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The two Paragon five string banjos that I played had less wood in the neck than the CG/XX and the fingerboards were narrower. In fact around the first fret, nut, and peghead there was considerably less wood.
There are lots of holes inside the pot of a Paragon. There are holes in a tubaphone tone ring. That's the only similarity I can find. I think the name Paragon is suggestive of Paramount and it is Paramount that is being somewhat copied in the Paragon tone ring and pot construction. The tone of a Paragon and a Paramount are not the same but they are closer than either is to a Tubaphone. The Paragon does not have a massive voice like a tubaphone. It has a light clear sound with steel strings. I think lighter steel works better on a Paragon than medium or heavy. With "soft" strings it takes on some body while remaining clear. It sounds good with a heavy gauge of nylon etc.
I think that when it comes to Clifford Essex it is maybe not realistic to expect standardization. I know that *some* Paragons take an 11 inch head with high crown. Others have said that the head size of "their" Paragon is marginally larger than 11 inches. The head size of a Paragon is likely to be whatever it is.
John Cohen said:
One more question: What size remo head and what crown height would it take being an archtop?
I know players of archtop Gibsons and Paramounts who use medium crown. It all depends. Why some Paragon players say they use high crown is unknown to me.
John Cohen said:
My Concert Grand takes an 11 1/16'' high crown head. I thought archtop banjos needed low crowns?
research on dating Clifford Essex Paragon banjos:
http://www.banjohangout.org/topic/302651/
Yes it contradicts most assumptions thought to be givens. The company name used as dating only works for corporate documents and advertisements, etc... the instruments have many ambiguous traits that dont follow... Im not sure if you are disagreeing with the research, or on-side with it... But do know that a foremost expert on the matter is key to its findings.
I think that the name/address plates are probably the most significant piece of evidence.... why would they change them later or use ones with the incorrect address when supplying new instruments?
The dating of CE banjos is usually based, roughly, on the street address or the "and sons" etc and despite what the "experts" say about serial numbers, the addresses are the known facts.
Much of the evidence is in BMG magazines (every last one of them was checked), facts about 19 fret tenor introduction to the markets (for all makers), Lange/Paramount designs, etc...
Many Many Many instruments by the way we have guarantees for that dont match the plate addresses... Not uncommon to use up old stock...
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