The fretboards were Brazilian rosewood and the instrument was inlaid in the “hearts and flowers” design.
The inlay pattern was changed to the “eagles” design when the “double-cut” headstock was introduced.
Style -75: This model was the top-of-the-line of the standard models during the latter part of the 20 Golden Years (other than the higher numbered top-tension models).
It was constructed of Honduras mahogany, with a rosewood fretboard and rather plain inlay designs.
Some versions had necks that were painted royal blue. This style was made of plain maple and finished in dark brown.
The hardware was nickel-plated and the inlay design was similar to the “bowtie” pattern used in the style -250 banjos of the late ’50s (although the style-7 had several slots cut into the sides of each inlay piece).
Style -6: This banjo was a handsome combination of curly maple woods and flashy binding.
Fretboard inlay pattern was a fancy floral pattern, and the hardware was gold-plated.
In 1925 with the introduction of the spring-loaded ball-bearing tone chamber, this style was introduced with a full resonator, “wreath” inlay design, gold-plated and engraved hardware, figured walnut neck and resonator wood, ivroid binding, wood-inlay marquetry on the back of the peghead, and fancy purfling.