I personally prefer the old style of construction as they seem to sound better to me! I don't think there is a cure for Psychological Bias which I probably have too! Lomb of Waverly in NY purchased sheet brass and brass tubing for me direct from the mill and had it drop shipped and saved me a pile of money on raw material cost.
I still remember the empty coffee sacks and Jewish newspaper they used to wrap and send small parts like pre-war replica banjo hook nuts, etc. Some of the best nickel plating on my tube and plate flanges were out sourced to them and the copper and gold plating was done in High Point, NC. Old timers like Mr. Lomb are a thing of the past when it comes to helping someone get started in business! Insufficient capital is the main failure of a small business.
Tone hole die set in action. I went through three 3 manufactured tone hole die sets to finally get one manufactured that was a perfect match for the original tone holes in the plate and that die set was produced with an optical grinding system directly from a black and white photo of an actual size tone hole.
A few years later, Gibson Musical Instruments decided to produce the tube and plate flange again due to increased demand. The multi-ply plywood wood rim that Jasper Wood Products supplied them was equally as bad and would not support the tension exerted between the flange and the tension hoop, pulling the bead portion of the wood rim upward and on some banjos a complete separation.
Horrible indeed! It is very sad not to be able to produce a replica of a part that you originally made and attribute that to the "Corporate Greed Of America" mentality! Out sourcing parts is fine if the quality is there, however the bottom line on a spread sheet is the culprit most of the time! When I started manufacturing climbing tree stands for deer hunters around , I had a larger version of the bender made; farmed out the lathe parts and assembled the bender myself. Updated The tone holes which resemble the Cape Buffalo's Horns were cut using a jewelers saw blade and was very laborious.
I had intentions of making my Porter Flaming Claw Prewartone banjo, but the inlay and parts business kept me at bay and traded the below one of a kind plate to Jim Yarboro of Gun Barrel City, Texas and he installed it on one of his Noble banjos.
Jim Yarboro built me a Porter Flaming Claw banjo using inlays that I had cut and inlaid around in trade for a fret saw machine, display trailer and other things when I went out of business in of which I think the trade was made around ; a guess at the best on the date. I later got the flaming claw plate back from Jim in and might put it on a banjo one of these days. The tone hole pattern is beautiful and the proper size for sound projections from the resonator for the tube and plate flange since the standard Gibson tube and plate flange banjo sits higher out of the resonator which would normally lower the resonant frequency, but the aperture opening between the bottom of the wood rim is increased which accounts for a slightly higher resonant frequency which seems contradictory, but the acoustics speaks for itself.
My flaming claw tone holes might be slightly overall smaller than the pre-war Gibson tone holes which I believe lowers the resonant frequency similar to the one piece flange set-up. The aperture between the wood rim and the resonator has the same effect as enlarging or reducing the size of the sound holes of other acoustic instruments.
Bill Sullivan deceased of First Quality after seeing the flaming claw flange and plating it for Jim Yarboro, wanted to manufacture his own plate flange with my tone hole pattern, but it was copyrighted even though Jim Yarboro had the only one made, Jim Yarboro would not allow Bill to manufacture it. I purposely did not stamp every other hook hole larger on this plate like the pre-war ones since it is to my understanding the plate aka flange could be removed by removing half of the nuts if one wanted to play the banjo in open back fashion.
However, I did stamp every other hook hole larger on the pre-war replica plates I manufactured. Pix below:. See my banjo construction home page for details. Finished banjo pixs below:. Banjo completed in late November and is "one of a kind.
Never got around to the armrest I retired the above banjo to its case in January and started playing my custom build resonator guitar in our Church and other Church functions.
I never did go into production with the banjo, because I could not keep up with the custom inlay and parts sales. The parts and inlay business was really booming after the movie Deliverance came out in featuring the instrumental "Dueling Banjos", but sales started really dropping fast before the end of due to the - recession we had.
