Archive for the ‘Accessories’ Category

“How often should I change my strings?”

Friday, July 30th, 2010

Red Henry

Well, how often should you change them? I hear this question pretty frequently. The answer is, that it’s up to you. How helpful is that?

Well, the reason is that everybody’s strings need changing at different times. Some reasons are because (1) there are so many kinds of strings and they age differently; (2) people all play differently and their strings wear out (or corrode) faster or slower as a result; and (3) in different parts of the country (or the world) strings are just going to need changing more often.

So, what do you look for in deciding whether to change them? One thing can be obvious: buildup of corrosion or gunk on the string. This really happens a lot in warm, humid climates. If the buildup can’t be removed with a little steel wool, then it’d definitely time to change strings! (When I was starting out, this happened on my mandolin strings every few days.)

Another sign is when the strings get hard to tune. Often it’s because they’re not sliding smoothly through the string-nut (that’s the little white thing with slots at the bottom of the peghead). If you put on new strings, and when you’re at it, put a little graphite — pencil-lead dust will do– in the bottoms of the little nut-slots, then the tuning should get a lot better.

Another sign of elderly strings might be that they don’t play in tune. If you’re pretty sure that your bridge is in the right place, but your banjo is still “noting out” more than usual up the neck, then new strings might be what you need.

One more sign of old strings may not be as obvious. If the instrument (banjo or otherwise) just doesn’t sound right, the strings may have gotten too old to sound good at all. When does this happen? Well, this is the most extreme case of old strings, since it may take several months or a year for the strings to get this old.

Some players take extreme steps to keep new strings on their instruments, especially if they break a lot of strings. Back when we were playing a lot of festivals, I used to change the strings on both mandolins and both guitars every morning before we played our first set. That was a lot of work, but it helped keep the string-breakage to a minimum. Others take a different approach. I’ve heard that Bill Monroe changed his mandolin strings once a year, at New Year’s, and from then on just changed them as they broke (which they did, pretty often).

Now, this all applies to the fretted instruments. Fiddle strings seem to fall into a different category. I’ve known fiddle players who changed their strings every few months, but as for myself, if the fiddle gets new strings every five years, that’s a lot. I suspect that the strings on my fiddle now have been on it for longer than that!

So the answer to the question is, that it’s up to you yourself to decide when to change strings. There are a lot of reasons for changing them (better tone, volume, and tuning), and there are plenty of reasons for just leaving them on there (less hassle with awkward work, and less risk of getting your banjo or mandolin bridge out of place in the string-changing process, among other things). But if you go in for a lesson and your teacher takes one look at your strings and turns as green as they are, then it’s time.

More about Mandolin Bridges

Tuesday, April 13th, 2010
Red Henry

Red Henry

As many of you know, I make one-piece maple mandolin bridges, and we offer them on our website. A week or two ago I mentioned that for bluegrass mandolins, I was thinking of going back to an older model I used a few years ago, which featured “wings” on the ends of the bridge. This bridge-type might deliver a few percent less volume than my standard design, but is has advantages in the low end richness, sweetness, and sustain it produces:
WingedBridgeMar2010

Well, I have made the change. For bluegrass mandolins, I’ll be offering this 6-hole winged bridge. For other bridges, to go on oval-hole and round-hole mandolins, my regular 11-hole and 6-hole designs will continue to sound great; the wings don’t seem to matter as much on those kinds of mandolins.

Interested? If you have any questions, drop me a line at redhenry@visuallink.com .

A Bridge Just for Bluegrass

Tuesday, March 30th, 2010
Red Henry

Red Henry

Maple mandolin bridges are still catching on, though slowly. So far I’ve sold almost 700 of them myself. Over the last 7 or 8 years I’ve gone through a few different models of the bridges, and I’m considering making another change.

For the last four years or so, my standard bridge has been an 11-hole model, which seems to give the best overall response– combination of tone and volume– on the majority of mandolins. I decided on this maple-bridge type after trying 30 or so designs in about 25 different woods. Here’s a pic:

But lately I’ve been thinking about the winged bridges I made at first, which often gave the richest and bassiest tone, deeply desired by many bluegrass mandolin pickers because quite a few bluegrass mandolins don’t have much bass. The volume it gave, however, was a few percent less than with other bridge designs.

