HOW TO ATTACH A CRADLE STRAP TO YOUR BANJO

The leather cradle straps are wonderfully secure and safe for your banjo. Since they are made of leather, they will not mar the finish of the banjo as straps that have metal clips can do.

The cradle strap is made up of three pieces of leather. There is a broad 2 inch piece that can be lined in either sheep’s wool or thick, white felt and has a logo on one end and adjustment slots on the other. On each end of this piece you will find 2 long, 5/8” -1/2” wide pieces of leather with eyelet holes and black shoestrings. It is these thinner pieces of leather that will be threaded through the channel formed by the j-bolts/hooks that you will find around the rim of your banjo.

1. Hold the banjo so that the neck is at “12 o’clock”.
2. There is a j-bolt/hook very close to the right side of the neck. Use the j-bolt/hook next to that one to begin strap attachment.
3. Thread the thinner piece of leather attached to the “slotted” end of your strap through this j-bolt/hook and the next three. Just pass them under the channel created by the j-bolts much as you would a belt through the belt loops of a pair of pants.
4. Now, take the other thin piece of leather and begin threading it through the j-bolt/hook on the right side of the tailpiece of your banjo. Yes, this is the SAME side of the banjo pot you have been working on.
5. Thread this piece up through the channels until it reaches the other strap end.
6. Adjust the strap to the proper length by pulling the ends until they meet and you have a comfortable fit around your neck.
7. Join the two thinner ends by threading the black laces through both thin leather pieces using the small eyelet holes provided. Tie them securely. See photo below.
8. Your banjo is now ready to play!

The Deering web strap comes in a variety of colors and is an ideal strap for lighter model banjos like our Goodtime line of banjos. The straps are adjustable and come with large, sturdy black plastic clips on each end that are equipped with small metal key-ring style rings attached to them. You will need a t-wrench to loosen the hex nut on the base of the appropriate j-bolt/hooks that are around the rim of your banjo. If you have a Goodtime 2 model, you will first have to remove the resonator to attach the small metal key rings to your banjo. You will only have to remove the resonator this first time. After that, you will be clipping the black plastic clips through the rings that will already be attached to your banjo.

Remove the small metal rings from each of the black clips on your banjo strap.

Begin by holding your banjo so that you are looking at the front of the instrument with the neck and the Deering logo at “12 o’clock.”

Starting on the right hand side of the banjo and moving in a clock-wise direction, you can count the j-bolts/hooks on your banjo and see that there are 16 on the Goodtime banjo whether you have an openback model or a resonator style banjo.

With your t-wrench, loosen hook #3 until it can gently be pulled up off the tension hoop. Slip the small, metal key ring over the j-bolt/hook, and put the j-bolt/hook back over the tension hoop and re-tighten it with the t-wrench.

Now count around the banjo until you reach j-bolt/hook #11. Repeat the steps listed in step FOUR above.

These locations for the strap rings are meant only as a guideline. If you have an armrest on your banjo, you may have to alter which j-bolts you use. You want your banjo to be at a 45 degree angle when the strap is placed around your shoulders for best positioning. Choose the j-bolts for attachment that best give you this positioning.

Take the large, black plastic hooks on your strap and slip them through the metal rings on your banjo.

Adjust the strap to the proper length.

Your banjo is now ready to be played with the strap in place!

TUNING YOUR BANJO'S D-TUNERS

D-tuners take some finessing and an "out of tune" situation is very common and easy to fix.

We'll start by first taking a sharp #2 pencil and lifting out the second and third strings from the nut (up by the tuning pegs) and rub the pencil back and forth in the slots until both slots are completely coated with the pencil graphite. This will lubricate the strings in the slots and help prevent any binding that will pinch the string and not allow the string to move from pitch to pitch.