Japan supplied a tube and plate Gibson copy flange retail priced cheaper than my raw material cost for my own replica two piece flange! It was an excellent experience and did meet and make a lot of friends over the years! The above address now a vacant field and telephone numbers are obsolete. I would grin when people came from various parts of the USA to visit and purchase parts thinking I was an old man I was in my 20's at that time and now 72 as of !
Ebony back in those days was jet black with very little white streaks and the wonderful Brazilian rosewood before the trade embargo! I had Mr. Lomb of Waverly Musical Products in NY to manufacture the old style banjo nuts for me and was probably the first one to offer those old style long hex nuts to banjo builders via mail order.
All Waverly had to do was make a special set of cams for their machines and the rest is history. StewMac offered the same banjo nuts when they procured Waverly Musical Products in the mid s or later. Pix of several banjo fingerboards and pegheads being inlaid with mother of pearl. I normally kept about 20 sets of pre-cut inlay patterns for each standard pattern on hand and inlaid in the Gibson pre-war style by cutting a hole through the peghead and fingerboard material.
With many pre-cut inlay pieces on hand, I was able to choose an individual inlay piece that matched the pre-cut hole in the peghead and fingerboard with a high degree of precision.
Gibson and their vendors stacked up a dozen or more peghead veneers and pegged them together and cut through all of the veneers using a German made marquetry saw using a large 6 jewelers saw blade. Inlays produced today using the high technology CNC machines are far more accurate and precise, but lack the individual artistic touch and variation in design that the Gibson pre-war instruments posses. The German made marquetry saws Gibson used for their pre-war inlays has long since been out of production and the new machines are not as accurate in my humble opinion and do not have the stroke length to utilize more of the jewelers saw blade.
CNC machines routers producing mother of pearl and abalone inlays and inlaid fingerboards and pegheads is definitely the way to go for production and there are some fine examples of artistically produced designs only limited by the programmers artistic ability since cutters are now very small and durable! I certainly don't mean to detract from the many artists using those machines, but I personally don't like them on pre-war Gibson inlay designs though.
It just doesn't have that variable hand cut look to the inlays. CNC machines definitely has the precision not found in hand cut designs. I am sure if Gibson had access to such machines in pre-war days, they would have used them! No more inlays that I do, the cash outlay just doesn't justify owning a CNC machine. A trick in removing Gibson inlays and backing from pre-war fingerboards is to use vinegar saturating the inlay area and the vinegar will normally dissolve the binder used in the filler.
Try it and you might be surprised! The trend now days is not to destroy the original tenor and plectrum necks, of which I don't ever remember cannibalizing one for inlays. Above pixs of a few of my Gibson Mastertone banjo mother of pearl inlay patterns master patterns I cut and had them photographed and offset printed patterns for cutting and inlaying purposes.
Little digital camera doesn't capture the detail in the cuts since they are mounted under glass. It was individuals like myself and many other custom instrument makers that "forced" Gibson Musical Instruments to reintroduce their old style Mastertone series banjos due to the huge increase in demand.
It only took them about four 4 decades to get back on the band wagon so to speak. Pix of some of the Gibson Mastertone Pre-War tenor and plectrum necks collected over the years of which most were manufactured prior to as evidenced by their FON and the quality of the inlays.
I counted about 35 at one time and had an original Pre-War five string RB3 late neck that Tom Morgan of Tennessee had cut in half to see how the truss rod worked; at least that's what Paul Tester of Landover Maryland - deceased related to me of whom I purchased the neck from. The neck was operational at the time it was cut in half end to end and I believe had a broken heel that was repaired.
If memory is correct, the truss rod configuration is opposite from what one would think, but what makes it work is the entire truss rod is still below the center line of the neck, therefore the weaker side gives it in to the force straightening the neck if the neck is bowed. However, the truss rod doesn't work for a back bowed neck. CRS disease I guess! Pre-war Gibson banjos for the most part, did not have the poplar wood backing on peghead inlays since the inlays were approximately the same thickness as the peghead overlay veneer.
