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TB-2 - Posted - 08/29/2009: 21:40:59
First, I'm really in banjo heaven! I'm in the middle of reading it through for the second time and I've certainly learned lots. Great job, Jim! Let's have a second edition with 19 more.
Mandatory prewar question for Jim: If one were looking at a converted plectrum or tenor with a flathead ring, how does one know it is not a cut rim and modern ring? That is, if the skirt length were correct and it came from a batch that included other flatheads. In other words, what characteristics allow a "scholar" to say the ring is original? Finish? Weight? Machining marks?
Thanks!
Tim Mullins
(edited for clarity)
Edited by - TB-2 on 08/31/2009 15:16:57
ninethirtyfive - Posted - 08/30/2009: 07:13:34
You know, i hope the best for Jim on the book and hope all this negative (political correctness)of the lingo and the way he approached his love and explanation of the view he was trying to give us in the pre-war way of the banjo.He has so much love as do a lot of us who love and play the instrument.If not for people like him,Curtis Mcpeak,Steve Huber, Joe Spann,Rual Yarbrough,Randy Wood and Paul Hopkins ,just to name a few who have devoted their own time and love for the banjo,helped me in my collection,we would not have a pinch of knowledge about the banjo.So why dont we not criticising him and encourage him to give us more.Do we want a Obama speach writer writting it so we would have a havard professor interpreting it for us?So lets all support this piece of history instead of trashing it. Dont mean to direct it to one person,but we should encourage more for the future.GOD LUCK Jim. Roger Barfield
RB3Banjo - Posted - 08/30/2009: 18:33:15
I would appreciate it if Jim could comment on the sharpness or roundness of the roll at the top of prewar tone rings he has seen/heard and the relationship of the sharpness/roundness to sound quality. Does he prefer one or the other?
Does Jim think that the longer a pot and its neck have been together, the better the sound will be (all else being equal), and that this togetherness through the decades contributes, even if in a small way, to the great sound of the prewar RB flatheads?
Some people say that some prewar RB flatheads "just don't have it." I believe (with very little experience on which to base the belief) that a prewar RB flathead that doesn't sound great is a prewar RB flathead that is improperly or inadequately set up. The sound is in all of them if one knows how to bring it out. Would appreciate Jim's comments.
Can a prewar OPF 3/75 non-RB raised head with made 5-string neck and good contemporary flathead tone ring be made to sound as good as the average prewar RB flathead? Or will a keen and experienced ear listening to the two blindfolded be able to tell which is which?
In general, does Jim prefer the 3/75 sound to the Granada sound?
Does Jim agree with Tom McKinney's comment that Earl's banjo sounds like "a bodacious three"?
What gives the prewars their outstanding sustain? What qualities of sustain does Jim listen for in a banjo? How would Jim rank the sustain of his own banjos that are presented in the book? I assume that the Mack Crow is at the top.
Not trying to monopolize the conversation. Just keeping the pot boiling!
Thanks.
RB
dixie kiwi - Posted - 08/30/2009: 23:38:54
Just got my copy today and have read through 75% of it without the benefit of reading this thread first. I really like the focused coverage of pre-war flathead 5-strings and Jim does a great job profiling this collection. I have Earl's book and the Masters of the 5-string book and this compliments those very well- even correcting some previous inaccuracies/misconceptions and lots of updated clarifications.
Jim was able to leverage his own great reputation and long love of prewars into gaining unbelievable access to these banjos. Jim asked some good questions- I too always wondered what Earl played while Gibson had his Granada when the bow-tie work was done. The historic pix and stories about these instruments are amazing.
For me, the best part of the book is the narrative story-telling approach and the photography by Dan Loftin. Dan's work is superb and it's an honor he is on this thread. These are the best photographs I've ever seen of banjos- it's beyond me how he was able to maintain such high quality consistency given the variable conditions with houses, dogs, heat, etc. I bet that was a fun road trip! Thanks Dan!
