I recently posted a "want ad" on the Banjo Hangout for a Hartnett Tone Bar.  I received a reply that night and by the next day a package was on it's way.

After some delay in transit (did you hear that we got a little snow?) I got it Thursday. 

First thing I noticed after unpacking the box was that the Tone Bar is made from aluminum. I had always thought that these were made from nickel plated german silver.  Perhaps they were and later he went to aluminum, any one got one to compare?

So after washing the old pinky gunk off (in the sink with a sponge and dish soap-- hey it is aluminum after all) I set to installing it.  It went on straight forward and only took around 30 minutes of fussing to get it dialed in.

I like it.  The banjo it is on uses a high bridge and this makes it a little more comfortable.  It also opens up the banjo a bit as I am no longer pressing on the head.

Downside is that it negates thimble playing and that may be a deal breaker for me (that or I lug around two banjos).

Now the mute.  The mute was a bonus.  I did not know I was buying it and the seller thought it was part of the tone bar.  I am certainly pleased with the whole transaction.  

The spring was missing so I just cut one down to fit.  It went on pretty easy but I could see how a lot of people could have trouble working out how to install it.  It takes some adjusting to dial in and align it all up.

The lever arm has two notches that can lock the mute for practice.  Evidently one of Hartnett's teaching techniques was to have his students learn and memorize a piece with the mute locked in place.  Once they learned the piece they would release the mute and hear it for the first time.

It works as intended.  I'm not sure how useful it would be.  It is an effect that I've not ever thought I needed.  After playing around with it, I pulled it off and will put in on a different banjo. -- So no video demonstration, sorry.

Does anyone have any info on this guy?  I found one piece of sheet music with his name on it.  A simple waltz.  Is there anymore?  Did he put out a book or sheet music using this mute?

He advertised lessons in NYC including that he taught ragtime banjo.  Seems he did a lot with the mandolin as well.

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Hi Joel : I have two Harnett tone bars. Both are aluminum. It was likely chosen over german silver for its lighter weight.

A few bits about Dennis E Hartnett gleaned off the web:

The c.1904 Fairbanks Whyte Laydie endorsers promotional folio includes him among the likes of Vess Ossman, Fred Stuber, Parke Hunter, Fred C. Martin etc. In 1904 he is elected to the Executive Committee of the American Guild, tasked with deciding the particulars of their annual concert/meeting.

In the August 1908 issue of Crescendo he writes an article titled "The Issue of the Hour", dealing with A vs C notation. Banjo C notation was adopted in the US shortly thereafter, in the pursuit of non-transposing notation among string instruments.

1909 the Tone bar patent is granted.

1912 he is President of the American Guild. Same year he invents a finger exercising device for musicians.

1913/14 Bacon catalog includes a DE Hartnett testimonial.

April 1916 he invents a mute for all plectrum and bowed instruments.

At the 1917 Guild meeting he presents a paper on "Memorizing".

Sorry to revive an old discussion.  I recently acquired a Hartnett Tone Bar and wanted to share my experience. I installed it on my CE Concert Grand.  It allows for a much more comfortable right hand since the little finger is no longer planted as low against the head.  I noticed that there is less tension in my right hand.  Tonally speaking, now that I'm no longer muting the vellum with my little finger the banjo has more bass and volume.  The downside of this is that it sounds tubbier and less defined.  Another plus is that it is noticeably more responsive- the notes fly off the vellum.  While I like the increase in volume and response, I'm not sure I like the overall change in tone, and I think I'll be removing it after trying it for a bit longer.

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