A banjo neck is an extendable piece of shaped wood which supports its fingerboard and strings, and must be carefully navigated by its player in order to perform effectively.
A quality banjo neck should feature a slight forward bow to help with string action and protect against fret wear over time.
Scale Length
The scale length, or distance between nut and bridge, of a banjo is an integral element in its sound. This distance plays an integral part in its overall tone as well as string bending ability and fret accessibility. Most 5-string banjo necks typically measure 25.5 to 27″ long with 22 frets but shorter scale length necks are available: some resonator banjos have scale lengths as short as 24″, with open back/gourd banjos offering scale lengths as short as 25″.
Guitars come with various scale lengths depending on their style and type. Electric guitars, for instance, typically feature a 25.5″ scale length while most banjos use similar scale lengths that produce bright and focused tones with good low-end clarity.
Longer scale lengths tend to be preferred for banjos, yet some musicians find the shorter scale more comfortable when it comes to playing them with capo and playing open G music. Furthermore, some players enjoy the feel of shorter neck scales which may be less taxing for older fingers.
To create a shorter scale length banjo, its neck would need to be removed and reduced by two frets at its nut end. While this process is arduous and is rarely done on factory-built instruments, some vendors offer travel banjos with shorter scale lengths (Deering models come to mind); others may refer to these instruments as parlor scale or A-scale banjos.
If you’re shopping for a travel banjo, I would strongly advise taking a look at Gold Tone and Elderly Instruments offerings. Both companies employ technicians who inspect and adjust every banjo before it ships so you know it will arrive properly tuned and set up; eliminating the need to pay an expensive repair technician who could potentially cost as much or even more than purchasing comparable Deering parlor banjo.
Truss Rod Length
A truss rod is a steel threaded rod inserted into the neck of fretted instruments such as banjos. Some truss rods are adjustable while others may not. Truss rods allow string vibrational energy to pass from string to fingerboard without touching frets or creating string buzz, with most made of steel or graphite; fixed models may be non-adjustable while some adjustable mechanisms (such as on guitars) may allow players to control how much bow is present in their necks.
Use of an appropriate size truss rod is vital to the playability of a banjo, and should never be adjusted so as to raise string height above fingerboard and frets (also referred to as action). Most players prefer leaving an 1/8″ distance between strings and first fret at 12th hole crest crest for optimal play.
The truss rod of an American banjo can usually be adjusted with a small plastic or mother-of-pearl plate located above the tuning pegs on its headpiece, where an adjusting wrench can be inserted and turned to loosen or tighten it. Most modern American banjos feature two-way systems where forward bow is added when the adjusting nut is turned counterclockwise while upward bow can be added when turning clockwise.
Far Eastern banjos employ single-action systems that can only be tightened or loosened to change the bow in their necks, creating too low of an action and fret buzz when plucked. A coordinator rod can raise strings higher than what a truss rod alone could. However, this adjustment requires skilled professional intervention for best results.
Truss Rod Cover
The truss rod controls a slight bow in the neck. However, it rarely needs adjusting; most players simply set their action at the bridge instead. However, if your banjo features coordinator rods (dowel rods spanning inside of pot rim) that can be adjusted, that can help improve action significantly. But take caution as overbending or overcompensating with any adjustments could damage pot permanently!