I take aboard the criticisms of the various mistakes- I found a couple misspellings and similar things. But these are really publisher-related editorial issues and NOT the fault of Jim's; he did his job! As such, I am sure the publisher/editor could have spent another 2-3 months dragging out redlines and re-writes while we banjo fans sit here waiting. I'm glad they got the book wrapped and out to us. Perhaps future editions can sort out those small details.
To the publishers credit, the photos and images look fantastic and the books layout is great with text wrapping around cool pedhead close-ups and rare historic pix (these are indeed outstanding!).
Now...if only there was an accompanying CD with music samples of each of these banjos played by Jim. Also, comparable tone ring weights (not that all these banjos could be taken apart) and more insight into what Jim paid for his stash (given that other costs were provided for Butch, Sonny, Huber, etc)
DEF worth purchasing for the collection!
peace,
Alan
KLandreth - Posted - 08/31/2009: 12:52:38
RESPONSE TO QUESTIONS FROM RB3BANJO:
(1) Do you find that the sharpness or roundness of the roll at the top of prewar tone rings has an effect on tone? Do you prefer one or the other? Are there other differences you see in mid-1930s vs 1940-1942 flathead tone rings.
JIM SAYS: I can't tell much of difference in the sound of these banjos.. pre 1939 vs 1940's tonerings. There is a visual difference with the later rings mostly found with a polished or "shiny face" on the inner surface of the tonering; where the earlier rings are mostly left unpolished. However is all subjective and is merely my opinion...there will be different opinions by different people on this subject.
(2) Does Jim think that the longer a pot and its neck have been together, the better the sound will be (all else being equal), and that this togetherness through the decades contributes, even if in a small way, to the great sound of the prewar RB flatheads?
JIM SAYS: I do think the longer that a banjo has been together..that is.. if it was put together "right" in the first place..by "right".. I mean that everything was well fitted..ie the tonering to rim fit, heel to pot, good straight neck, round rim, set up good overall, etc...if it was all started off right..yes I think that particular banjo will sound better after it's been together and well played for 10 years or more, than it will say.. being brand new and just put together last week...it should sound really good from the start..but it should also mature in its tone and power.
(3) Some people say that some prewar RB flatheads "just don't have it." Do you think this is true or is the sound is in all of them if one knows how to bring it out?
JIM SAYS: I've been asked this question many times before and I can honestly answer by saying that I have never heard an all Original Pre War Gibson Flathead banjo -tenor, plectrum or original 5 string- that to my ear didn't have it. I’ve seen some that were better than others of course, but they all featured a common characteristic in tone and power..the culprit most of the time is in the way they are set up; either in the way the necks were fitted to the rim, poor bridge choice, old strings, loose or busted heads, fret wear, etc. But none that I thought were in the "didn't have it" category.
(4) Does Jim agree with Tom McKinney's comment that Earl's banjo sounds like "a bodacious three"? DO you think there is a predictable difference in the RB-3 sound and the sound of a Granada?
JIM SAYS: I can't agree that Earl's banjo sounds like anything other than Earl's banjo to me. He has made this same banjo sound very different over many decades of recording for over 60 years now, so I prefer to place Earl's sound in different time periods. One of my favorite periods is 1949 to about 1954. I like that recording period because he sounds totally different to me in that period. Even though his banjo may sound "tight" or bright by today's standards, it still retains its depth of tone and fullness that makes for an overall great sound. Just listen to.. "No Mother or Dad", "Pike County Breakdown", "Head over Heels", and "Doin My Time" for examples of this type of tone. Later, recording techniques changed and so did Earls sound, but that banjo still retained a certain characteristic of this same tone to my ear--even when he changed to plastic heads exclusively, and a mahogany neck. I can still hear that same tone down in there.
As to the question of is there a measurable difference in the sound of the style 3 and the Granada.. I would say..yes.. but I would also say that this sound difference would be very minor to the average listener. If these banjos were in the hands of the same player, I would say that 90% of listeners couldn't tell the difference. But the actual player could hear the distinctive difference. Maple tends to have a little more sustain than mahogany, and it is said that gold plating may also add a little more sustain...but I can't say that it would be measurable to most listeners.
(5) What gives the prewar flatheads their outstanding sustain? What qualities of sustain does Jim listen for in a banjo? How would Jim rank the sustain of his own banjos that are presented in the book? I assume that the Mack Crow is at the top.
