are newer gibsons really junk?
cindy
advice?
sandy
KID BJO
If you've played both of them, you've noticed that their tone and volume are
quite different.I haven't played too many Sierra's but most 250's Ive played
here lately setup quite well.Nice (throaty sound)I have a 91 Granada that has a
thin neck.I bought it for that reason.I put on a SS bridge and Price Str. line
tailpiece and got the tone and volume I wanted.Which one feels the best to
you?I bought an RB-7w/radiused fretboard without ever playing it...Big
mistake.Hate the way it felt.
Check that 250 over goodbefore ya buy itif it hasn't been set up by anyone.Hope
this helps.
John in WV.
Stephanie M. Pennington
Gibson that's older than 6 or so years old. You'll probably find them
cheaper than a new one, and get better tone.
But really, you'll just have to try them out.
Steph
********
Sometimes I hear voices in my head
telling me to do strange things, but
I always wonder if that's just me thinking
about things I really want to do anyway.
Why do the voices never say,
"Your dosage needs adjustment"?
Current Characters:
-Constance Talmadge, Famed Silent Film Star with a heavy Flatbush accent
-Therrin Terragin, Big Dumb Blacksmith with a Revolutionaly Dwarvin Wife
-Jake Whitechapel, gay ex-Republican member of the House of
Representatives superhero. He can turn into steel.
Jeremy Cole
like it, it has a much better resale value than a Sierra.
Avg rb-250 resale....1380
Avg Sierra resale.....840
I am sure you have a preference, as well as everyone else, but I like
Gibson's.
Jeremy
Sean Barry
: i am considering a new deering sierra or a 97 gibson rb-250.
: advice?
Brief quality history of Gibsons:
1918-24 Trapdoor and earlier series: Well-made, but not particularly
useful for modern styles
1924-28 Ball-bearing series: Beautifully made (reflecting the Lloyd Loar
era standards which actually predated the series but were applied
reasonably well to those banjos), but not considered the best design for
modern styles
1928.5-30 and beyond in the premium models. Thick rim, tube and plate
flange series: The best banjos Gibson produced prior to WWII, but the
tone differs from 1930's examples and so they aren't as favored for
bluegrass. The two-piece flange was a very superior design though, much
better than the later one-piece flange grail that tends to bend and crack
with age
1931-39: One-piece pot metal flange series: By comparison to the late
1920's efforts, generally mediocre to OK banjos in quality, but by far the
most valuable (particularly the Granada) because Earl Scruggs
played/plays one
1937-39: Top tension series: A departure from the earlier designs,
quality about the same as other 1930's standard line banjos. So heavy
they will cause injury to the unsuspecting
Banjo hiatus during the war....
1946-61: "Postwar series (which actually started with the -75 series in
1937). Quality about the same as the 1930s standard line instruments, but
bowtie design was quite a departure from the prewar peghead and inlay
design. Prewar nostalgia preserved to some extent in the RB-800,
effectively the postwar Granada. These banjos are every bit the
instruments that were made prior to World War II, and if you want the
"prewar sound," most of these instruments (with the flathead tone ring)
will deliver it, at a fraction of the price of the prewar versions and
without the need to have a five-string neck built (most prewar Gibsons
were manufactured as tenor banjos and the original necks have been
replaced with five-string semi-copies)
1961-72: Quality declined noticeably in most Gibson instruments, which
reflected some manufacturing shortcuts. In some design details, the
banjos are actually as nice as the 1950's efforts and I still play a
1960's RB250 that sounds just wonderful. Still, the 1960's Gibsons leaned
toward clunky
1972-1986 (roughly): In attempting to return to the "golden era" of
Gibson banjo design (at least on the surface), Gibson overshot and landed
back in the 1920's except without the high quality of metal parts and
construction. Most of these instruments have the two-piece flange of the
1920's instruments but not as nicely made, the rims are 12-ply laminated
(earlier and later rims are three-ply, considered vastly superior). The
biggest sin: the tone rings, which should fit snugly or tightly around
the wooden rim, are loose, so tone suffers. Most of these can be improved
greatly by refitting the ring.
1986-now. The Scruggs series and the actual return to the "golden era:"
These vary in quality, with the banjos from about 1991 onward being
generally very nice, every bit as good and often better than anything made
during the 1930's. Gibson has readopted the one-piece flange, for better
or worse, and the fit and finish on the newest Gibsons is generally as
good as it ever was. On the other hand, the very best Gibsons were never
a match for the most mediocre 1920's-'30's Paramounts or Bacons from a
quality perspective, and there are several companies who make equally
great or better banjos now. I suggest that you try lots of banjos in your
price range from several makers, and see which ones suit your playing and
your ear, as well as your sense of style and esthetics. Gibsons are
contenders, just as are Stellings, Deerings, and several others. These
choices now are better than they've ever been.