However, the fingerboards did have the poplar wood backing. Gibson outsourced about all their production inlay work, but did do some in house inlays per George E. Hall, Gibson employee from thru There is a link on the Banjo Hangout that gives a complete history of that RB3 late neck. I can't say for sure it is the same neck, but in all probability, it appears to be one and the same. I also talked to Tom Morgan on and he remembered the neck very well, however I failed to ask him where he got the neck from.
Tom did state that it did not come from Paul Champion's banjo. Pix of Tom Morgan below:. Tom Morgan from Dayton, Tenn. Take a look at the below links for additional info:. DC Bluegrass Union. Photo courtesy of Harold Wilson. I used the best of Gibson's inlay work in order to get a master pattern cut for myself.
Some of Gibson's inlay work were horribly cut and most of their inlaid fingerboards and peghead has a tremendous amount of filler, but I have seen some examples that would be hard to replicate that were nearly perfect also. The workers at the factory were on production and got paid extra for anything above their production quota according to George Hall of Kalamazoo, Michigan - deceased. There were a few "odd balls" in the above group made by Gibson and had a Bella Voce with a different fingerboard and have seen and had original necks with mismatching inlay patterns apparently ordered by the original customer.
It appears that Gibson's only consistency was their inconsistency! I believe my assessment of pre-war Gibson would classify as a true paradoxical statement. There is a very noticeable difference in the quality of Gibson inlays prior to the s and surviving records point that two different companies provided Gibson with inlaid mother of pearl pegheads and fingerboards before and after the s.
Joe Spann, Research Library Director is authoring a book on Pre-War Gibson which will uncover and unlock a lot of information concerning various facets of Gibson's history and banjo production! Above pixs of a custom inlaid Smith and Wesson skinning knife that I did for myself around I retired that knife to my show case in the early s.
The inlay work on the knife handle was all free-hand if I remember correctly due to the curvatures of the handle on all sides. The above knife, glass display dome and other inlaid and custom knives were given to our son, Bill Jr. I also had F-5 style bridges made in Germany. There were some close imitations out there. Jim Yarboro sent me a couple pixs of a banjo he built in using one of the Flaming Claw peghead overlays that I cut and inlaid. I traded Jim a dozen of those inlaid peghead and fingerboards, If my memory is correct that had my copyrighted Flaming Claw pattern.
Jim inlaid a mother of pearl engraved Noble block where the script Porter would have been. Below is a pix of the banjo that recently came back to him for a set-up, of which the banjo was sold by Gruhn Guitars of Nashville, TN to its current owner. Jim purchased a pre-cut set of the tree of life inlays and said it took him all night to inlay them. Jim is a top notch craftsman!
Below is a pix of the resonator back on the above banjo. Jim stated the resonator back came from me. It should be noted that alloy composition specifications usually has a specified tolerance; minimum and maximum percentage of variance of the main element used such as copper which can be as high as four 4 percent which can actually be classified as a different alloy mixture specification. A good example is the closeness of QQ-B Comp.
I highly recommend this very informative one of a kind reference to Pre-War Gibson. I have heard one stainless steel tone ring mounted on a good three ply wood rim that had it all; ring was turned from a solid piece of material C? Far to expensive to attempt to manufacture and sell one that way! The I received sample scrapings from John Monteleone Guitars of Islip, New York on of the above tone ring and also traded some mother of pearl inlays to John Monteleone for a couple partial castings of the tone ring shape for my research.
This tone ring was nearly identical to QQ-B Comp. I received a portion of the above raised head tone ring from Clarence Hall of Stuart, Va. Notice this alloy is very close to the QQ-Ba grade 6x that Gibson found on the TB-3 raised head tone ring they had analyzed! I don't believe you will find a standard alloy today that is closer than the C to match one of Gibson's Pre-War tone rings that I had an analysis done on.
