Need more plunk!

[Jared Denhard]

So after hearing so many great banjos/banjoists, I feel like I need increase me arsenal from my  tackhead, which has served me well for learning tunes so far.

I'm looking at the 2 unsigned banjos on the bottom row--could some of you weigh in on if they would be a step up from my Prust? I'm a big fan of Eric's craftsmanship and service, just trying to get something as playable, with a little more punch, definition, at this point.

Here's what I see out there-any input appreciated. I know the Hartel would be great, probably out of my range right now...but could swing 5 or 6 hundred if it's a step up.

http://bernunzio.com/category/instruments/banjos/fretless/

Or if anyone can recommend anything else?

Thanks, 

Jared

[Barbara Mullin]

Don't remember if you played my Bell Boucher banjo. Check out Bell and sons website.

[John Masciale]

Bell and Son, or Jim Hartel's banjos really deliver on sound.  Of course, if you can get one of George's limited series that would also be a real score.  If you want to get a little more out of your prust, try putting a higher bridge on the banjo.  Also I noticed your bridge was in the center of the banjo.  This is for most instruments the worse place to put the bridge.  You would be better served by putting it at a spot closer to the tailpiece.  I know we tend to like symmetry, but a non-symmetric location relative to the banjo's diameter will get the richest sound out of your instrument.

[Jared Denhard]

Thanks John and Barbara--my gourd Banjo is a Bell, I like it a lot but scale is very short, find it sounds good in E/A, but soggy in standard. I hear it's hard to get a Bell banjo these days, like he's not building right now?

No, I wish I'd tried yours, Barbara. When my bridge popped, I think that was Paul's that Greg handed me, sounded and felt great, looked like an Ashborn replica?

I'll try messing with the bridge, John---he sent me a higher one. Also probably the intense sauna like conditions made it worse than usual. 

Felt like the opposite of Jaime, the bluegrass guy--If he brought a gun to a knife fight, I brought a pillow!

[John Masciale]

Those sauna conditions can kill your sound on a skin head.  That's why we bring hair dryers, or hold our banjos over camp fires.  This dries the head out and makes it a lot tighter.  You want to apply just enough heat to get the job done.  When applying heat you can visually see the head tighten and the bridge rise.  Apply just enough heat to get the bridge to rise and then stop rising.  Don't cook your banjo!

[Tim Twiss]

I had good fortune in tightening the head with the wing nuts. One half turn...check...another half turn-BINGO. The key is to release it again when conditions are favorable.

[John Masciale]

That can work.  Releasing afterward is very important.  I prefer heat because I don't have to worry about how many turns I've done or undone.  I have found that tightening the nuts does not undo the fact that your head has absorbed moisture.  It helps, but this is another reason I prefer heat.  I probably adjust the wing nuts a couple of times a year, if that.

[Tim Twiss]

Moisture is tone.

[Jared Denhard]

I just got tacks. 

My bodhran playing friends alternate a bare light bulb and Guinness to get it just how they want it. Fortunately house current is rarely fatal.