But I’ve found now that a slightly-modified version of those old winged bridges will give both (1) the rich tone most bluegrass players want and (2) almost as much volume as an 11-hole bridge. I have made several of these bridges, and really like the sound. This would be a mandolin bridge specifically for Bluegrass:

–so if there is some demand for it, I may produce this modified winged design for use on bluegrass mandolins. How about it, bluegrass mandolin players? Is enhancing your mandolin’s low end as important for you as it is for others? I may put these bridges into production. Let me know.

Red

Tone Rings

Wednesday, February 17th, 2010
Casey Henry

Casey Henry

As I sit here staring at my blank computer screen trying to figure out what to blog about, something of necessity banjo related, something that will be interesting to you, as opposed to blogging about the amazing roasted cauliflower I made last night for supper, I hit upon the subject of tone rings. Now, tone rings are not very interesting to me. I don’t really care about banjos in a technical way – when peopple start talking about switching parts and trying to get that pre-war sound my eyes immediately glaze over. But people don’t believe me even when I tell them this in so many words. I don’t care what a banjo IS – the wood, the metal, the strings, the picks – I only care if I like the way it sounds or not. And I’m not interested in trying to improve the sound. Once I have a sound that is satisfactory to me, I’m done. I’ll play it for the rest of my life.

I tell you all this so that when I tell you that yesterday I played a banjo that had a tone ring that I a.) noticed and b.) fell in love with, you’ll realize how amazing the experience has to be to get past my very high level of not caring about banjo parts.

Steve Huber has been working on a new tone ring. He said his original ring was “the” ring, but apparently it wasn’t. This new ring is “the” ring. And I had absoultely no interest in trying it out, because I don’t care. But yesterday a friend of mine put his banjo in my hands and said “pick something on it,” and I did, because it would have been rude not to. And holy. Crap. It was freakin awesome. I don’t think I’d ever played that banjo before, so I have no basis for comparison, but I could have played it for a long time. (Actually, I couldn’t have because my next student was standing there, waiting for me to be done.) It had one of Steve’s prototype rings in it and those thirty seconds that I played it were enough to have me considering which banjo of mine I might be able to put one of those rings in. And that hasn’t happened in the eleven years since I got a Huber ring put in my style 11.

So I just wanted to share. I don’t think the rings are on the market yet, and I’m sure they will be expensive, but they may quite possibly be worth it.

Take Your Pick!

Tuesday, February 16th, 2010
Red Henry

Red Henry

Now, this little blog isn’t about banjo picks, so rest easy that there won’t be any battles started about those. There are as many opinions about banjo picks as there are banjo players!

But today’s story is about FLATPICKS. We sometimes take them for granted, but not everyone knows what they are. Once a lady had seen our ad for the “Flatpicking Guitar DVD”, and called us to ask, “What does ‘flat picking’ mean?” Well, we did our best to explain, but if you don’t know what a flatpick is, then this won’t mean much to you.

I have a particular, favorite kind of flatpick. These were made of a particular kind of plastic by just a few companies (such as Gibson), and they’re no longer made. Well, I had hoarded about a dozen of these picks, and I used or lost less than one a year, thinking they were a lifetime supply. Then, about a year ago, I put them in a safe place.

Well, you know what that means. I lost them. They were so safe that I couldn’t remember where I’d put them. I looked in every great “safe place” I could think of. I only had two of the picks that I hadn’t put away, and I thought maybe those two would have to be my lifetime supply…

That is, until two days ago. The picks were on a shelf in in plain sight, and fell off when I put something else on that shelf. There they were, my favorite plastic. Good grief.

The moral of all this (if one exists) applies not just to flatpicks but also to banjo thumbpicks, and is in three parts:

(1) Don’t get attached to just one kind of plastic for your picks;

(2) Use lots of different kinds of picks, like Bill Monroe did, so that your fingers are used to variety and can adapt to other kinds of plastic; AND–

(3) When you put your picks in a safe place, Don’t put them in too safe a place. Put them in a place you can find again!

