Country letter codes: I Indonesia C China N India Factory letter codes: H Harmony Musical Instruments W World Music Instruments C Cort S Samick. Serial numbers from 2013 to the present Jackson JS, X and Pro Series guitars from 2013 to the present. The serial numbers of Jackson Junior (the only Jackson bolt-on-neck models without neck plates).Additionally, a Charvel guitar made in the U.S. Most of the guitars built by Rhoads and Jackson have a serial number from 1001 to 5491. In direct competition with other high-end brands, Michael Gurian combined high-quality workmanship with tooling and technical nous to create some of the finest guitars of his era and helped to pioneer the small factory guitar.Charvel Electric guitars.
Jackson Guitar S Pro Thick CThis is compounded by the fact that dates are fluid in that the year the guitar was sold may not be the year of manufacture.-I am personally interested in all models made from Brazilian Rosewood, Koa, Maple or with a cutaway. We have of course added information from our own experience and research to further improve the existing knowledge on hand.If you have a Gurian you would like to add to the database, please fill out this form here:Or, you can email me at: guide/database/registry is by no means complete & we would appeal for your help if you should own a Gurian or have information to share!-We have not yet assigned dates to individual guitars as not enough data is available to do so accurately. Our guide and database is really the work of several individuals (in particular Art Edelstein and Bob Thomas) who have kindly given us permission to amalgamate the results of their toil into as comprehensive a guide/database/registry as possible. Mid to late 80s 1 11/16 thin D.MIJ Jacksons have serial numbers that have either 6 or 7 digits but dating is nearly impossible once the 7 digit numbers start being used in 1996, I too went to the Jackson website and downloaded. Pre pro Thick C 1 3/4 11 inch radius, Early 8os 1 11/16 medium C compound 10-16.Database tidied up.28/8/19- More guitars added. Please limit file size to 25MB.Description of modifications, repairs and other issues not apparent from photos24/9/19- More guitars added. Additional photos can be uploaded in order to include detailed photos if necessary. Reformat my western digital passport for mac- Page redesigned to be compact & friendly, different eras available as separate page. Information now more compact, registry updated. Clarified some labelling- Additional first hand information on "Grand Street" workshop- Page further updated. "In my shop on Carmine Street in New York I built 175 classical guitars just like that, and 75 lutes as well. Result in recalculation of known production totals PreambleMichael Gurian and Gurian Guitars: a brief timeline.-1965: Starts building lutes and classical guitars. He learns from luthiers Gene Clark, David Rubio, and Manuel Velazquez and becames a talented lutenist, lute maker, and builder of the Armenian oud.-1968: Featured in New York Magazine listings as running a guitar making course.-Early 1960's: Early shops on Carmine Street in New York City, where he builts classic guitars and lutes for many of the top recitalists of the era. Significantly increase the number of described guitars here2. Although commonly referred to as Bedford Street, the machinery was at Bedford St the guitars were built at 66 Carmine St. The conceptualization and the sound were all that still interested me at that point." American Lutherie 1995-1969-1971: 37A Bedford Street, New York City Shop. It became automatic, and then so boring that I just didn't want to do it anymore. I got to a point where I never made mistakes on the instruments, and I truly believed I could build the instruments blind. That was where Tom was working when I met him, with Lucien and independently. The shop was then taken over by Lucien Barnes. After Rubio took off for England, Michael Gurian took over the same shop and worked there until he started his factory on Grand Street in 1970. He also got a certain amount of tutelage from Eugene Clark. A great shame, there was a lot of history in that place. Some guitars completed as late as 1986.Interesting tidbits on the Greenwich Village and Bedford Street Shops:-Oblique reference from luthier Steven Warshaw: "Tom Hom apprenticed with "Jose" Rubio, as David was calling himself at the time, at the tiny shop-apartment at 66 Carmine Street in Greenwich Village. A shaper was used for the preliminary shaping of the necks, which were then finish-carved by hand—I’m pretty sure by Barney. He once resawed some Indian rosewood of which the dust was such an irritant that everybody immediately began coughing and hacking their lungs out, even me though I was in a separate small room (I forget what it was for) with the door closed. Sometimes it created major respiratory havoc for everybody. He used to wear a paper bag on his head when he did this to keep the dust out of his long hair. ![]() One of the principal reasons Matt hired me was because I could do neck resets. My job at Martin was fitting necks. The cross-pinned mortise and tenon was designed for the simplest of reasons—the only people in NYC who knew how to fit dovetails at the time were Jimmy D’Aquisto and me. Otherwise, who did what I’ve forgotten. It’s perfect for sanding lacquer. Just put it on there and let it do the work. I took this course and this is where he recruited me to work at the Grand St factory."Eddie Diehl- Grand Street Era | Known for his fretwork**Tom Humphrey- Grand Street Era** (the reknown classical luthier)Bill Cumpiano said "Gurian built his reputation among studio guitarists who liked fast, narrow necks and the punch of a long scale length (his was the longest in the business). Neither is fitting a dovetail, but that doesn’t require special tools, just skill."**Michael Millard- 1970-1974 | Froggy Bottom GuitarsWalter Lipton- Grand Street Era | Walter Lipton Guitars**Bill Cumpiano- 1972-1974 | Cumpiano instruments & AuthorScott Hausmann- ?1975-? | Whetstone School of LutherieJoe Veillette- 1971 building course | Veillette GuitarsThomas Humphrey- 1970-1 | Humphrey Guitars**David Santo- 1970's | David Santo Guitars (David was Shop Foreman at Grand Street)**Stephen Cichetti- Grand Street Era | Accomplished blues guitarist**Steven Warshaw- Grand Street Era | "Michael taught a course in classical guitar building at the Craft Students’ League in NYC either in late 1970 or early 1971, can’t recall which. But as Bill points out, it isn’t easy. Although narrow by today's standards, it is worth bearing in mind 1 11/16" was standard in that era. He also used three small fan braces below the bridge plate, possibly to provide an alternate method of giving more stiffness to the treble side (which is why the Martin pattern is what it is, you want the treble side to be stiffer than the bass side)."**Our observations are that the majority of Gurians have:-Narrower neck of 1 11/16" or 1 5/8". We like to think of them as the Taylor of the day, although strangely enough, Bob Taylor was certainly a contemporary of Michael Gurian, having setup shop in Lemon Grove, CA during the same eras."Michael’s bracing on steelstrings deviated from the usual Martin pattern, most significantly in that the lower diagonal tone bars run the opposite way, originating at the bass side of the X brace instead of the treble.
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