JIM SAYS: I don't have any measure of sustain in my banjos other than some ring longer than others and actually too much sustain is not a good thing in my mind. One of the best traits of an old flathead is that the notes decay pretty quickly, but still seem to have just the right amount of sustain. The Mack Crow RB-75 would be one of the least sustaining banjos that you've ever heard...but seems to have just enough and that may be why I like it so much. Which of the banjos in the book has the most sustain… I would say the Snuffy Jenkins RB-4…but it's a good sustain!
Edited by - KLandreth on 09/01/2009 04:43:16
RB3Banjo - Posted - 08/31/2009: 13:52:54
I am grateful for the informativeness and speed of Jim's answers to my questions. I don't want to push my luck, but I would like to follow up on my first question about the sharpness or roundness of the roll at the top of prewar tone rings. Jim's answer suggests that I did not make myself clear. I am under the impression that some rings are somewhat narrow or sharp at the top, and less contact with the head results, and some are more rounded, resulting in more contact with the head. I don't know if this is accidental individual differences or intentional on Gibson's part. I wondered if Jim thinks there is a tonal difference between the two, and if there is, whether he has a preference. Thanks.
RB
Wayne Holcombe - Posted - 09/02/2009: 17:46:32
Just finished reading Jim's book for the 3rd time.everytime I read it I keep finding material I missed on the previous readings.What a book.
Wayne
DIV - Posted - 09/02/2009: 21:00:16
After flipping through and drooling over many of the pages, I finally started reading it from page 1. First of all, I'm honored to know many of the folks that Jim mentions and thanks in the book.
I'm very happy to see that Jim has drawn comparisons to Stradivarius violins!! (like I did some months before he book was released--see my post on page 1 here).
He mentions the "Messiah" Strad which has NEVER been played. It's the most perfectly preserved Strad there is and is THE MODEL when it comes to making a fine copy.
HERE'S A GREAT LIST: http://www.ultimateviolintools.com/...violins.html
I wonder what will be the one original 5 string flathead that will be museum guarded as THE MODEL of what these looked like new from the factory. Perhaps the "Scotland Granada"???
I think I'll forward this to Jim and see if we get an answer.
-"Danjo"
Edited by - DIV on 09/02/2009 21:02:28
BanjoLink - Posted - 09/03/2009: 09:52:31
Quote: "I wonder what will be the one original 5 string flathead that will be museum guarded as THE MODEL of what these looked like new from the factory. Perhaps the "Scotland Granada"???
Dan: As I was reading your post, that is the banjo that I had in mind. In my opinion, they just don't get any better than that. I had rather have that one than some of the famous owned by famous players. I'll also bet that I am in the vast minority on that!
Also fascinated about some pre-war flatheads "not sounding very good". I have never believed that and Jim pretty much puts that to rest as far as I am concerned. Last year at Banjothon, quite a few players thought my flathead six sounded really good and I have never spent five minutes setting it up or trying to make it sound better. It needs new strings, tuners replaced (or repaired to make them hold), etc., etc. but iy still has the "sound"!
Edited by - BanjoLink on 09/03/2009 09:56:53
DHoffmeyer - Posted - 09/03/2009: 09:56:39
First, it is a fact that one can never get rich building, or writing about banjos. The work is done for the love of the instrument, and the work is accepted by fellow enthusiasts as a product of such.. That makes this book's existence even more remarkable.
I wanted to ask Jim about the "V" neck period. My dad has a late 30s Gibson ES-150 archtop with a remarkable V neck. Has he been able to find why a few necks began taking on a V profile during that period? Suppose it was one of the guitar guys filling in for the banjo guys?
http://www.deanhoffmeyer.com
http://www.nationalfingerpicks.com
http://www.banjohangout.org/forum/t...PIC_ID=45886
impickin5 - Posted - 09/04/2009: 15:28:03
Can anybody post a link to pictures of the Scotland Granada? I don't think I've ever seen it.
