I recalled that I had recorded a video when speaking with Mr. Akira Tsumura, so I checked it yesterday. In the footage, he discusses how his preferences regarding banjo tone have evolved, noting that the best sound is achieved by using fingerpicks to pluck the strings in an upward motion. I have attached an image capturing that moment. Visible in the background behind him are two banjos; these are the Gibson UB4 and UB5 banjo-ukuleles—featuring the distinctive "diamond-hole" flange—that are documented in *The Tsumura Collection Book*. Upon re-reading the preface to his book, I am reminded of his view that banjos are instruments where the individual parts are largely crafted separately, and the final assembly and adjustment can result in a tenfold difference in overall condition. This differs significantly from other instruments where parts are glued together and only components like tuning pegs and strings are replaceable. He also describes the banjo as an instrument that effectively "died out"; while banjos were once used in the most prestigious musical settings, they lost those opportunities, meaning modern instruments struggle to match the quality of vintage ones. In my view, while the banjo is one of the few instruments with mechanisms that allow for tonal adjustment, frequent playing after those adjustments is paramount. I feel that only through such playing can the inherent stresses at the instrument's joints be relieved or balanced, resulting in a relaxed, pleasing tone. In my town, manufacturers like Yamaha and Kawai produce pianos, and they include a "break-in" playing phase at the end of production to simulate the effects of aging before shipment. Perhaps if we pour that same kind of loving, frequent attention into a banjo as it matures, it will respond in kind.
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Originally posted by Toshi TsuchidaI recalled that I had recorded a video when speaking with Mr. Akira Tsumura, so I checked it yesterday. In the footage, he discusses how his preferences regarding banjo tone have evolved, noting that the best sound is achieved by using fingerpicks to pluck the strings in an upward motion. I have attached an image capturing that moment. Visible in the background behind him are two banjos; these are the Gibson UB4 and UB5 banjo-ukuleles—featuring the distinctive "diamond-hole" flange—that are documented in *The Tsumura Collection Book*. Upon re-reading the preface to his book, I am reminded of his view that banjos are instruments where the individual parts are largely crafted separately, and the final assembly and adjustment can result in a tenfold difference in overall condition. This differs significantly from other instruments where parts are glued together and only components like tuning pegs and strings are replaceable. He also describes the banjo as an instrument that effectively "died out"; while banjos were once used in the most prestigious musical settings, they lost those opportunities, meaning modern instruments struggle to match the quality of vintage ones. In my view, while the banjo is one of the few instruments with mechanisms that allow for tonal adjustment, frequent playing after those adjustments is paramount. I feel that only through such playing can the inherent stresses at the instrument's joints be relieved or balanced, resulting in a relaxed, pleasing tone. In my town, manufacturers like Yamaha and Kawai produce pianos, and they include a "break-in" playing phase at the end of production to simulate the effects of aging before shipment. Perhaps if we pour that same kind of loving, frequent attention into a banjo as it matures, it will respond in kind.
Thankyou for sharing Toshi. In terms of pouring into banjos the loving attention, surely we do that each time we play one.
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Originally posted by Toshi Tsuchida...Perhaps if we pour that same kind of loving, frequent attention into a banjo as it matures, it will respond in kind.
I love this sentiment Toshi. It's funny how players develop these strange two-way relationships with an inanimate object. I guess banjos aren't so far removed from living entities -- they can be temperamental, they have unique personalities that change over time... and like most relationships -- the love and effort you put in directly informs what you get out of it.
It's funny seeing your post now as I literally JUST finished a complete teardown of my 1981 Gold Star JD (wanted to try going back to a more heavily frosted head) -- and I'll always associate you with these instruments. It will indeed need a bit of extra love in the coming weeks to get everything settled back in, and I'm looking forward to putting that time in!
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