Everybody pick purty–

Red

Metronomes

Monday, February 15th, 2010
Murphy Henry

Murphy Henry

The question: I just purchased a metronome and trying to figure how fast Casey and you are playing “Nine Pound Hammer” on Easy Songs for Banjo. In recent jams I seem to speed up and slow down and do not hold a constant beat. I am hopeful that purchasing the metronome will assist. What are your thoughts? Feel free to use this on your blog.  -Drew

Hi Drew,

Thanks for the question. I hope I don’t put you off by saying I am not a fan of the metronome. I’m sure it has its usefulness somewhere—I know Lynn Morris used to use one to sharpen her picking skills to a fine point—but for banjo students, especially beginning ones, I don’t find them useful. I have never suggested that my students use a metronome. And if they tell me they are using one, I just try to pretend like I didn’t hear them!

The timing problems beginning banjo students have are usually related to timing in a way that the metronome cannot address (or fix). Their timing problems tend to be related more to not hearing a lick correctly or not being able to execute it properly or just flat out not understanding how the timing is supposed to sound. (Like that “D” lick in John Hardy, the one that has timing like “In The Mood.” Once you understand that timing in your head, once you can “hear” it in your head, you can play it. Until then, it’s just a series of notes. But the metronome cannot help with that.) Or their timing problems are the result of simply being a new student who doesn’t yet have the small-muscle motor skills to play smoothly or fast.

Sometimes, even with the help of the DVDs, a student will simply get the timing wrong. And easy example is the E minor lick in “Foggy Mountain Breakdown.” Some students have been known to play those eighth notes too fast initially. We can usually straighten that out quickly by me playing along with them and/or playing guitar. But if you’re doing it wrong and don’t know it, that will sure throw you off in a jam!

Without hearing you play, it’s hard to know what the speeding up and slowing down in jams is all about. My guess it’s more likely a result of nervousness, being a new jammer, and/or having rhythm players who are not too solid. And a metronome can’t help with that.

My guess is that you probably just need to play each song many, many, times over in a row (without stopping) until you can develop some solidity. And of course there’s nothing like jamming to help you learn to jam. Metronomes cannot help with jamming—that’s a whole different kettle of fish.

Again, I think metronomes are for fine-tuning your timing, something a professional player might want to do. I’ve heard that Ron Block uses a metronome a lot.

And, lest you think this is a case of me telling you one thing and doing another, I confess that I have never used a metronome for more than the few seconds I needed to find out that I didn’t like them. They simply would not stay in time with me!

Hope this helps!

Murphy (Do you think you could get a refund on that metronome??? )

Banjo bridges

Tuesday, January 12th, 2010
Red Henry

Red Henry

As you may know, if you look around at a festival or browse through the pages of Bluegrass Unlimited, or especially if you’re a member of Banjo Hangout, there are a lot of banjo bridges on the market. And they’re a wide variety of sizes and shapes. The traditional Grover-style bridge now has many competitors. Some are compensated, some are curved as seen from above, some are lighter, some are heavier, and some have radically innovative designs. Several modern bridgemakers put a great deal of craftsmanship into each bridge, and are rewarded by substantial prices. But is there a magic bullet?

I’ve done a lot of experimenting with banjo bridges, and I’ve come to the conclusion that there’s no one bridge that sounds best on all banjos. Some banjos like a traditional bridge. Some like a compensated bridge (though their traditionally-minded owners may or may not). Some banjos sound best with this or that bridge. And the only way to find out which bridge a particular banjo likes, is to try bridges out and see how they sound! Bridgemakers I’ve spoken to generally agree with this, too.

This is not a note of pessimism, it’s a note of optimism. I mean, that so many fine and well-made bridges are available now that the folks who want to experiment can do so with lots of excellent bridges, and see which one their banjo likes best. If you are not used to doing things like switching bridges, my advice is to STICK WITH WHAT YOU HAVE. But for those brave folks who like to tinker with their banjos, there’s plenty of opportunity these days to see how they like the sound of different bridges!

Red

Take Your Pick

Tuesday, December 8th, 2009
Red Henry

Red Henry

Folks, I was just looking through some old posts, and I realized that I’d never talked about flatpicks. This is an important and interesting subject for those guitar and mandolin pickers who are learning to play.