Ray
JoeZ - Posted - 09/04/2009: 19:24:26
Dan - the comparison of original prewar GIbson flatheads to Strads is an old one. The standard by which all are measured, the most copied but never equaled.
Squirrels - nature's little speedbumps. Joe Z
BanjoLink - Posted - 09/04/2009: 20:46:19
Ray, I think the "Scotland" Granada came through Gruhn's shop a number of years ago. I am not sure that the present owner shows it around very much and not sure if there are any pictures. There may be some taken at the Banjothon last year, but don't know for sure. May not be very detailed if there are.
DIV - Posted - 09/05/2009: 10:12:21
I completely missed seeing and photographing the Scotland Granada last year. I may have seen it briefly, but must have thought somebody snuck in a brand new Granada reissue! The newer looking Granada that I thought was it (the one Charlie played) was actually someone else's Granada with re-plated parts.
-"Danjo"
Kevin B - Posted - 09/05/2009: 11:05:41
Greg Rich has posted pictures of the Scotland Granada at the Banjo Mafia site under the Gibson History section there.
Kevin ( )=='=~
'Possum, It's what's for dinner . . ."
KLandreth - Posted - 09/08/2009: 10:36:33
quote:
Originally posted by DHoffmeyer
I wanted to ask Jim about the "V" neck period. My dad has a late 30s Gibson ES-150 archtop with a remarkable V neck. Has he been able to find why a few necks began taking on a V profile during that period? Suppose it was one of the guitar guys filling in for the banjo guys?
JIM SAYS: The V contour seems to start showing up around 1938 and I have several tenor necks with this shape... mainly style 1s and a few style 75s. But there were very few original 5 strings made during this period in the first place, so these necks are rare with any shape. None of the 5-string necks I've seen have as much taper as the Mack Crow banjo. The Posie Roach RB-75 has a slight V-taper...and it shipped in 1940, same year as the Crow RB-75.
Dean makes a good point as I've seen 1938-1942 Gibson guitars that he speaks of on several occasions, and they all seem to pretty consistently have this V-profile neck. So he may be on to something here concerning the guitar department taking over some of the banjo guys chores (like neck profiling), as some of the the banjo department workers were moved to work in the war effort at the plant. It's a good theory, but it's just another one of those things we will probably never know for sure!
Edited by - KLandreth on 09/08/2009 10:46:27
silvioferretti - Posted - 09/08/2009: 14:39:21
The neck on Rob McCoury's RB-75 is very thin and it definitely has a V-profile. Is this banjo on Jim's book, by the way?
"If you're gonna have a vice, try to find one that will keep you outta jail and maybe alive a little longer" - Alvin Youngblood Hart.
Silvio Ferretti http://www.scorpionmusic.com
http://www.redwinemusic.net
Ebanjo - Posted - 09/08/2009: 15:29:59
Rob let me play his -75 a couple of years ago at Merlefest. That neck is one of the best feeling pre-war necks I've played (Along with the Mack Crow -75).
Eric Ellis
KLandreth - Posted - 09/08/2009: 18:00:01
quote:
Originally posted by silvioferretti
The neck on Rob McCoury's RB-75 is very thin and it definitely has a V-profile. Is this banjo on Jim's book, by the way?
Rob McCoury's RB-75 (F5883-5) is not in Jim's book, although Jim purchased that banjo from the second owner in central Pennsylvania some years ago and could probably tell as good a tale about that one as any in the book. I've looked at 3 of the 4 known banjos from the F5883 lot and the neck profiles on all three were identical and slightly V-shaped...but nothing like the Mack Crow banjo. I agree with Jim...I've never seen one with that distinct V-profile. ....Ken
Edited by - KLandreth on 09/09/2009 12:26:15
justryin2play - Posted - 09/08/2009: 18:12:26
quote:
Originally posted by KLandreth
quote:
Originally posted by DHoffmeyer
I wanted to ask Jim about the "V" neck period. My dad has a late 30s Gibson ES-150 archtop with a remarkable V neck. Has he been able to find why a few necks began taking on a V profile during that period? Suppose it was one of the guitar guys filling in for the banjo guys?