A pre-war raised head Gibson banjo Uke tone ring 8 inch diameter never installed serial number 69 with no holes drilled in it was found at the factory by Davis E. It should be noted that trolley brass is a much harder alloy than the QQ-Ba grade 6X alloy tested by Gibson and not to be confused with this alloy QQ-Ba grade 6X which is Tin Bronze and not true trolley brass.
Trolley brass was used to manufacture trolley wheels that contacted the overhead trolley line power source to make the connection to the motors on the trolley cars and had to be a hard enough alloy to prevent premature wear of the wheel.
Picture taken from the internet of what a trolley wheel looks like:. Open this link for additional information. I do not have the original document on file to validate so take it or leave it since I relied on notes taken. I have never been impressed with those tone rings which has too much lead to tin ratio.
Here again, this is my personal opinion! These rings were later manufactured by Riverside Foundry and Galvanizing Co. Fair sounding banjos with a pre-war wood rim!
These tone rings sounded horrible on the Jasper Wood Products multi-ply wood rims that Gibson used at the time on their new line of RBs, RB, etc. Again, if my memory is correct, they had a G stamped on the inside of the tone ring. This tone ring had a good composition, but needed the extra mass to make an excellent sounding banjo.
My friend Jim Yarboro of Gun Barrel City, Texas added an addition brass ring to the inside radius portion of this tone ring to give it the extra mass needed. I don't have the date when Gibson went back to the heavier standard 3 lb.
I have copy of a Gibson factory drawing reduced scale of the s TOR flat head tone which has G-BB stamped on it on the inside of the skirt portion of the tone ring near the neck lag bolt hole. Gibson later had the tone ring cast to the full weight from the many complaints they received from vendors including myself that the tone rings were far too light in mass.
The original factory reduced drawing depicts the light weight tone ring. It is to my understanding, Gibson used a pre-war light weight flat head tone ring as a prototype for their TOR s flat head tone ring, but I don't have any written documentation as that info was verbal only. The reduced factory drawing supports the light weight tone ring, but not my favorite weight tone ring; a decent alloy though.
Naturally, the mass of the above tone rings will each be different in weight if machined to their standard specifications because of the heavier copper element content variance and will have a different "tap tone".
Find the right outside diameter tin bronze pipe centrifugal cast with the correct wall thickness needed and machine the tone ring from something that has already been cast and formed! I do not have the manual that specified the breakdown of the alloys that were standard and available back in the Depression Era of which many are now obsolete. It went to the landfill with other research and development materials that I had collected over the years.
John aka Jean Janzegers used this alloy for tone rings he had cast back in the middle s rendering good sounding banjos on a well made or pre-war 3-ply wood rim.
Tobin Bronze was used in the manufacturing of gears for the US Navy and many other applications. Most of the s Kulesh tone rings were machined way less than 3 lbs.
Paul Tester deceased of Landover, Md. I do know they were top of the line tone rings making excellent sounding banjos and some of his flat head tone rings went as high as 3 lbs.
I don't have a clue as to why the ZINC Zn content varied that much in the prewar Gibson tone rings that I had analysis reports completed on other than a totally different alloy mixture and composition!
Getting some of them to publish their findings might be difficult since they are in the business to make money and desire to stay ahead of any serious competition which is good business sense. I definitely do not buy into all the tone ring hype either. Sound perception is like beauty, only in this case, "Sound and tone is in the ear of the beholder" Hall who worked for Gibson circa thru whom I mention numerous times on this page, verbally told me that Gibson used Navy G Bell Brass for their tone ring castings.
No one has uncovered any documentation as to a specific alloy that Gibson specified, but George Hall worked there during the debut of the arch top and flathead tone ring and was also an Experimental Manager at one time. George Hall was definitely in a position of know, however analysis reports show the extreme wide variance of the alloys that are present in those pre-war tone rings both arch top and flathead.
My research did not reveal any two tone rings having exactly the same composition although close enough to identify a specific intended alloy and doubt there are such tone rings, but it certainly is possible. I am referring to the basic alloy components of copper, tin and zinc.
