Spotting Reproduction Vega Banjos
by W. Fawley

I feel more than "a little" qualified to discuss this topic, since I derive the bulk of my living from retrofitting old Vega tenor banjos with reproduction 5 string necks. This information will better enable you to make that next banjo purchase with confidence. If you know of more information that I missed, please do e-mail me with the particulars, and I'll add the information to the list.

Headstock veneers...are always of "dyed" pearwood, which is a nice chocolate brown, with nearly no discernable grain pattern. Presence of an ebony headstock Veneer suggests that you may be looking at a copy. There is also a chance that the headstock veneer has been replaced. If this is said to be the case, look for more clues....

Model designations...were usually stamped on the dowel stick. Original Vega 5 string models include, Special N.O. 2, Senator, Regent, Whyte Laydie N.O. 2, Whyte Laydie N.O. 7, Tu-Ba-Phone N.O. 3, Tu-Ba-Phone N.O.9. Conversely, the tenor versions of these instruments are labeled, Style F, Style N, Little Wonder, Style R, Style M, and Style X N.O. 9. Beware...the plectrum banjos bore the same model designation as original 5 strings. You must do some more detective work to be sure you're looking at an authentic Vega 5 string banjo. The Style K, Style L, Style S, and Style X N.O. 9, were banjo mandolin models.

Fingerboards...on the lesser models (Special N.O. 2, and Senator) were of dyed pearwood, while the rest of the models had an ebony fingerboard, which was bound with a grained cellulose "plastic" that simulates ivory. Beneath the binding is a black stripe. This is part of the fingerboard, and should run under the nut, and under the headstock veneer. This is an area that alot of copyists don't take the time to do correctly.

Heel cutting...was accomplished and final fit to the rim was achieved with small hand chisels. The presence of sanding marks, horizontally across the cross section of the heel, announces a reproduction neck.

Neck shaping...was slightly V-shaped, and was worked by hand in the area of the 5th string peg. If a good bit of the 5th peg is showing, it's a safe bet that it's not real. Originals were set fully into the neck, and the area behind the peg gradually fades into the normal contour of the neck at the nut. Many copyists simply run the shaper around the corner which removes too much material, and the peg cannot be fully set.

Heel caps...should be made of the same "dyed" pearwood as the headstock veneer. An original can be removed from the original tenor or plectrum neck and re-used, however, and in most of these cases there will either be a ridge left that can be felt by the fingertips, or the neck will have a new finish.

Finishes...on original Vega instruments are never heavy and highly glossy. Most are french polished, and are a bit more opaque than modern finishes. Moreover, the neck finish should match that of the rim in texture, and to a certain extent, in color. Light colored necks on dark colored rims, or vice versa was not something Vega did during the prewar years.

Truss rods...were not used on prewar Vega banjos, and if yours has one, it's not original.

Engraving...on these banjos was accomplished after the inlays were installed and dressed. The fingerboard will show "damage" anywhere the graver departed the pearl inlay. The wood around the inlays in the headstock usually has a nice, dark patina. This can be, and has been reproduced, but close examination will reveal it to have been done with an airbrush.

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Remember: buying from a reputable dealer is usually a very good way to avoid being ripped off. They have too much at stake to be engaged in willingly trafficking in counterfeit instruments.