JIM SAYS: The V contour seems to start showing up around 1938 and I have several tenor necks with this shape... mainly style 1s and a few style 75s. But there were very few original 5 strings made during this period in the first place, so these necks are rare with any shape. None of the 5-string necks I've seen have as much taper as the Mack Crow banjo. The Posie Roach RB-75 has a slight V-taper...and it shipped in 1940, same year as the Crow RB-75.
Dean makes a good point as I've seen 1938-1942 Gibson guitars that he speaks of on several occasions, and they all seem to pretty consistently have this V-profile neck. So he may be on to something here concerning the guitar department taking over some of the banjo guys chores (like neck profiling), as some of the the banjo department workers were moved to work in the war effort at the plant. It's a good theory, but it's just another one of those things we will probably never know for sure!
MY 1939 RB00 has this same V shaped neck. byrantde played it some @ Galax this year and could determine if it's exactly the same, or not.
11string - Posted - 09/09/2009: 08:46:34
Jim says: "glad you are enjoying the book...you are right in that pearl nuts were only featured on the higher grade models from the factory...Granadas typically had pearl nuts, and some other higher grades such as Bella Voces, Florentines, etc...but standard lower grade Mastertones such a style 3's, 75's, and 4's and lower grade models such as style 1, 2, and 11's all had bone nuts originally from the factory..I've never seen ivory used from the factory, but that doesn't mean that they didn't use it at some point...several modern makers have used pearl nuts but they are rare from the factory...
Hope this helps, and take care."
Yes, it does, and thanks again for the great book and very hard work, Jim. Everyone that has seen my copy has loved it - and I've encouraged them all to get a copy directly from you. A great reference for years to come!
4's Rule (:
Edited by - 11string on 09/09/2009 08:48:12
DIV - Posted - 09/09/2009: 12:05:27
quote:
4's Rule (:
Yes they do!  -"Danjo"
Edited by - DIV on 09/09/2009 18:41:11
BanjoLink - Posted - 09/09/2009: 13:10:30
Dan - I looked at Grich's photos and guess that's the same "Scotland" Granada that I saw. However, the one I looked at had an inlaid pearl medallion with the owner's script initials (I think) on the back of the peghead. Don't know if it was factory work or not. Wonder why Greg did not photograph that since it was unusual (or maybe he did and did not post the photo).
davepicks5 - Posted - 09/09/2009: 16:41:29
I believe in the back of the Scotland Granada is the shield of the family....
I attempted to take pictures of it, but they did not register, low battery 
At the time of the purchase I believe there was a mandolin and guitar purchased at the same time for the siblings of the purchasing family.....
The Knoxville owner likes to remain very much out of the "glare"......
David
davepicks5 - Posted - 09/09/2009: 17:05:20
The new owner of the Rev. Odell banjo is still a mystery to most of us.....
Answer would be No.......
David
JoeZ - Posted - 09/09/2009: 17:21:53
And that, as I understand it, is the owner's wish at this time . . .
Squirrels - nature's little speedbumps. Joe Z
BanjoLink - Posted - 09/09/2009: 18:50:12
Dave I think you are correct that the "medallion" is the family crest, or something like that. I do think that an F-5 and Martin guitar (or top grade Gibson were also involved). The story that I heard was that a wealthy Scottish gentlemen ordered them for his children. I thought the F-5 was a Loar, but the time frame of ordering them new would put and Loar period F-5 and a one-piece (or even two-piece) flange Granada out of sync. I think the owner does also own a Loar.
RB3Banjo - Posted - 09/10/2009: 10:36:55
In answering a query from mamadontlow about how to identify an original neck, Bob Gaddis made the following comments:
“The slot for the nut where the peghead overlay meets it is distinctive and seldom done on copies.”
Bob posted some pictures to illustrate.
http://www.banjohangout.org/forum/t...IC_ID=155687
“The Gibson factory-made handstop (volute) and heel are distinctive.”
“The fingerboard should be thin and the inlays on the fingerboard may not be the neatest. The Gibson logo should be finely cut. Most copy logos are heavy around the base of the G where it transitions into the "i". The peghead overlay should look "right" and maybe not totally black like many copies. The truss rod pocket should be in the right place and does have a distinctive appearance with the overlay hand cut and possibly overlapping the pocket…. The neck profile at the 5th string is also distinctively Gibson.”
