Got got in the fingers - clearly a true luthier! Thank you for this video! I used it when I first started learning banjo mechanics and I'm now finding myself revisiting it years later full circle. Great video!!!
AMEN!!! I thought I was the only person who realized how important this gap is. I've been told by some "so called" banjo experts that "Earl and Sonny's banjos didn't have a gap there". I don't care what these folks say, I believe this neck design was intended to touch at the two points where the lag bolts are and nowhere else. I've had too many instances of a tension hoop getting bent to an egg shape because this wasn't properly fit.Most new banjos I've seen weren't fitting properly. Good Info!!
I was able to get enough gap (about .006) by adjusting the coordinator on a pre-war single rod TB. It really cleaned up the sound and increased tone and volume. Thank you!
Drummers in the 20s and 30s referred to this theory on a drum as having a floating head. Earlier drums used to hug the shell(pot) quite tightly. I'd never thought about this in terms of banjo mechanics before, but seems to make a lot of sense. Thank you.
I like what your thinking with this gap adjustment Warren,obviously you know what you,re doing! I,ll give it a try. I suppose it makes sense to let the head vibrate on its own as much as it can, free of the neck, if I understand you right! I feel as tho I,m doing something wrong because my sound is somewhat inhibited! Thanks for the tip again,I,ll drop you a line Warren, let ya know if it works for me!...Jerry S. Hi again Warren..I did this and you,re right..It sounded like my banjo can ring better. When I hold my banjo about 10 inches away from my face an talk at the head it makes the banjo ring and have lots of sustain! YOU are right...good on ya Warren..thanks for this wonderful tips!!!
I am glad I have found and subscribed to you. I think you have begun to teach me a more comprehensive summary of the relatively complex system of banjo acoustics. It more in depth than taught at first in a general music course... if someone is doing an overview of different classes of stringed instruments to demonstrate how the majority of the vibrations make it into the resonator, they'll say there's a "guitar-type" and a "banjo-type", with violin being the latter. And so they'll stress that the neck doesn't matter for banjos; that the strings depart all the sound through the bridge, whereas they'll describe the guitar having a lot more to do with the neck transferring sound to the body. That's why people get sick to their stomach when they see you saw up that beautiful neck in that other video, hehe. But I understand... it had your name on it, and you know how to make it right. For a maple-type sound, I wonder how my red mulberry hybrid aged wood would do? A bridge made out of it sounds like denser maple, but not overkill like a dead bridge made out of all ebony, purpleheart, or ipe. It's got golden sapwood and auburn heartwood, and for bows I used to try to include both right down the middle, so the front and back of the bow were each one differing color, and it looked almost laminated, because sapwood tolerated tension better and heartwood better compression. One way to find out, I suppose, but my own wood collection I've aged myself for many years will be special enough to me I'll learn on a number of early models on other wood. If it doesn't make the first banjo neck sing I'll use it for lyre harps or something. Wish me luck (say me a prayer)I fell a bit better and get my cash flow repaired a bit so I can finish re-acquiring a few items and make some instruments. It sure would be a good way to go. And at least right now I got a mill going to make some bridges for friends out of very old piano and organ rock maple, and ebony key for tops. Plus I love to experiment with different woods with bridges. Just too many long-aged woods lying around not to experiment. Thanks again.
Dang it Mr. Yates!!! I am so interested in all the stuff you have to teach us i am to interested in your videos to pause em and actually play the banjo😁 Thanks a million for explaining this stuff would have thought that part was sapose to touch, but i also only have a savanna sb100 so i doubt the tolerances are quite as impressive as yours☺. Im hoping you got a video that explains how to tune the dang head to a specific note or how to get correct tail angle. So far your teachings have been Awesome☺☺☺
Awesome Warren! Even a lesson on Jed. That has been a very awkward song for me and that will help. Dueling Banjos has a few roll patterns based on the old 2 finger style and i'm learning that one too. Great job.
Loosen the neck and slip your 220 sand paper in it. sand to the wood. Pull the gap closed and pull out the sand paper cutting as it goes. Do it until it has made clearance.
The harder the connection of parts to a point, the more vibrations can transferr. The tension hoop is suspended on the head and not solid. That means if the neck pushes there, it is like a connection to a deadener. Much like trying to play waring rubber gloves.
Mr. Yates, Do you have (or you recommend) a video showing how to add the black accent (I don't know what you call it) on bottom of the heel of a banjo or guitar? I have a plain looking Pilgrim banjo that I want to dress up a bit. I'm going to add a black 'trim' or 'accent' to the bottom of the neck heel and the bottom of the pot also. Thanks!!