When the strings are back in the now lubricated notches, and tuned up to pitch, set the tuner to the upper note first. (Always set the upper note first) Lower the string pitch to the lower note and without setting the lower note, bring it back up to the high note that is pre-set. I'll bet it's flat. Loosen the high note stop and re-tune the note. Now, lower the note again and bring it back up to the stop. I'll bet it's closer if it's not right on. If it is close but not quite on, loosen the high note stop again and tune it again. One trick that helps is to bring the note up to the high note while tuning and setting the stop. Avoid bringing the note down to the right pitch, as this tends to exaggerate the problem of the "sticking nut".

Once you have the high note set and in tune, now lower the note to the desired lower note and set the stop. Bring the note back up to the higher note and then back down. Perhaps it is a little sharp. Loosen the lower stop and retune and set again. This usually puts the lower note in tune. Raise the pitch up to check the high note and lower it to the lower note. Sometimes the high note will be flat again and you will need to start the process all over again. Setting the high note while the lower stop is in place doesn't usually work. It is best to set the high note when the low note stop is not set. However, setting the low note is usually easier and faster than setting the high note on most banjos.

As you can imagine, the amount of graphite in the nut slots makes a big difference when you are sliding a string through constantly like you do with D-tuners. Keep a pencil in your case and keep the slot and the string constantly coated with the graphite. (This helps your other strings tune easier too. Even the wound fourth string when you apply the graphite to them as well)

D-tuners are not exactly user friendly but with good nut lubrication and patience in setting the notes in the manner I've described, they will be accurate, smooth and soooooooo much fun!

Each type of banjo head has a unique contribution to your banjo’s tone. Heads have different effects on different kinds of banjos. For example, one head might sound right for one player on a five string banjo, but be disappointing on another players tenor banjo. A head on a long neck open back banjo might sound completely different on a 12-string banjo. The individual artist's touch on the instrument, the use of picks or bare fingers, the kind of bridge and the gauge of strings are all intertwined in a recipe that creates the musical product that you, the artist, have designed. Music and tone are completely subjective and there is no one answer or definition that can be truly considered final. Here are some brief descriptions that are only meant as guidelines to experimentation.

Top Frosted: This is the most popular head made for a five-string resonator banjo. It is crisp, bright with good snap and not too much sustain. The bridge sitting on the hard coating doesn't shift too easily when bumped (or adjusted) and seems to stifle some unwanted sustain that gives fast fingerpicker passages clarity and good note distinction.

Bottom Frosted: This head is very popular with tenor and plectrum banjoists. The smooth top doesn't make noise when fingers are dragged across the surface like many players with flatpicks or plectrums do. The bridge sitting on the smooth surface tends to increase the sustain and reduces some of the bright character of the top frosted head. The head has good bass response (lower frequency as banjos don't have true bass); it sustains more and is sweeter than the top frosted.

Clear Head: The clear head is good to show inlays, gold plating or other artwork that is done inside the banjo. The tone is sweet with clear distinction and long sustain. It has a bit less bass response than the bottom frosted head. Some say it is brighter.

Fiberskyn: A favorite with old time, claw hammer, frailing styles. Also used by some bluegrass players. It is preferred for its warm, round and not as sharp character. It tends to have a more plunky sound. It was intended to approximate the tone of calfskin without the mounting and maintenance work of real skin. It also looks like a calfskin head. (A big plus for re-enactment groups and players wanting a very traditional appearance.)

Black shiny head: Strikingly different, this head is very mellow in tone with long sustain, lots of low frequency response (bass) and not as sharp as a clear or bottom-frosted head. More sustain than the fiberskyn and not plunky at all.

Prism head: Showy appearance and a bit like the black head in tone. Perhaps a little less mellow than the black head. A bit brighter and more potential for sharpness. A popular head for tenor and plectrum and Crossfire electric banjos both for tone and appearance. The prism effect radiates lines of color like a real prism when it is moved from side to side. If you want flashy, this is the head for you.

Kevlar: On a four or five string banjo, the Kevlar tends to sound sharper and emphasizes the high frequencies like you would hear in an archtop tone ring banjo. The head is stiffer and the bridge doesn't sag in the middle and the playability is somewhat like an archtop banjo. The texture of the head is like an orange peel. It is textured but smooth. This head sustains well and is sharp. It is sweet and strong on the six and twelve string banjos.