I would welcome further specific comments by beegee on the distinctiveness of the handstop, heel, and “neck profile at the 5th string” (which I do not understand), and the “right” look of the peghead overlay.
I would appreciate it if Jim Mills could comment on Bob’s identifying indicators and also add any other characteristics to look for. If any of the characteristics can be pointed to on pics of banjos in the book, that would be great. Thanks.
RB
jfb - Posted - 09/10/2009: 15:23:54
One of the best photo examples of most of the features described above..is the Ebert Collins banjo, not in Jims book, but on Greg Earnest's pre war site..I am sure there are many in the book also, but this one just sticks out in my mind as a great photo layout. As you click on each photo, it zooms in to a nice closup of the particular detail ( how do they do that??) of the banjo. Great shots of the (pearwood?) edges on the peghead overlay, for example..
Edited by - jfb on 09/10/2009 18:46:58
1935tb-11 - Posted - 09/10/2009: 19:50:28
sweety just ordered me a copy of mastertones by jim mills
for my birthday. should be here tuesday, really looking forward
to smoking it over.
terry m
n.c.
Timendi causa est nescire
4 longs and 1 short=banjer ring
ProfessorBanjo - Posted - 09/11/2009: 06:27:32
My favorite passage in the book is found on page 156. If only it were true.
When Jim is talking about the rarity of flathead 5-string Mastertones he says,
"Remember, they only made an infinite number of these banjos..."
The main thing is, to keep the main thing the main thing.
http://www.myspace.com/themississippisawyers
Edited by - ProfessorBanjo on 09/11/2009 14:39:56
Julio B - Posted - 09/11/2009: 08:24:50
"found on page 156 . . . . When Jim is talking about the rarity flathead 5-string Mastertones he says, "Remember, they only made an infinite number of these banjos..."
I have no comment!!
~Julio
shclandler - Posted - 09/11/2009: 12:13:45
Man that would be great. I think I would have a house made out of them... the carpeting would be the felt case lining 
Josh
rupickin5 - Posted - 09/15/2009: 04:47:39
While I haven't read Jim's wonderful contribution to the banjo community cover to cover yet, I do have an initial question for him. I've always assumed that one piece flange Gibson banjos from the '30's (I guess 1929 now...) thru early '40's had pot metal tension hoops to go with their pot metal opf. It appears that some of the gold plated models (Mack Crow & the Osborne/McKinney Granada) came stock w/ plated brass tension hoops. So...did many come w/ brass hoops? Are these the E2 hoops I've read about? Did they show up on models other than gold plated ones? And, lastly, is there a difference in how they function and how they sound? I know that the "tapped tone" of the early, first-generation opf's & tension hoops is quite different than the subsequent batches of "improved" opf's & hoops (better metal; plating; design; etc.). Any info is appreciated.
Thanks Jim,
Brian
KLandreth - Posted - 09/16/2009: 12:27:09
quote:
Originally posted by rupickin5
I've always assumed that one piece flange Gibson banjos from the '30's (I guess 1929 now...) thru early '40's had pot metal tension hoops to go with their pot metal opf. It appears that some of the gold plated models (Mack Crow & the Osborne/McKinney Granada) came stock w/ plated brass tension hoops. So...did many come w/ brass hoops? Are these the E2 hoops I've read about? Did they show up on models other than gold plated ones? And, lastly, is there a difference in how they function and how they sound?
JIM SAYS: Hello Brian. This is a good question..and I've thought of it from time to time...as it seems it's a mystery as to why they used both brass and pot metal hoops on Granadas and other banjos at apparently the same time. I would have thought that the gold plated models generally had engraved brass hoops because brass engraved better. But you'll also see pot metal adn brass hoops on other models during the same period...so I really don't know why this happened other than that they were using what they had available on that particular day.