Some new pickers try out a thin, light flatpick, and get used to it, and use it from then on. Now, everybody will have his or her own preference for picks, but I’d recommend trying out a medium pick when you get a chance. If you’ve gotten used to the thin pick it will take a little getting used to, but a medium pick has some advantages. A few of them are: (1) you get a more solid sound from the instrument; (2) the pick doesn’t bend as much, so you hit the strings with it more accurately; and (3) your motion and energy go less into bending the pick, and more into making the note.

. . . . .

On the other extreme, there’s been sort of a fad in the last several years for using really heavy picks. Some of these are made of exotic materials, such as caribou horn, buffalo hoof, or the teeth of a Siberian timber wolf (just kidding– a little). But these extra-heavy and rigid picks do not bend at all, and can cause clumsiness in playing and a lack of clarity. I use a fairly heavy pick, but not an extreme one — and it’s not made from fossilized Triceratops skull, either!

Try lots of picks, and Take Your Pick.

Red

Electronic Tuners, Tuning and Tuning, Picking Sessions, and a “Tuning Ear”

Tuesday, August 4th, 2009
Red Henry

Red Henry

Some of the greatest modern gadgets helping out bluegrass pickers nowadays are electronic tuners. Some of you may not remember the times before there were such things, but I can guarantee from experience that the tuners are a huge help in getting and keeping a jam session in tune. Back in the days when maybe one person (usually a fiddler) would bring an A tuning fork to a jam and tune to it, and then everybody else tried to tune to him, the group’s tuning didn’t stay there long. Soon, the group’s pitch ran out of control and began to climb, and you’d get home (especially after a two- or three-day festival) to find that your banjo, guitar, or mandolin was tuned a fret or more above standard! I’m serious about that—I remember clearly getting home and discovering that my mandolin, tuned to “parking-lot standard” on Sunday afternoon, was a fret and a half above regular pitch! No wonder, I thought, it had been so hard to sing– the songs were all ‘way higher than usual!

So our electronic tuners help a great deal, not only with getting our instruments in tune in the first place, but also with tuning stability. However, keep in mind that the electronic tuner shouldn’t be a substitute for your ear.

By that I mean that you shouldn’t get fixated on the tuner. After playing your instrument for a year or so, you’ll begin to hear the tuning better than at first, and ought to be able to make some adjustments without referring to the tuner. This is something that can be practiced: develop your “tuning ear”. At home, use the electronic tuner to set one or two of the strings— the 3rd string (G) and 4th string (D) are good on a guitar or banjo— and then practice tuning the other strings to those. It’ll be difficult at first, but you’ll improve as you go. And then next time you’re in a jam session, don’t get glued to that tuner and tune and tune and tune your instrument while everyone else is waiting to pick. That’s one time when electronic tuners are NOT a help. Use your new tuning skill to get your instrument in “pretty close” tune quickly, so that the jam can go on. Then, if your instrument needs more adjustments, it can be fine-tuned a bit in the break before the next song, and the next one, and the next one, without your taking up the whole group’s time by trying to get it perfect.

The tuner can be hypnotic, but remember that it’s not worth trying to get your instrument PRECISELY tuned to the tuner. After all, (1) the tuner’s not perfect, (2) the other musicians’ ears (and yours) aren’t perfect, and (3) instruments don’t note perfectly either, once they’re supposedly tuned! Practice tuning until you hear the notes pretty well and can use your ear to promptly get your instrument “close enough” to being right in tune. That’s a musical skill that really counts!

Bluegrass Jamball

Wednesday, March 11th, 2009

Casey HenryEver have trouble thinking of songs at a jam session? How many times has somebody asked you to “pick one” and your mind instantly goes blank? The solution to all of these problems is here!! The Bluegrass Jamball will provide you with hours of jamming entertainment. Just shake it up and look inside to see what the magic jamball will reveal to be your next tune! Filled with titles as well as categories of songs (i.e. “dead mother songs”, “murder ballads”, “barn burner in G”, etc.) you will never again be at a loss for what to play. Plus, its handy keychain size makes it possible to carry it with you wherever you go! Get yours today!