Sean Barry
Sean Barry
: i am considering a new deering sierra or a 97 gibson rb-250.
: advice?
Brief quality history of Gibsons:
1918-24 Trapdoor and earlier series: Well-made, but not particularly
useful for modern styles
1925-28 Ball-bearing series: Beautifully made (reflecting the Lloyd Loar
Scott Young
I've owned a Deering Sierra for a little more than a year now. I really
love the tone and construction of the banjo. I think for the price I paid
new, its unbeatable. I chose the Sierra over the RB-250 because it was
about $700 cheaper. I can't tell you too much about the RB-250, as I've
only played a few in stores. However, I have never played a new RB-250 that
I thought sounded as good as my Deering. But that's somewhat misleading,
because much of the sound depends on the set-up including how long the
strings have been on, what the head tension is, what kind of bridge,
tailpiece tension, etc...
In deciding between the two, I would pay special attention to how the necks
suit you. The necks on Deerings are more slender than those on a Gibson,
which may or may not work better for you. I think with proper set-up,
either banjo would sound really good.
good luck
Scott Young
sco...@pangea.stanford.edu
cindy <atla...@webtv.net> wrote in message
news:13584-38...@storefull-616.iap.bryant.webtv.net...
> i am considering a new deering sierra or a 97 gibson rb-250.
> advice?
> sandy
>
GalenaC
anything Stelling ever made. Period.
cindy wrote in message
<13584-38...@storefull-616.iap.bryant.webtv.net>...
Guitcrazee
had hung in the store so long like the guy said. This NG is great, Everyone
is so nice and knowledgeable, much more pleasant than most of the juvenile
flame throwers in the alt. guitar NG
Mike Stanger
owned and/or played many from all 3 brands. It really comes down to
which one you want to throw the money down for! Just depends on which
one you like the best.
Stanger
Brittles
Everyone knows I'm partial to OME's myself - but I have to agree with the
vernerable Mr. Stanger. No need to make it competitive - get one of EACH! ;-)
Personal style, musical preferrence, and preferred set-up all influence the
choice.
Ed Britt
Please Remove *UNSPAM* from my address, to e-mail me.
Marty
instrument, I thought I would weigh in. I have a '79 Gibson Scruggs Granada
(#127). It's got the tone; it really is a mastertone. I pick up those cheap
clones in the music stores just to test their playability and tone and every
single one of the OMEs I've looked at sounded like a toy. I'll admit that
Deering and Stelling have made some banjos that are top notch construction
and that Gibson has made some subpar banjos, BUT, over time and across the
range of choices, the Mastertone is THE instrument for the serious player.
The others strive for but never quite achieve that special tone of a top of
the line Gibson. Same is true with Martin guitars; yes, there are plenty of
well made instruments out there, but none can match that special sound that
is only made by a D-18, 28, or 35. Sure, lots are ready to flame about this
but it's jealousy or something else. Everyone who's got a good Gibson knows
exactly what I'm talking about.
Leon Evans
My experience is just the reverse of your's. I've played OME banjos for 18
years and they are some of the finest instruments made.
I've played many Gibson's that were nice and many more that were junk. The same
is true for other builders. The few good Mastertones I've played were pre-war
and very expensive compared to new instruments, not that my Columbine III wasn't
a fair chunk of change.
I've set up a lot of Scrugg's models and other Gibson's and most were good
instruments with some adjustments and a new bridge. None had a tone that I liked
when compared to my OME. Each of us likes what we like.
It's not the builder's fault that most stores can't set up a banjo. It is their
fault when they cut corners to save a few bucks and use cheap parts. A good
bridge can make all the difference on a "BAD Sounding" banjo.
As for OME's being cheap clones, they're not. Chuck Ogsbury has been building
quality banjos for close to fourty years. Many of his inovations are now common
on many other banjos built today by other builders. OME offers some of the best
materials and workmanship in the industry with one of the broadest selection of
options anywhere. Gibson doesn't come close, even on the custom orders. Things
to be aware of are availability of different tone rings, rim sizes, woods,
inlays, engraving, plating, carving, heads, bridges, tail pieces, and a lot of
other factors that can change the sound the banjo makes and how it looks.
Deering, Stelling, Gibson, OME and a lot of other's build fine instruments and
all of them should be considered. All I can say is that if the OME's you played
sounded like toys, they weren't set up right or had parts that drove the sound
away from what you like. Same goes for guitars, mandolins, and any other
insturment. But it still comes down to one point, play what sounds best to you.
Leon
OhBeeg1
notch construction ..."
SOME??? You're on DRUGS...