I have seen and owned several late 20's early 30's, fat rim flange period TB-1's with brass hoops. Most were stamped E-2, but I have one currently with a brass hoop that isn't stamped at all, which I've not seen before. This is definitely a pre-war brass hoop, and the banjo appears to be in totally original, nearly uplayed condition and has the original calf skin head and original case. I can't imagine anyone ever changed the hoop out on this one.
From seeing these banjos...I would imagine that the Gibson company was still using up brass hoops from the 2 pc flanged models as late as 1932 or so pretty regularly. After that brass hoops are found on later banjos...especially the gold plated models.
As far as a difference in sound between the two..I'm sure that every part of any given banjo, and how they all fit together, effects the sound of that particular banjo to some degree, but I'm not sure that I can hear a consistent difference in them.
Edited by - KLandreth on 09/16/2009 12:30:38
DHoffmeyer - Posted - 09/16/2009: 23:29:17
quote:
Originally posted by DHoffmeyer
Anybody have a favorite banjo from the book yet? I've got mine narrowed to three!
The Mack Crow banjo has been a favorite since I saw it on the cover of Jim's "My Dixie Home" I've actually got the exact dimensions of the Posie Roach banjo, measured years ago when Mr. Roach was alive- that's in there too as a favorite. Steve Huber's RB-75 floats my boat too, and Gene Knight's 3 wreath is bangin'! Dean
rupickin5 - Posted - 09/17/2009: 04:44:33
quote:
As far as a difference in sound between the two..I'm sure that every part of any given banjo, and how they all fit together, effects the sound of that particular banjo to some degree, but I'm not sure that I can hear a consistent difference in them. quote:
Thanks for the reply Jim...if I knew that putting an E2 nickle-plated brass hoop on mine would transform it into the Mack Crow...I'd have to consider getting one. As far as banjo(s) I'd like to have in Jim's book...any, really. If I had Earl's Granada...I could sell it and probably buy several in the book...hummmm, guess that won't be happening, sigh Brian
1935tb-11 - Posted - 09/18/2009: 14:44:53
well i got the book 2 days ago for my birthday and have read
about 40 pages and drooling the whole time. so far its a great read.
and the pictures are also great. i haven't picked a favorite yet,,, but
sonnys granada has always been my choice of a "if i could have any
banjo " banjo.
so far i have really enjoyed what i have read , some stuff i knew and some i didn't.
terry m
n.c.
Timendi causa est nescire
4 longs and 1 short=banjer ring
Wayne Holcombe - Posted - 09/18/2009: 17:18:05
I'd have to go with the "Billy Mack" Worrell banjo.Long ago I've picked many a tune on that banjo and its a sentimental favoriye to me.
Wayne
impickin5 - Posted - 09/29/2009: 14:10:18
I've got Jim's book and read it a few weeks ago and if Jim commented on this, maybe I missed it. But anyway, I've often wondered about the ring-to-rim fit on those prewar Gibson flat heads. Was the fit loose, snug, tight or all kinds of fit.
Maybe some of you prewar flat head owners (or those of you that have disassembled/reassembled them any) could chime in here and tell us about the fit you experienced.
Ray
Oldtwanger - Posted - 09/29/2009: 15:23:00
quote:
Originally posted by raypicks5
I've got Jim's book and read it a few weeks ago and if Jim commented on this, maybe I missed it. But anyway, I've often wondered about the ring-to-rim fit on those prewar Gibson flat heads. Was the fit loose, snug, tight or all kinds of fit.
Maybe some of you prewar flat head owners (or those of you that have disassembled/reassembled them any) could chime in here and tell us about the fit you experienced.
Ray
I have found originals extremely tight, extremely loose, and every degree in between. The best are not tight at all, but still will not fall off. I find a little too loose better than a little too tight. Oldtwanger Frank 'Information not shared is lost.'
iluvearl - Posted - 10/04/2009: 09:59:11
I have observed in the humid summer a tight fit (had to pull the ring off), in the crisp fall a loose fit (ring would slide off when inverted) on the same banjo! Didn't seem to affect the tone or volume.
After all this time, you'd think I'd be better by now!--iluvearl Page: 1 2 3 4 5 6 7
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..of course the author still has me by a half dozen..but I may not be done yet..