OK-I'm fresh brand new here. If you want to blame someone else for that, it's Mr. Dan Pennngton. I just bought the majority of an old StewMac cast aluminum kit from Dan and I enjoyed emailing him. He suggested I look in here.

Over the last 40 some years I would pick up a banjo, and frail it. My first exposure to guitar taught me Travis pickin'and other finger styles. As a result, when I could remember a banjo chord or three, I also tried banjo pickin'. Most of the time nowadays, I play Chicago style blues on a Les Paul or two, or a premium "partscaster." When I relax, I willdrag out a dread and play Delta style blues. I am good at none of it-my younger brother raised a family as a blues and jazz man in Cleveland, and my nephew graduated from Berklee, Boston, in guitar. Neither of them would even think about building or seriously repairing a stringed instrument-they play, I build. Thirty eight years ago, I learned how to build guitars and we fooled around with block construction banjos.

I want to learn as much as I can here, and will try to contribute. My usual home bases are "My Les Paul" and OLF.

My first question-how do you set the vertical position of the neck/fretboard in relationship to the skin, properly tensioned? First as it applies to arch tops and then flattops? The first will be the StewMac, Kershner tail piece, flat (no radius, or very little- fretboard)-bridge height to be determined along with this, I sheepishly assume. I am leaning toward a decent Gold Tone neck I picked up, scooped for frailing(not my preference, just what I grabbed since it was for a straight rim and cheap).

I would also be interested in finding a tutorial for block built rims-in addition to a bunch of standalones, I actually use two Shopsmiths, so I have a big enough lathe.

Yesterday I finished setting up my Marlin Dupli-Carver, primarily for LP's but I am rebuilding a second Carver to be dedicated to necks.

I am really a lousy player, so I devote most of my interest to builds, repairs and setups.

I am interested in 4-5 conversions-I do respect quality vintage instruments of all kinds, so, I am talking conversions that do not harm a top quality instrument of the present, or bygone days. One of my favorite build aspects is inlay-not much exciting in Les Paul inlay.

Going from acoustics to electric guitars was an economic decision and I am finally learning to properly use the power tools I have accumulated over the years.

Finally, I do see the value in $600 banjo kits. That appears to be at the bottom of premium component investment. And, it will allow a good result for a budding luthier who takes professional care in finishing and assembly. It makes sense for someone with the desire but not all of the tools, power, or quality handtools.

I will try to be an asset. Best regards to all, Ol'Lefty(ON MLP, it is Ole'Lefty-couldn't do that here.) Thanks to ALL



"Don't pick it; it'll never heal"--with apologies, that always makes me grin.......... "I'm not crazy, I'm colorful." Struther Martin, "Butch Cassidy and the Sundance Kid"

Posted - 10/28/2009 :  11:44:52            

Lower end of the fret board should be even with, or a fraction of an inch higher than, the top of the skin, and the heel should be cut so that the neck slants backwards.
The instructions which I have read, say 3 degrees.

Welcome to the HangOut.

If you have the time and inclination, feel free to amuse yourself by looking at the banjii which I built out of the flotsam and jetsam of this amazing planet.


=):{ )
Mike Gregory, Banjo Maker Infraordinaire
When I say my instruments are as good as anything Gibson or Martin ever made,
I mean MEL Gibson and DEAN Martin!


My banjos can be seen on my own website
http://littlebanjos.lunare.net

See me & my SQUARED EEL banjo on the Y'all tube
http://www.youtube.com/watch?v=97EfvhFgRBY

Posted - 10/28/2009 :  13:29:19    

Amen to the ShopSmith lathe! You can use other "stuff" that's called a lathe, but the ShopSmith late works great!

Checkout the previous lathes that I have used on my web sites:

http://www.walkerbanjos.embarqspace.com/

http://www.banjomaker.net/

"Those who never try... never will!"

BNJOMAKR

Posted - 10/28/2009 :  14:03:40          

Yeah, it's all my fault. I told Lefty where to find this place. I thought he might be a fun guy to have around.

Dan in Minneapolis


"The secret of life is honesty and fair dealing; if you can fake that, you've got it made."
Groucho Marx

Posted - 10/28/2009 :  14:19:17    

If I understand your question, the answer is getting the angle of the neck right, which depends upon what bridge height you're aiming for. The cut-down part of the tension hoop that runs across the end of the fingerboard ought to be a hair lower than the last fret and close to the level of the head (in my opinion)

I'm not a frailer. The fretted section of the fingerboard may have to be higher if you have a scoop.

A man wouldn't need many plastic heads in a lifetime.

Posted - 10/28/2009 :  15:52:43    

Thanks, Folks. I want to learn to use my 3 finger experience to play "Scruggs Style." I just happened to end up with a scooped fretboard. I may slap a pretty inlay there, or square it up and graft more ebony there to have a conventional 22 fret at the body/ring.

I am also looking for a 10 3/4" head with a round wire hoop. I picked up an unmarked "probably MayBelle." Pretty birdseye all over the resonator and on the rim as well. 20 hooks and plain tension ring-no groove, no notches. Has a very old Waverly tailpiece-stick mount neck with tension setting grub screws. The resonator flange is pressed steel, polished on top, unpolished bottom. It has no maker's mark, but is a nice decent old tenor. I'm just going to French Polish the wood, lightly brighten the hardware and add a 5 string neck and tail. It will be light weight. Ol'Lefty

"Don't pick it; it'll never heal"--with apologies, that always makes me grin.......... "I'm not crazy, I'm colorful." Struther Martin, "Butch Cassidy and the Sundance Kid"