"... and that Gibson has made some subpar banjos ..."
Yeah...about 17 years worth (at LEAST from '70 through '86 or so - bein'
CONSERVATIVE)...
"... the Mastertone is THE instrument for the serious player ..."
Lessee...Adcock, Baucom, Block, Munde, Shelor,
I-could-go-on-ad-infimitum...they're not SERIOUS players, huh?
"... Same is true with Martin guitars ..."
Whooooooo boy! You left the world to live in a CAVE in '69, didn't ya', boy?
"... but none can match that special sound that is only made by a D-18, 28, or
35 ..."
Amazing...a mahogany two-piece, a rosewood two-piece, and a rosewood
three-piece - and they all sound "special" in the same way?
"... Sure, lots are ready to flame about this but it's jealousy or something
else. Everyone who's got a good Gibson knows exactly what I'm talking about.
..."
"Jealous"? Hardly - my '39 RB-12 is right here beside me as I type this (and I
trust that it qualifies as a "good" Gibson). The axe I'm takin' to the GIG
tonight says "Stelling" across the peghead...
OhBeeg1
remove NOSPAM for email
OhBeeg1
>tonight says "Stelling" across the peghead...
Oh yeah - the guitar says "Taylor" across the peghead, too...
Art Horan
>
> i am considering a new deering sierra or a 97 gibson rb-250.
> advice?
> sandy
The "junk" Gibsons were the ones from about '70-'86. In my experience
most 90's Gibsons that I've come across were good - some very good. I
have a 93 Earl Scruggs that I love.
I wonder if the banjos coming out of Gibson these days are still as
good as the ones they made in Montana. Anybody out there have a
comment?
Art
Marc Horowitz
bluegrass banjo tone model which all modern resonator banjos seek to
emulate or surpass. That said, it is my contention that the Gibson banjo
of today (and since 1995 or so) is a finer instrument in every way than
its pre-war forebear. The quality of the hardware, the tone ring, the fit
and finish and the sound are the best they've ever been. My perspective
on this derives from forty-two years of playing and teaching, and past or
present ownership of no less than seven pre-war Mastertones. These
include an original five-string RB-7, and the original five-string
flathead RB-75 pictured on the front cover of Trishcka and Wernick's
"Masters of the Five String Banjo". There are but two pieces of original
thought available today in terms of banjo design; that is, substantive
departures from the Mastertone design model. One, Stelling's "wedge-fit"
tone ring, which produces a markedly different tone than the Gibson's,
and two, the Nechville Helimount, which is the coolest piece of
engineering I've seen in decades. All the others-Deering, Ome, Goldtone,
you-name-it, are Mastertone copies. Just my opinion. No flames, please,
let's keep it on a high plane, OK?
MH
Art Horan
production back to Nashville? I've played several Mastertones from the
mid-90s to about '98 or so. I liked em all but I thought the ones from
earlier in the decade sounded a bit better. It sounds like you like the late
'90s ones better. Of course, the difference I heard may have just been
set-up. I believe there were changes in the tone rings used. (Please correct
me on that if I'm not right.)
One time in a music store, I was jamming with a guitar player behind the
counter and one of the customers came running up, wanting to know what that
ringing sound was. It was an RB-250 they had there, probably made around
'95. It sounded great to me. I would've bought it if I didn't already have a
'93 Scruggs that I think sounds even better. So I tend to agree with you
about the quality of recent Gibsons. I suspect that a lot of the mystique
surrounding old Gibsons comes from hearing good players play them. I do
think that old wood makes a difference in the sound and that experienced
players who prefer them are hearing something different.
I've only played about a half-dozen pre-war instruments myself (briefly -
they belonged to other players). I really liked one, an original '37
top-tension with a pickguard on it. The owner kept offering to take the
pickguard off for me but I wouldn't let him change its originality just so I
could noodle on it better.
I think to say that Deerings and Omes are Mastertone copies is a bit of an
overstatement, since they do have some (fairly minor) design changes from
the Gibson standard, but I get what you are saying about Stelling and
Nechville. These guys did some serious rethinking of banjo design. The
Nechville is especially interesting. Have you had much opportunity to
experiment with them?
Come to think of it, Deering deserves credit for their Hartford and
Crossfire banjos, which could hardly be called Mastertone copies. Have you
ever played a Hartford model? If so, what did you think of it?
Art Horan
Marc Horowitz
Art Horan wrote:
Marc, have you noticed any changes for better or worse since Gibson moved
production back to Nashville? I've played several Mastertones from the
mid-90s to about '98 or so. I liked em all but I thought the ones from
earlier in the decade sounded a bit better. It sounds like you like the late
'90s ones better. Of course, the difference I heard may have just been
set-up. I believe there were changes in the tone rings used. (Please correct
me on that if I'm not right.)