Other alloys added for machine ability such as lead, however does make a drastic change! My favorite Gibson pre-war flat head tone ring weight was from 50 to 52 ounces to my ears and produced the sound that I liked the most, however many 48 oz.
Show me a pre-war document detailing the alloy and I will "eat crow", figuratively speaking that is! I am not discounting that some later clone tone rings are better than their earlier counterparts and some worse, but it is possible to do it right the first time with all the technology at our disposal today!
I expect the next development will be some secret alloy mined from the surface of the moon to give that pre-war sound.
Grin if you must! I certainly do not buy into all the post-war tone ring hype although different tone rings can make a difference in individual banjos, which can go either way in tone enhancement. If your pockets are keep enough, purchase a new 2K plus high dollar tone ring Yes, I am grinning too!
I can make the analogy or comparison of the sale of prewar clone tone rings to the deer hunter who will spend 40 dollars per ounce for deer urine taken from one single doe in heat estrous in hopes of harvesting the next Boone and Crockett World Record Buck and that is about as clean and to the point as I can tell it!
The problem is not so much as knowing what the intended alloy is in some of those pre-war tone rings, but the difficulty in getting a consisten t pour from tone ring to tone ring!
A single tone ring using the old sand cast method that was widely used in the depression era might yield several different analysis results at different places within the tone ring due to the method of pour and the cooling rate. Today, there is technology available that is non-destructive to the part being analyzed and it would be great if someone would take one of their "Holy Grail" banjos and have the tone ring analyzed at different places to ascertain what the alloy is and the variance at different places of the tone ring and let the rest of us in on it!
But wait, the magician doesn't reveal his secrets either Even with the known composition of a pre-war flat head tone ring, and a reproduction with an exact match, that still doesn't guarantee you the pre-war sound even though very, very close! This could be the missing link that I have overlooked and maybe others too!
Centrifugal casting of modern tone rings is far superior to the pre-war sand cast method producing a much more consistent and purer tone ring, however the expense is greater for short production runs! We must remember that Gibson was a "Production Orientated Company" and built banjos as cheaply as possible for profits with the available technology of the time!
Tuning individual components like sound boards and backs for maximum resonance along with other instrument components ceased to exist after Lloyd Loar left Gibson and production and profits became paramount. Accurate electronic acoustical testing instruments such as signal generators, frequency counters, dual-trace oscilloscopes, sonograms, etc.
Has the banjo made any break through advancements since then with all the technology we have at our disposal today? Not much in my opinion except for increased production with the advent of CNC machines and other technologies! Simply stated, "Humans harbor biases.
These prejudices influence what we hear. This phenomena or Psychological bias has been tested and proven by many double blind tests of all types to fully document and support this phenomena.
If the banjo is not a pre-war original and uses the pre-war Gibson Mastertone design, it is a copy or clone, regardless of who made it! There is also a difference between a reproduction, re-issue and an outright fake depending on your own usage of semantics and who made the instrument! We explain what TT2 files are and recommend software that we know can open or convert your TT2 files. Software that will open, convert or fix TT2 files Windows. Try a universal file viewer Try a universal file viewer like Free File Viewer.
How-to guides Windows 10 Chrome Search Engines. Reviews Dogpile search engine ptable - Online Periodic Table. Failed to load latest commit information. View code. YouTube to MP3 Description This program simplifies the process of searching, downloading and converting Youtube videos to MP3 files from the command-line. Getting Started Prerequisites The program only requires that you have Python 3.
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If the problem with the TB2 file has not been solved, it may be due to the fact that in this case there is also another rare problem with the TB2 file. In this case, the only you can do is to ask for assistance of a professional staff. If you want to associate a file with a new program e.Copy and paste the link in the box above, then press Get MP3 button to begin the download process. Step 3 Wait a few seconds until we download and convert video to MP3 in the highest quality faugladtauscinagcirsinglenmaerisdeansti.xyzinfog: Thomas Bethmont.