment of cancelling the 2020 festival, and when it became clear that large gatherings would not be happen- ing for a long time, our all-volunteer board decided to forego the normal 5 month hiatus to keep working to develop a virtual Folk Festival. The lineup and variety of programming that came together far exceeded my expectations of what was possible, and I could not be more proud to be a part of this amazing group of volunteers. One of the silver linings of the pandemic was seeing how folk music and musicians immediately responded to the abrupt can- cellation of live musical performances by finding new and innovative ways to keep the music going. Online performances, workshops and festivals began sprouting up like fireweed shoots after a forest fire. This provided great hope and inspiration for us at the Alaska Folk Festival that the music would continue – no matter what! One striking example of the resilience of folk music came through the Quarantine Happy Hour group. Started in early April, 2020 by Oregon musicians Gabrielle Macrae and Barry Southern (The Horsenecks), this Facebook group began as a live feed for musicians to perform during the height of the pandemic lockdown. One year and twenty thousand followers later, Quaran- tine Happy Hour has featured a live performance every single night since it began! As great friends of the AFF, Gabrielle and Barry graciously offered to lend their platform to help us bring live musical performances to you during this year’s festival.
    [Show full text]