Art, the workmanship on the Nashville Mastertones is excellent. The tone rings used were from Kulesh for the last three or four years, however they are gradually shifting over to the Huber ring. The necks are sourced from First Quality Banjo and finished at OAI/Gibson.
One time in a music store, I was jamming with a guitar player behind the
counter and one of the customers came running up, wanting to know what that
ringing sound was. It was an RB-250 they had there, probably made around
'95. It sounded great to me. I would've bought it if I didn't already have a
'93 Scruggs that I think sounds even better. So I tend to agree with you
about the quality of recent Gibsons. I suspect that a lot of the mystique
surrounding old Gibsons comes from hearing good players play them. I do
think that old wood makes a difference in the sound and that experienced
players who prefer them are hearing something different.
Personally, I feel that the perception that the pre-war Mastertones are "special" is largely psychological. These are, after all, the preferred banjos of Scruggs, Reno, Stanley, Crowe, Osborn, Keith et al. If your heroes played 'em, you gotta believe they're the banjos to have, right?
I've only played about a half-dozen pre-war instruments myself (briefly -
they belonged to other players). I really liked one, an original '37
top-tension with a pickguard on it. The owner kept offering to take the
pickguard off for me but I wouldn't let him change its originality just so I
could noodle on it better.
I owned my '37 RB-7 for eighteen years; I took it around the world (first, with David Bromberg and The Phoenix Singers on a US State Department tour to South America and the West Indies in '67, and the following year with Mike Kropp and The Phoenix Singers to Japan and other Far Eastern locales), and yes, it was a great banjo. The construction quality was, however, crude. The inlays were clumsy, the flange warped and I sold it in '84 and played a Stelling for years after. My 1996 RB-12 is superior to the old seven in every qualitative way.
I think to say that Deerings and Omes are Mastertone copies is a bit of an
overstatement, since they do have some (fairly minor) design changes from
the Gibson standard, but I get what you are saying about Stelling and
Nechville. These guys did some serious rethinking of banjo design. The
Nechville is especially interesting. Have you had much opportunity to
experiment with them?
Certainly, most Deering models are of a different cosmetic design (you'd
have to agree that the Golden Era is a downright hearts & flowers MasterClone),
but the wood-rim-and-tone-ring design is pure Gibson. I haven't handled
an Ome in some time, but if the pot design is substantially non-Mastertone,
I'd be surprised. As I said, I played a Sunflower professionally for twelve
years, on many recording sessions, on Broadway in "Foxfire" (with Kenny
Kosek, Roger Mason and Keith Caradine) and in two other Broadway productions
and on various bluegrass band live dates. When I worked at Mandolin Brothers
from 1979-1985, I sold lots of them, and Geoff built a special Anniversary
Masterpiece just for me, as well as a Bird of Prey. Great banjos all, beautifully
made, with their own esthetic and the unique "wedge-fit" tone ring and
signature "in your face" Stelling sound. Tom Nechville is a clever SOB!
He crossed an engineer's eye with a player's sensibility, and built a better
mousetrap. He built a graphite-necked Nextar for me five years back; I
sold it only because the neck was much wider than standard and a motorcycle
accident affected the mobility of my left thumb. I plan on buying a "Vintage"
model Helimount soon.
Come to think of it, Deering deserves credit for their Hartford and
Crossfire banjos, which could hardly be called Mastertone copies. Have you
ever played a Hartford model? If so, what did you think of it?
Well, I must immodestly point out that I was "instrumental" (pun intended) in causing the Hartford Model's gestation. The fact is that back in the '70s, John Hartford and I became friends and I noted his fondness for 12" Farland openback banjos and their "funky, plunky" tone. When I mentioned this to Geoff Stelling, he liked the idea of a pot with the top (or head-bearing surface) of wood machined to the shape of a tone ring, and he built some for Hartford, calling them by the name I suggested: the Timbertone. The endorsement deal fizzled for some reason, and John later endorsed a similar design from Deering.
The above are just my opinions and experiences: nothing personal.
MH
Marty
poster about the 'high' quality of Ome banjos. However, I can get every bit
as f*****g strident as you can, pal. But I won't. I don't have the privilege
of testing every brand of banjo. My exposure is limited to music stores
(poor selection, old strings, etc.) and the occasional visit to Winfield.
But I stand by my observations based on my experience. You may indeed be a
'beeg one' but it's hardly anything to brag about...