Warren thanks for this video. I'm working with a lot of banjos in my business, and working with one import today that just sounds too dull so' I'm looking it over. If you think about this, if the neck is bolted on tight and it is touching the hoop is one thing but the real question is: is the neck bearing most of all of the real pressure on the rim and tone ring? I can see with this banjo the hoop is touching, but more importantly I also see a gap where the neck should be touching, that is on the rim/tone ring area below the hoop. I can even slide a thin piece of paper (a gas station receipt) in there and that's where it should be bearing so I know the lack of visible gap at the hoop is not because the hoop is scooted over. I also noticed it tough to adjust head tension with the neck on because the hoop and head collar are pinched- stuck by the neck. What tonal symptoms do you think happens? You think a dull, not bright sound may result?
If the neck is solidly connected to the rim and tone ring, you have a solid transfer of sound. if the neck puts pressure on the hoop, it will loose power and be uneven and unpredictable. Even it is is solid everywhere else.
youd be there a year sanding a thousands of an inch from end grain with 220. even one fifty. best to take the neck off and get her done with a drum sander.
I can't completely agree. In my shop, I have a special machine for it but when I am in the field, it's what ever it takes. let me be clear thought, saying sand paper, I mean sanding cloth. It is sanding belt material. One thousandths should be just a few swipes. Sure it is likely more than .001" but I get the point.
The truss rod is tight the head could use a little tightening maybe I'm going to recheck the intonation uh I've done all this before I'm going to check the truss rod that's probably it but it seems tight but not perfect thanks
Got got in the fingers - clearly a true luthier! Thank you for this video! I used it when I first started learning banjo mechanics and I'm now finding myself revisiting it years later full circle. Great video!!!
Good stuff!!! I was looking for an answer to banjo neck fit and got it. Thanks!
Thanks Warren Yates - have seen this video many times and what you tell us about this gap - is absolutely right! Perfectly explained by you as well.
AMEN!!! I thought I was the only person who realized how important this gap is. I've been told by some "so called" banjo experts that "Earl and Sonny's banjos didn't have a gap there". I don't care what these folks say, I believe this neck design was intended to touch at the two points where the lag bolts are and nowhere else. I've had too many instances of a tension hoop getting bent to an egg shape because this wasn't properly fit.Most new banjos I've seen weren't fitting properly. Good Info!!
I was able to get enough gap (about .006) by adjusting the coordinator on a pre-war single rod TB. It really cleaned up the sound and increased tone and volume. Thank you!
Drummers in the 20s and 30s referred to this theory on a drum as having a floating head. Earlier drums used to hug the shell(pot) quite tightly. I'd never thought about this in terms of banjo mechanics before, but seems to make a lot of sense. Thank you.
I like what your thinking with this gap adjustment Warren,obviously you know what you,re doing! I,ll give it a try. I suppose it makes sense to let the head vibrate on its own as much as it can, free of the neck, if I understand you right! I feel as tho I,m doing something wrong because my sound is somewhat inhibited! Thanks for the tip again,I,ll drop you a line Warren, let ya know if it works for me!...Jerry S. Hi again Warren..I did this and you,re right..It sounded like my banjo can ring better. When I hold my banjo about 10 inches away from my face an talk at the head it makes the banjo ring and have lots of sustain! YOU are right...good on ya Warren..thanks for this wonderful tips!!!
No banjo will ever make up for the picker but that gap sure made a difference for me. I final like the way my banjo sounds.
Thanks for a great explanation of the process and the importance of this set up. I'm just a player and it helps to better understand my instrument.
I am glad I have found and subscribed to you. I think you have begun to teach me a more comprehensive summary of the relatively complex system of banjo acoustics. It more in depth than taught at first in a general music course... if someone is doing an overview of different classes of stringed instruments to demonstrate how the majority of the vibrations make it into the resonator, they'll say there's a "guitar-type" and a "banjo-type", with violin being the latter. And so they'll stress that the neck doesn't matter for banjos; that the strings depart all the sound through the bridge, whereas they'll describe the guitar having a lot more to do with the neck transferring sound to the body. That's why people get sick to their stomach when they see you saw up that beautiful neck in that other video, hehe. But I understand... it had your name on it, and you know how to make it right. For a maple-type sound, I wonder how my red mulberry hybrid aged wood would do? A bridge made out of it sounds like denser maple, but not overkill like a dead bridge made out of all ebony, purpleheart, or ipe. It's got golden sapwood and auburn heartwood, and for bows I used to try to include both right down the middle, so the front and back of the bow were each one differing color, and it looked almost laminated, because sapwood tolerated tension better and heartwood better compression. One way to find out, I suppose, but my own wood collection I've aged myself for many years will be special enough to me I'll learn on a number of early models on other wood. If it doesn't make the first banjo neck sing I'll use it for lyre harps or something. Wish me luck (say me a prayer)I fell a bit better and get my cash flow repaired a bit so I can finish re-acquiring a few items and make some instruments. It sure would be a good way to go. And at least right now I got a mill going to make some bridges for friends out of very old piano and organ rock maple, and ebony key for tops. Plus I love to experiment with different woods with bridges. Just too many long-aged woods lying around not to experiment. Thanks again.