These descriptions are all based on Deerings current head selection and may not relate to heads from other manufacturers.

Some players find that smooth top heads allow the bridge to slip when slightly bumped. A small bit of rosin rubbed onto the bottoms of the bridge feet will help prevent the bridge from sliding around. The effect on the tone seems insignificant to most players.

Instructions:

Start by holding the Goodtime banjo in front of you with the head and bridge facing you and the 5th string peg facing your left. (The 5th string is the short one with the peg part way down the neck.)

From the tailpiece (the metal plate that the strings are fastened to )locate the 2nd and 4th brackets from the tailpiece on the 5th string side (the short string).

Loosen the 2nd and 4th bracket nuts until the brackets (J-bolts) come off the tension hoop and are flopping loose. It isn’t necessary to take the nuts off completely.

Align the loose brackets (J-bolts) with the slots in the Vega style armrest. Through the slots you can see the top edge of the tension hoop when holding the armrest in the proper alignment with the tension hoop.

Insert the “hook” of the 2nd bracket through the slot, over the edge of the tension hoop, it is ok to bend it a little so that the “hook” of the racket comes straight down on the top of the tension hoop.

Once the hook is in place over the tension hoop, tighten the nut so the bracket (J-bolt) is snug, but don’t tighten it real tight yet.

Insert the “hook” of the 4th bracket through the slot, over the edge of the tension hoop so that the armrest tang below the slot is being pressed against the side of the tension hoop.

If the bracket hook (J-bolt) doesn’t quite reach the edge of the tension hoop, it is ok to bend it a little so that the “hook” of the bracket comes straight down on the top of the tension hoop.

Once the hook is in place over the tension hoop, tighten the nut so the bracket is snug.

Now tighten both nuts as they were before, matching the tension of the nuts on either side of them.

This armrest does not sit near the head. It is designed to be one half inch or higher above the head of the banjo. (It’s ok if it is a little less.)

The electromagnetic coil pickup made by the Fishman transducer is made like an electric guitar pickup. It has a magnet with a coil wrapped around it and is mounted on the two coordinator rods inside the banjo. There is a small thin steel shim that is placed underneath the middle foot of the bridges. The magnetic coil "sense" vibrating magnetic material, so the coil picks up the vibration of the metal shim and converts the vibration to electricity and amplifies the sound. This system actually amplifies the vibrating banjo head which some theorize is the source of a banjo's unique sound. This pickup is resistant feed back so good volume can be attained before feedback becomes a problem. The tone is bright and can usually be equalized for more warmth and depth. If workable banjo tone in a loud or noisy environment is needed, such as with a band with electric instruments or a loud concert environment like a tavern or college cafeteria where there is a lot of ambient noise, this is a very good choice. It also allows the player to move around the stage freely.

The miniature microphone (such as the Miniflex brand) is a small microphone that is mounted either inside, over the head or on the sides of the banjo. The miniature microphone pickups the vibrating head, the strings, the bridge, the air moving around the banjo and most of the quality that we associate with a fine banjo. When the microphone is placed inside the banjo, there is a bit of a boxiness or tunnel effect that is pretty obvious in recording or studio situation but in live applications through an amplifier or P.A.. system, this effect is not very noticeable. The beautiful acoustic sound, however, is noticeable. Because it is a microphone, this system is more prone to feedback than the electromagnetic coil. However, in more quiet applications like coffeehouses, acoustic concerts outdoors, playing with mostly acoustic instruments and placer where the ambient sound is very low, this is a very satisfying sound and a great choice. Like the electromagnetic coil pickup it allows the player to move around the stage freely. If you want the most "natural" sounding system but don't like standing still for a free standing microphone, and don't like the "slightly electric" sound of a pickup, this is for you.