Mike Stanger
totally with Marc. The new Gibsons have, besides the cosmetic
improvements Marc mentioned another big improvement- accuracy. The fret
placement on the new ones is much more consistantly accurate than the
pre-wars, which went from very good to nearly unplaybable. Gang saws
used to cut the fret slots are consistanly checked, and the saws
themselves are much better these days. I saw more than one old guitar
when I worked in Bozeman that looked like the slots were eyeballed on a
table saw back in the "golden era". The other big difference that Marc
mentioned is the consistancy and quality of all the hardware now. Even
though Gibson is using the one-piece flange again, a big mistake in my
opinion, everything else on the new banjos is superior to the old stuff.
Even the binding is much more stable now and less prone to shrinkage.
Stanger
Mike Stanger
Nashville and Bozeman. Bozeman made the necks, resos and rims, and
Nashville did the fit and finish. I think the consolidation to Nashville
was done to cut down on freight and time considerations. Bozeman's shop
is fairly small (although it seemed big when I first went to work there,
the last time I visited it was quite crowded), and I think they have all
they can handle making acoustic guitars there now.
An interesting aside.... the Gibson mandolins that were made in Bozeman
were initially made in an old warewhouse that was purchased by Steve
carlson,the owner of Flatiron mandolins before they were bought out by
Gibson. At first, the banjos and mandos were built in the new factory,
but by the end of 1990, the mando production was moved back to the "old
barn". The spray booth there was about the size of an average closet!
Later, a new shop for mandos only was built down the road 5 miles in
Belgrade, which is now the home of Sound to Earth, the bunch of Montana
mando builders who didn't want to make the move to Nashville. Bruce
Weber, the former mand division head, is the boss, and their instruments
are every bit as good (I won't say better, because damn good is damn
good) as the best Gibson ever made. All the mando experience stayed in
Montana, I believe. (And Bruce is a great guy, too.)
Stanger
Marc Horowitz
your shoulder... If anyone out there found anything "strident" about my post,
please tell me. I don't want to piss anybody off. Your response makes no sense
at all. In any case I AM in a position to try out all banjos, and if you had any
brains, you might consider input from an experienced source to be of some value.
A pity that your ego is so fragile that you felt my post to be a personal attack
of some kind.
Marc Horowitz
two-piece flange flathead. It's the only banjo in the current Gibson line
with the tube & plate, and it sounded both loud & sweet.
Keep on pluckin'.
MH
Marty
intended recipient of my retort. Your post was most cordial and I'm sorry
you thought I was answering you in that manner.
If you look through the thread, you'll see what transpired.
Again, no offense intended.
Marty
Marc Horowitz
yours was in response to mine. Sorry. Anyway, I hope that I can contribute
something of use to the ng.
MH
Marc Horowitz
OhBeeg1
>as f*****g strident as you can, pal. But I won't. ..."
Gee, sounds like you already DID...pal...
"... My exposure is limited to music stores (poor selection, old strings, etc.)
and the occasional visit to Winfield. ..."
Pity...but I look forward to seeing you Sunday morning on the third weekend in
September...you ARE entering the contest with that Gibson, I trust?
"... You may indeed be a 'beeg one' but it's hardly anything to brag about..."
No brag, just fact. I love my RB-12, but anyone who thinks it's the only banjo
worth having (or a Martin the only guitar worth having, for that matter) has
had his/her/it's head in the sand for the last twenty years. The finest
acoustic instruments ever made are being built today. The construction
techniques and materials have never been better (except for the slow-growth
hardwood supply, but that's another rant).
Don't care if you agree...don't care if you don't...
Marty
seen the instruments the vendors have on display at Winfield and some are as
nice as but none better than my Gibson (tonally). I made clear in my
original post that there are other high quality banjos being made. I also
made clear that the standard the others are judged by is Gibson for banjos
(mandolins too, for that matter) and Martin for guitars. That has been, is,
and will continue to be the state of affairs no matter how much you may wish
it to be otherwise. Rather than read into a post only what your bias lets
you see, you should read it in its entirety.
And as you so eloquently phrased it... 'Don't care if you agree...don't care
if you don't...'
Jeremy Cole
I was under the impression that "Ohbeeg1" was in reference to Obi Won
Keonobi from Star Wars. As a matter of fact, sometimes when I am having
a technical problem with my banjo, I see my own image displayed in
holographic form, emitting from R2-D2..."Help me Ohbeeg1, help me
Ohbeeg1"
Or is it really a rather odd, Texan way of saying "Big One"...that would
be rather boring I must say.
Also, what does "Strident" mean?
Thanks Mark....LOL and <G> to you.
Jeremy
OhBeeg1
reference to Obi Won Keonobi from Star Wars. As a matter of fact, sometimes
when I am having a technical problem with my banjo, I see my own image
displayed in holographic form, emitting from R2-D2..."Help me Ohbeeg1, help me
Ohbeeg1"
"... Or is it really a rather odd, Texan way of saying "Big One"...that would
be rather boring I must say.