Fixed this on my banjos. Noticed more volume & sustain on all three. Thanks for tip.
I agree w this technology. The great sounding vintage japanese banjos were built with this gap. They were on this.
Warren, many thx for this Information. I did this on my Banjo.Greetings from Switzerland
Many thanks Warren this has been a great help 👍
Dang it Mr. Yates!!! I am so interested in all the stuff you have to teach us i am to interested in your videos to pause em and actually play the banjo😁 Thanks a million for explaining this stuff would have thought that part was sapose to touch, but i also only have a savanna sb100 so i doubt the tolerances are quite as impressive as yours☺. Im hoping you got a video that explains how to tune the dang head to a specific note or how to get correct tail angle. So far your teachings have been Awesome☺☺☺
I did this on both my banjos. What a difference it made.
Awesome Warren! Even a lesson on Jed. That has been a very awkward song for me and that will help. Dueling Banjos has a few roll patterns based on the old 2 finger style and i'm learning that one too. Great job.
Loosen the neck and slip your 220 sand paper in it. sand to the wood. Pull the gap closed and pull out the sand paper cutting as it goes. Do it until it has made clearance.
Thank You Warren ,, That was a Big help ... ❤️❤️👍👍
The harder the connection of parts to a point, the more vibrations can transferr. The tension hoop is suspended on the head and not solid. That means if the neck pushes there, it is like a connection to a deadener. Much like trying to play waring rubber gloves.
is that why my banjo sounds like a guitar
first time i heard that sure sounds right to me .thanks for sharing this.
Great vid, Warren! Thanks!
Great information, thanks for sharing.
Mr. Yates, Do you have (or you recommend) a video showing how to add the black accent (I don't know what you call it) on bottom of the heel of a banjo or guitar? I have a plain looking Pilgrim banjo that I want to dress up a bit. I'm going to add a black 'trim' or 'accent' to the bottom of the neck heel and the bottom of the pot also. Thanks!!
Warren thanks for this video. I'm working with a lot of banjos in my business, and working with one import today that just sounds too dull so' I'm looking it over. If you think about this, if the neck is bolted on tight and it is touching the hoop is one thing but the real question is: is the neck bearing most of all of the real pressure on the rim and tone ring? I can see with this banjo the hoop is touching, but more importantly I also see a gap where the neck should be touching, that is on the rim/tone ring area below the hoop. I can even slide a thin piece of paper (a gas station receipt) in there and that's where it should be bearing so I know the lack of visible gap at the hoop is not because the hoop is scooted over. I also noticed it tough to adjust head tension with the neck on because the hoop and head collar are pinched- stuck by the neck. What tonal symptoms do you think happens? You think a dull, not bright sound may result?
If the neck is solidly connected to the rim and tone ring, you have a solid transfer of sound. if the neck puts pressure on the hoop, it will loose power and be uneven and unpredictable. Even it is is solid everywhere else.
Great info. Thanks
thank you, for posting.
Awesome information! How do y’all put a 500 mile Banjo in a case? 😂
youd be there a year sanding a thousands of an inch from end grain with 220. even one fifty. best to take the neck off and get her done with a drum sander.
I can't completely agree. In my shop, I have a special machine for it but when I am in the field, it's what ever it takes. let me be clear thought, saying sand paper, I mean sanding cloth. It is sanding belt material. One thousandths should be just a few swipes. Sure it is likely more than .001" but I get the point.
Warren Yates can I send you my banjo for you to set it up
Do you make left handed banjoes
hi i have a 4 string should the top-heavy string be higher than the rest thanks for the video
So should there be a gap between the hoop and neck on any decent banjo _ no tone ring on mine only a tone hoop .
Thanks
I just tried this. My neck was butt up to the ring and hoop. Waiting for the head to settle. I'll let you know
It worked, made a world of difference!
How did it help? Was it louder or what?
It allowed the banjo to open up. It was subdued by the pressure of the contact
Would you be willing to build a neck warren.
What make banjo are you working on?
Probably his brand
Yates
Hacksaw blades
Liike ❤❤❤
I still have some ghost tones happening
Check the truss rod. If it is floppy, anything can happen.
The truss rod is tight the head could use a little tightening maybe I'm going to recheck the intonation uh I've done all this before I'm going to check the truss rod that's probably it but it seems tight but not perfect thanks
Thanks for the info!