Work Page 7-20
1920's Majestic Professional

MAJESTIC HISTORY
https://majesticguitars.co/history-of-majestic/
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19 fret tenor
Repair - Refinish-Buff/wax hardware
Setup on 10-7/8 clear REMO
Initial pic 
Unfortunately, I had a camera failure and all of the repair sequence was lost.
Banjo came to me in relatively good original conditon
Resonator was needing some sealing, refinishing.
Inside resonator was finished in reddish brown, not blue like Majestic original color.
Neck had a slight peg head crack in its past, and I dressed that very stable repair up cosmetically, to make it all blend as before.
Peg head overlay sealed, new finish added to neck.
Rim got a fresh coat of nitro
You could look hard, and still find it if you knew where to look.

So... I will pick up with it going  back together 
Finish work near completion
Hardware cleaned -buffed
Hook sets have no plating, buffed to remove all oxidation
 New head installed
Still adding clear nitro to resonator.
The "Buckle rash" by tailpiece  will not be filled, just finished over.
The flange, is held down by the outside rim skirt, and head tension
It merely slips over the anchor shoes upon assembly. A neat design.
Also, the steel co-rod screws into a threaded heel insert, then slips through the nickel plated tube, to be fastened in the front of the rim by a threaded screw. A very positive one rod mount.
The patent info is in two places.
The serial number "16" is stamped into the tension hoop
I have worked on Majestic #2 and # 3 for the Banjo Museum, also marked in this manner. It is also stamped into the front of the flange underside, but barely legible.
The beautifully laminated neck can either be seen as an embellishment, or a way to use up smaller sections of exotic woods in the build.
With laminates you can use up your smaller cuts of expensive exotics....just saying.

7/25  Update
Lubed the Waverly tuners, prepping for install.
Note" All, or at least the majority, of mfg's that used these tuners back in the day mounted them upside down.  I guess to give them a "tear drop" look.
But that creates a "reversed" gearing, so they all turn backwards to what any of us are used to. I am showing how they should have been mounted, with Waverly name on top, not the bottom.
But since it would be an Act of God, to reverse the woodwork/holes, they will as usual, go back in upside down.
SETUP
After I strung it up CGDA and let it settle in, I did not like the original fret wires at all. they are too short, too thin, and too loose in the slots.
This creates forward pull on the neck that is excessive, so I will remove them, and re fret in a compression fashion that will force tension back into the fingerboard and "drive" the neck flat. A common practice by Martin on old guitars with no truss. A tight slot, and a wide tang will press the fingerboard into a back-bow, even while it is glued on the neck. "Stiffening", is my term for it.
Heating a multi-laminate neck, is tricky business. Especially when you reach this number of lamination's.
It can quickly turn into "Lamentations"! 
I will be using Alice wire, a nice hardened alloy with some chromium.
It is a wide wire, not jumbo, but I want this one to have width and height and I will fret over the binding so it has length as well.
I am cleaning slots with a special saw that does the job, inside the binding. One I finished I had a nice reduction of relief, some stiffness is back in it, and I'm certain it will be very playable when it goes back together now.
So I will dress them, and oil the fingerboard and back on we go.

7-27 UPDATE
Final Assembly
New frets completed, neck is a much better player now.
Normal relief again.
The medium/large fret wire was a good choice for this one.I used an ABM repro Oettinger so it would have an adjustable tailpiece that looks great too.
Standard Grover 1/2" bridge provides plenty of down force with the Oettinger.
I wil let it settle in and do the normal tweaking.
Thanks for looking, inquiring and sharing.
VM