>
Also, what does "Strident" mean?
>
Thanks Mark....LOL and <G> to you.
Jeremy..."
Is that your FINAL answer, Jeremy? LOL
You're right with #1 - the full nickname is "OhBeeg1BanjoV", but at the time I
started using it as a email addy, AOL didn't have the capability to use that
many characters, so I shortened it to "OhBeeg1". FWIW, the nickname was given
to me by ace guitar repairman Skip McKinney (does Ry Cooder and Bugs
Henderson's setups, for those of you familiar with the Texas rock/blues scene)
at Larry Morgan Music & Sound (Garland, TX - you OWE me, Larry!). All the
personnel grabbed up the name, and I'm pretty universally known by it here in
the north Texas area. He did indeed get the inspiration from "Obiwan Kenobi"
of Star Wars fame, and I guess I owe him one for that. Just WHAT I owe him
remains to be seen....<g>
Glad it wasn't #2, aren't you? LOL
"strident" - adj., from the Latin "stridere", meaning to make a harsh noise.
1. characterized by harsh, insistent, and discordant sound, also: 2.
commanding attention by a loud or obtrusive quality.
SPECIAL BONUS DEFINITION!!!
"knucklehead" - noun, one that is dull and stupid, as in the "knucklehead" who
said I was "strident"...<g>
Best to ya', Jeremy!
Marty
searching for? Oh... darn... OH YEAH, GOT IT!!!
EAT SH!T
For your edification Jeremy, I will post OhBeegA$$hole's reply to one of my
posts and you can judge for yourself whether it was strident or whether a
more appropriate adjective should have been used; boorish, arrogant, or
perhaps confrontational.
quote: "... I'll admit that Deering and Stelling have made some banjos that
are top notch construction ..." SOME??? You're on DRUGS... "... and that
Gibson has made some subpar banjos ..." Yeah...about 17 years worth (at
LEAST from '70 through '86 or so - bein' CONSERVATIVE)... "... the
Mastertone is THE instrument for the serious player ..." Lessee...Adcock,
Baucom, Block, Munde, Shelor, I-could-go-on-ad-infimitum...they're not
SERIOUS players, huh? "... Same is true with Martin guitars ..." Whooooooo
boy! You left the world to live in a CAVE in '69, didn't ya', boy? "... but
none can match that special sound that is only made by a D-18, 28, or 35
..." Amazing...a mahogany two-piece, a rosewood two-piece, and a rosewood
three-piece - and they all sound "special" in the same way? "... Sure, lots
are ready to flame about this but it's jealousy or something else. Everyone
who's got a good Gibson knows exactly what I'm talking about...." "Jealous"?
Hardly - my '39 RB-12 is right here beside me as I type this (and I trust
that it qualifies as a "good" Gibson). The axe I'm takin' to the GIG
tonight says "Stelling" across the peghead...
OhBeeg1
remove NOSPAM for email
end quote
quote: "strident" - adj., from the Latin "stridere", meaning to make a harsh
noise.
1. characterized by harsh, insistent, and discordant sound, also: 2.
commanding attention by a loud or obtrusive quality.
I think this is a workable definition so I would like to let you, Jeremy, be
the arbiter of the issue.
Jeremy Cole wrote in message
<18660-38...@storefull-171.iap.bryant.webtv.net>...
I have to ask !!!
I was under the impression that "Ohbeeg1" was in reference to Obi Won
Keonobi from Star Wars. As a matter of fact, sometimes when I am having
a technical problem with my banjo, I see my own image displayed in
holographic form, emitting from R2-D2..."Help me Ohbeeg1, help me
Ohbeeg1"
Or is it really a rather odd, Texan way of saying "Big One"...that would
OhBeeg1
"... EAT SH!T ..."
ROFLMAO...lemme guess...next thing, you're gonna talk about my MOMMA, right?
Marty FURTHER say:
"... OhBeegA$$hole's ..."
I kinda like that...hmmm...may just use that as a second screen name - whaddaya
think, Jeremy? <g>
Marty thinks he's on a roll, so he CONTINUES to say:
"... or whether a more appropriate adjective should have been used; boorish,
arrogant, or perhaps confrontational. ..."
Hmmm...lessee here:
"boorish" - adj., resembling or beffiting a boor (as in crude insensitivity;
uncouth in manner or appearance.
"arrogant" - adj., exaggerating or disposed to exaggerate one's own worth or
importance in an overbearing manner.
"confrontational" - adj., from "confrontation" - n., the act of confronting
(don't you HATE it when they use a form of the word to define it??); the
clashing of forces or ideas.