The most acoustically natural accurate system for amplifying an acoustic banjo is with a free standing microphone. When the proper microphone for the application is chosen, the microphone will make you and your banjo sound like you only louder. There are far too many brands of fine microphones to list here but there are a few "types" of microphone that will help in the choice. A condenser mic usually is battery powered and won't work without some kind of power source. The diaphragm in the condenser mic is usually very quick responding (or fast) and sensitive. It picks up high frequencies well and sounds crisp, bright, clear, and has great definition.

A "Dynamic" mic doesn't need a power source like batteries and usually has a slightly slower, heavier diaphragm that softens the sound or adds a warmth. It is not as clear and crisp as the condenser mic but some prefer it's warmer, "smoother" sound and call it more musical. Dynamic mics are the most rugged and durable.

"Ribbon" mics are usually a bit more sensitive and crisp than a dynamic mic, but not as bright as a condenser mic. They are usually more delicate than a condenser mic but offer some of the warmth with some of the brightness of the condenser.

For stage use, the dynamic and ribbon mics seem to be very popular and condenser mics are popular for studio recording. In live application a mic with a cardioid patter is chosen. A cardoid pattern means the microphone picks up in front of the microphone and not behind or to the sides. This is important to have the pickup zone focused in one direction to help reject feedback. In a studio, a microphone can pickup in every direction without feed back problems as the environment is controlled and usually quiet.

To choose an appropriate free standing microphone, find a store that specializes in P.A. systems, recording equipment, etc. Most stores will let you bring in your banjo and try them in the store.

Free standing mics force you to stand still or vary the dynamics of your music through moving back and forth from the microphone. If you sit and play this is not a problem. Free standing mics are the most prone to feed back when attempting to get high volume levels but for a quiet listening atmosphere the microphone is the most accurate reproduction you can get.

The piezo, transducer pickup is usually a small object that sticks to the head of a banjo with glue or tape(inside or out). There are small "piezo" crystals that change vibration to electricity and reproduce the sound. The theory in transducers is that the head of a banjo contains all of the harmonics that are characteristic of a banjo and a transducer stuck to the head amplifies all the sound that is there. In practical applications the piezo transducer tends to sound extremely bright (brittle and harsh to some) and usually requires adjusting the tone electronically to bring out more of the warm tones from a banjo. Transducers are the least expensive option and can be attached with double sided tape or glue. Placement of a transducer is crucial to get the best sound. Find the "sweet spot" requires experimentation and careful listening. Some mount the pickup between the bridge and the tailpiece and some directly underneath the bridge. A pre-amp is a small device that boosts the electronic signal to the amplifier and can increase the fullness of the tone. Like microphones, there are many transducers on the market for many instruments. Many of them interchange well between instruments , i.e.. a guitar transducer might sound fine on a banjo or mandolin. These are pretty easy to try in your local music store.

A modern trend is to mix microphones and pickups on the same banjo. Players will put a Fishman electromagnetic coil pickup and mini mic on their banjo and and "blend" the two sounds to get the power before feedback that they want and natural tone. This is very versatile because in a noisy atmosphere the pickup can be emphasized and in a quieter setting the microphone can be emphasized and thus having the best of both worlds. This does require the use of two separate channels in a P.A. system or amplifier so the independence of each pickup is best utilized. Fishman makes a device called a blender which mixes the mic and the pickup before the signal gets to the amp. The blender is also a pre-amp. Some players mix a mini mic and a transducer in the same way.

To decide which amplification system is for you, look at what types of places you play. For example, do you play for old time dances with a guitar picker, fiddler and string bass? Do you play with an electric guitar, electric bass, drummer and keyboards? Do you only play taverns where the audience shouts, dances, and makes a lot of ambient noise? Do you only play concerts where the audience only listens? Do you play in taverns and do concerts too?

Once you have a clear idea of the kind of places you play, then you can choose the right system. The mic/pickup combination will work for almost everyone if it is affordable. If you play in noisy environments, you'll need the most feedback resistance you can get. If you play concerts, go for the best tone you can unless you dance while you play and can't stay in one place. In that case, go for a mini mic.