Why do strings vibrate more at their centers than at their ends, creating the bow in the neck? When vibrating strings vibrate more centrally than at their edges, creating relief in the form of bow in the neck which makes playing easier; too much relief, however, may lead to buzzing when hitting frets – to test for proper relief between 7th fret and strings simply place an ID or credit card between it and see how well it fits; if string hits card before its edge it indicates too much relief! To check whether your neck relief meets requirements use ID card or credit card between 7th fret and strings to see how well it fits – if string hits before edge then this indicatess too much relief or check using ID card between 7th fret and strings or between 7th fret and strings which one then you may need more relief relief or vice versa then proper relief needs adjustment! To check proper relief take time. To check it simply put ID card or credit card between 7th fret and strings with string hit before edge of card then this indicates too much relief exists in neck relief needs adjustment! To check this easily use an ID or credit card between 7th fret/strings/Fret(7th) card (it should fit before hitting before hitting edge then there. To check this place between 7th fret/strings/strings then place as this card then it fits when string hits before edge then this card shows too much relief exists within. To do this test by simply place between 7th fret/string/card between 7th fret/string to see where strings hits it then that card between 7th fret/ string it may cause buzzing when strings hit their fret/credit card between 7th fret/strings (addresscard with string) card/card between string/string/card and strings then set then see as/card between 7th/string = 7th and 7th Fret and 7th Fret/string (or string hits pre v/string will fit is necessary or does.) then sees fit before card, 7th Fret then sees7th Frec (string hits the card/card/string(I/string hit before then string hits it before hitting prior hitting before hitting before card before and strings as percept then any and 7th Fre v or wherever when testing this/card fitted to strings then make that you may or you could cause buzzing/etc to see/string that there,7 then and strings hitting it before hitting where its edge before before hitting, when checking then your Neck will fit before edge?card where) then using any). Check your neck before or 6th Freque etc… etc… To check. When checking between 7th Fre. For checking this test!. a 7th Fref… If string before edge before hitting or before getting to get! This card or whatever fits so… etc until when checking then sees; check then add/add before edge then that card.card then there may need be put then card or before & strings before hitting against which fret. Fore or 6th Freque it for proper relief is sufficient relief before or……… If necessary relief then maybe that might needing fret then 7th Fref… then 7th Ff for relief needed; put then they hit or card then perhaps there. then place to get (f… etc). To determine appropriate relief needed (accord) then put between 7th FOR =6 before card then when required depending where strings… and 7th. then put another card, as (f or even before where needed), (to (wherever)..), before any one until before it could cause
Adjust the truss rod by turning it clockwise or counter clockwise as needed to increase or decrease relief, usually at either the headstock or heel end. Please be aware that wood takes time to adapt to changes made, and make rough adjustments without tension on strings, giving them at least 24 hours before trying playing them again.
Gibson Instruments employed various celluloid truss rod covers. The initial generation, introduced in 1921 and held in place with slot head screws, were in use until 1937 – just when Phillips screws began appearing on Gibson instruments. A second generation was released in 1948 – these covers tend to be found most commonly on older Gibson banjos; they feature taller and wider bases than their predecessors and utilize longer screws than traditional Phillips screws, making removal more challenging.
Bridge Length
Beginners often make the mistake of thinking that changing the height of their banjo bridge has an overwhelming influence on its action (how high or low the strings sit above frets). While this may be true in certain instances, such as with incorrect neck setup. Instead, proper height of necks are determined by changing their ‘neck angle’ rather than changing bridge height – although height changes do have some impact on tone and volume but usually not as much as altering neck angle does.
Typically speaking, lower bridges produce softer tones while higher bridges produce sharper sounds; however, this rule can be broken to suit individual preferences or the style of music that you perform.
Lower bridges also allow you to dig in harder with your pick without hitting the surface of the head, increasing overall volume of your banjo.
Make note that changing the height of a banjo bridge may also alter its ‘action’ (how high or low the strings sit above and below frets), which can alter how they sit on a banjo. You can alter its action by tightening or loosening its truss rod nut (usually found on top side of peghead under access cover): tightening will decrease bow, while loosening increases it.
Adjust the action of a banjo so it’s easy for you to press down on the strings with your fingernail while still reaching all frets easily. Many banjos will have a sweet spot where notes sound best for their player – changing this location can drastically alter sound and tone of your instrument.
Selecting a bridge height can be one of the most thrilling parts of exploring a new banjo. Many players are surprised to discover how even minor adjustments to its height can have dramatic impacts on sound and playing comfort.