Me, I vote for "arrogant", m'self...and that's my FINAL ANSWER, Regis...LMAO
I stand by "dull" and "stupid"... ROFLMAO
XXX000,
Mike Stanger
Stanger
rab...@southeast.net
>
> I was just watching but after that comment about OME being the only 'good'
> instrument, I thought I would weigh in. I have a '79 Gibson Scruggs Granada
> (#127). It's got the tone; it really is a mastertone. I pick up those cheap
> clones in the music stores just to test their playability and tone and every
> Deering and Stelling have made some banjos that are top notch construction
> range of choices, the Mastertone is THE instrument for the serious player.
> The others strive for but never quite achieve that special tone of a top of
> the line Gibson. Same is true with Martin guitars; yes, there are plenty of
> is only made by a D-18, 28, or 35. Sure, lots are ready to flame about this
> but it's jealousy or something else. Everyone who's got a good Gibson knows
> exactly what I'm talking about.
Just a note on the comparison between OME and Gibson. I have both. My
OME and my Gibson have been set up properly and the two of the sound
great in their own respect. But, having been around many different
types of Banjos, and selling them for the last ten years I can truly say
that I would not trade my OME for Three Brand New Gibsons. It is true
that some instruments sound different than others, and you can set one
up incorrectly for an obvious "poor quality" sound. Overall, I would
choose and recommend OME over anything else going that I am familiar
with.
Befor you put out the money to buy one of ANY namebrand, do your
homework. And put MANY in your hands before you sign a check.
Hope this is helpful to someone.
Danny Rogers
Jacksonville, Florida
OhBeeg1
Yeah! You've got it, Mike! Like "Neptune's Strident"!
(And to think, I always thought it was those medicated pads that kids used on
their face...<sigh>).
<g>
YOURB...@webtv.net
Deerings, Stellings, Omes, Odes, Vegas, etc! I have also heard many of
them hat sound poor as well!!! When I desided to finally get a "real"
banjo(had a 37 Kay delux which someone put an archtop tonering in) I
looked at new deerings, Gibsons, yada yada yada, and lloked at old Vegas
and Gibsons, yada yada yada too. But my final descion was a homemade
Banjo from a guy in SW Ohio taht he made in 76. I am proud to say i
payed 650.00 for it (the same price he had on it when he made it in
76!!) and the following Saturday at the local jam i had several Gbson
guys green with envy!!! But neither one had theres set up right since
they both had 3 foot bridges for one!
I know what i like to hear, and I wil put my banjo up against
anything there is, and I will be smiling when it is done, but it is what
I like and that is what you should do!!! Dont just look at new Derrings
and Gibsons, listen to as many Banjos as you can! You may find some old
1000.00 banjo that you personally think bows those 2000.00 and up ones,
or you may find you want a stelling instead of the Derring or Gibson!
just my thoughts, as it is all in the beholder!!
~Paulbo~
Frank Thompson
tone.
Frank Thompson
My correct e-mail address is gn052 (not gno52)
Fake adddress given to avoid spams
Marty
a good one. In fact, I got an outstanding one. Since the thread's premise is
'are they junk', I would have to say, not necessarily.
Rex Hunt
jgiminny
the same as "shoudn't" is a contaction of "should" and " not" and should be
spelled "stridn't"...am I'm finally starting to think like a banjo
picker??....Jim
"Rex Hunt" <r...@cris.bus.indiana.edu> wrote in message
news:8a8k1n$2...@cris.bus.indiana.edu...
Jeffrey Friedman
"...am I'm finally starting to think like a banjo
> picker??....Jim
Jim, The proper question to ask... "is that how Earl would have played it?"
There are those who say that banjo and thinking may be contradictions in
terms. It could be worse. Have you ever sat next to an Irish Bazouki player
and asked him if it was loaded. The response is "It is a Bazouki, not a
Bazooka!" There is no understanding of irony left.
Jeff
Mike Stanger
>
> Actually, "strident" is a contraction of the two words "stride" and "not",
> the same as "shoudn't" is a contaction of "should" and " not" and should be
> picker??....Jim
> "Rex Hunt" <r...@cris.bus.indiana.edu> wrote in message
> news:8a8k1n$2...@cris.bus.indiana.edu...
> > In article <38C73E...@cyberhighway.net>,
> > Mike Stanger <msta...@cyberhighway.net> wrote:
> > >Uh....a strident is that thing you spear fish with?
> > >Stanger
> > No, no, it's chewing gum.
> >
I couldn't understand what you were trying to say, so I guess that, yup.
You're thinking like a banjo player!
Stanger
Art Horan
> Art Horan wrote:
>
> Marc, have you noticed any changes for better or worse since
> Gibson moved
> production back to Nashville? I've played several
> Mastertones from the
> mid-90s to about '98 or so. I liked em all but I thought the
> ones from
> earlier in the decade sounded a bit better. It sounds like
> you like the late
> '90s ones better. Of course, the difference I heard may have
> just been
> set-up. I believe there were changes in the tone rings used.