One thing to remember is to not buy a pickup on Thursday and attempt to put it to work on Friday night for an important gig. The adjusting and tuning might take more time to get the sound just the way you want it. Tuning a pickup or mic system is a bit like tuning your banjo. The more time that is taken to set up the system the way you want at home, the better you will be prepared for the performance.

Sources for these pickups may be difficult. You may order a banjo from Deering with a pickup already installed as a custom option. If, however, you already have your banjo and are looking to find a pickup to use, try calling the Stewart Macdonald's Supply Company at 800-848-2273. They have an extensive line of pickups and would be happy to be of help.

The Vega Little Wonder has a 3-ply rock maple rim while the Goodtime banjo has a multi ply rim. While both rims are quite sturdy, the Vega rim has a higher wood to glue ratio and this contributes to a fuller richer tone on the Vega. The Vega rim starts as 3 one-quarter inch strips that are bent and laminated together. The Goodtime rim is made from a combination of rock maple and birch. The inner and outer surface of the rim is rock maple and the middle layers are birch. Birch is very similar to maple but less expensive and enables Deering to make a strong, musically resonant rim on this low priced banjo. The Vega Little wonder has 24 bracket hooks whereas the Goodtime banjo has 16 brackets .The L shoes are more traditional and professional and more expensive to make, so naturally they are used on the Vega. Both banjos have a single coordinator rod running through the body, which can be used for neck adjustments. In general, the hardware on the Vega Little Wonder is heavier duty and in keeping with it's professional sound and feel. However, the Goodtime banjo's reputation is, "close to professional sound at a beginner's price."

The Vega Little Wonder has a one piece, rock maple neck, with ebony fingerboard and a two way adjustable truss rod. The Goodtime banjo has a rock maple neck made in three pieces and permanently bonded together. The frets of the Goodtime banjo are fitted directly into the rock maple neck. The Vega has a heavier, solid feel and the ebony fingerboard provides a smooth, fast surface for fingering. The Goodtime banjo has a slender, fast, comfortable neck profile that fits all hands, large and small. The Vega has a slightly fuller profile, which is traditionally desired on Vega banjos and is very fast and comfortable. The Goodtime banjo fingerboard has black plastic dots inlaid into the fingerboard and the Vega Little Wonder has mother of pearl dots inlaid into the ebony fingerboard. Both provide excellent contrast to the background for clear fret position marking.

Due to the materials and design differences of the Goodtime and Vega Little Wonder banjos, the sound, or voice of the banjos is very different. The Goodtime has a bright, light tone that is crisp and sweet. The Vega Little Wonder has a fuller, richer tone character with more punch. (Remember that this is a comparison of two open back banjos and they should not be compared to a banjo with a resonator. Resonator banjos automatically have more drive and punch than an open back. Please do not assume that more punch in a Vega Little Wonder puts it in the same category as a resonator banjo.) The weight of a Goodtime open back banjo is about 4 lbs and the Vega Little Wonder is about 5 1/2 lbs or so.

DEERING WARRANTY

Deering banjos are warranted to the original owner only, without time limit, against defective materials or workmanship. The warranty does not cover normal wear and tear, the frets, finish, or accidental damage and is not transferable to subsequent owners. Return of warranty registration is a condition precedent to warranty coverage. Incidental and consequential damages are excluded from this warranty and we assume no liability other than for the actual repair of the instrument. All warranties, expressed or implied, expire with the transfer of ownership from the original owner. Some states do not allow limitations on how long an implied warranty lasts, or the exclusion or limitation of incidental or consequential damages, so that the above limitation may not apply to you.

Customer is responsable for shipping to and from factory for all repairs, whether warranty or non-warranty.

GOODTIME WARRANTY

Goodtime banjo ownership includes a one year limited warranty when you send in your warranty card.

The warranty covers defective materials or workmanship. The warranty does not cover normal wear and tear, the frets, finish, or accidental damage. This warranty is not transferable to subsequent owners. Incidental and consequential damages are excluded from this warranty and we assume no liability other than for the actual repair of the instrument.

Customer is responsable for shipping to and from factory for all repairs, whether warranty or non-warranty.