In 1966, Chuck Ogsbury in Boulder, Colorado, sold his Ode banjo enterprise to the Baldwin Company. Production of the new Baldwin line remained in Colorado for two years, and then the factory was moved to De Queen, Arkansas, in 1968. Sales were not brisk, despite corporate marketers soon adding the cherished `Ode` subscript to the peghead beneath the `Baldwin’ banner. As the Gretsch instrument brand was then owned by Baldwin, production of Baldwin/Ode banjos was moved to the Gretsch factory in Booneville, Arkansas, in 1970. Sales continued to be meager, and Baldwin went bankrupt by 1980. 
As the production of Baldwin/Ode banjos was located in three different sites within about two years, each factory inherited hundreds of parts from the previous plant. How does a Baldwin/Ode owner determine the pedigree of his/her banjo? The partial answer is to examine the instrument for identifying signatures of the manufacturer. Of note, the ODE lettering and inlay on the peghead on the upper left are not original but were installed by the BRC founder after he recovered the Boulder-built parts which had languished in a garage for 40 years.
On very close inspection, the tailpiece may be seen to bear the subtle `Ode` imprint. Note the adjacent 4th string for size reference. The BRC owner overlooked this marking for many years in his four Baldwin/Ode 5 stringers.
Under the tail piece , a partially concealed but telling manufacturer`s label can sometimes be discovered on the head. 
On the inner rim of the aluminum pot, the Boulder, Colorado, die cast marking can be found, although the mold was probably relocated to each successive plant and used continually until the very end of the brand`s line in 1980. 
Although the Ode, Baldwin, and Baldwin/Ode banjos used three different series of serial numbers, these inscripted data are useful in determining the date of manufacture.
P.S. Watch for the `Refurbished BRC 5 string open back “Peace Dove” banjo` on eBay March 13-20.
These hybrids are comprised of a new stock neck with signature MOP inlays and a vintage pot preferably 50 to 90 years old to provide a seasoned wooden tone.
A lost art form in woodworking, the Slingerlands banjo rims were made of a single piece of wood that was steamed and rolled into circular pot with an overlapping junction (note the pointers tracing the bird`s-eye maple seam).
The Clarophone pot had a non removable resonator, and sound portholes were stationed around the rim.