> (Please correct
> me on that if I'm not right.)
>
> Art, the workmanship on the Nashville Mastertones is
> excellent. The tone rings used were from Kulesh for the last
> three or four years, however they are gradually shifting
> over to the Huber ring. The necks are sourced from First
> Quality Banjo and finished at OAI/Gibson.
I'm glad to hear the quality has not dropped. I like the Kulesh ring in
mine but I understand many people prefer the Huber ring.
> One time in a music store, I was jamming with a guitar
> player behind the
> counter and one of the customers came running up, wanting to
> know what that
> ringing sound was. It was an RB-250 they had there, probably
> made around
> '95. It sounded great to me. I would've bought it if I
> didn't already have a
> '93 Scruggs that I think sounds even better. So I tend to
> agree with you
> about the quality of recent Gibsons. I suspect that a lot of
> the mystique
> surrounding old Gibsons comes from hearing good players play
> them. I do
> think that old wood makes a difference in the sound and that
> experienced
> players who prefer them are hearing something different.
>
> Personally, I feel that the perception that the pre-war Mastertones
> are "special" is largely psychological. These are, after all, the
> preferred banjos of Scruggs, Reno, Stanley, Crowe, Osborn, Keith et
> al. If your heroes played 'em, you gotta believe they're the banjos to
> have, right?
I suspect it is largely psychological. But something does happen to old
wood with time as the resins dry out. I've never lived with a pre-war
for any length of time so I can't say that the change is perceptible or
even preferable. I'll defer to you on that.
Thanks for sharing your opinions and experience.
Art
Bill Chaffin
Oh boy, ANOTHER idiot, yes, I said idiot, now get real pissed wus, who wants to
speak in absolutes. Deering and Stelling have only made banjos of top notch
construction? Why do they issue warranties oh sub knuckleheaded one? Pray
tell? What cat got your tongue? Don't worry, he'll puke it up.
Respond if you wish. I will trifle with a sub species no longer.
Bill - in Falling Waters, WV: Home of the Intergalactic Home for Trashy
Unwanted Korean and Japanese Banjos and WHANGO Records!
Bill Chaffin
>
Yeah!@ It's got three of them real pointy things...you know like Marty only
has one of HIS HEAD!!!!!!!!!!!!!!!!!!!!!
HAHAHAHAHA!
Bill Jensen
they are very uneven in quality. One can be excellent while the one
next to it sounds and plays poory. If you buy a Gibson, be sure to
try it.
OhBeeg1
home for trashy unwanted korean and japanese banjos, etc., HE SAY: "...Respond
if you wish. I will trifle with a sub species no longer. ..."
You GO, Bill!!! LMAO :-)
Art Horan
>
> Actually, the Gibsons from the early 90s were a joint effort between
> Nashville and Bozeman....
Mike, thanks for all the interesting info on the Montana instruments
...
> Later, a new shop for mandos only was built down the road 5 miles in
> Belgrade, which is now the home of Sound to Earth, the bunch of Montana
> mando builders who didn't want to make the move to Nashville. Bruce
> Weber, the former mand division head, is the boss, and their instruments
> are every bit as good (I won't say better, because damn good is damn
> good) as the best Gibson ever made.
Exactly, at some point it just comes down to personal preferences. And with
banjos you can do an awful lot with setup too. Bill Emerson once said in an
interview that he could get his sound out of any quality banjo from any
maker, and I believe it.
Art
Mike Stanger
it's set up at it's optimum. Of course, the optimum depends on the
instrument and the player...
By the way, after I posted the message you quoted, Bill Sullivan from
First Quality Musical Supplies sent me a private note. First Quality
also produced a lot of necks, pots and resonators during the early 90s
for Gibson (one of the reasons the early 90s models sound so good, I'm
sure). The Montana factory must have been either supplying parts for
certain models only, or only part of the total banjo production at that
time. I'm unaware of the banjo production numbers back then; I was
finishing guitars when I worked for them.
Stanger
Marty
Marty
Can't you read? Oh, by the looks of your grammar, probably not. Shit man,
give a f'in monkey a computer and you still get simian behavior.
Marty
just got, well, um, pissed. I'm going in tomorrow for a humor augmentation
and I'll ask the doc to throw in a sensitivity reduction while he's at it.
Now, if you'll be nice, I'll call you bitch lips once in a while...
OhBeeg1
"bitch lips"...I wonder why he never calls ME "bitch lips"...<sigh>
Get a life and get OVER it, Marty! LMAO
OhBeegAssholeBanjoV