Fixed RH Position or Not?

[Rob MacKillop]

I see a lot of classic banjo players with the right-hand pretty much stuck in one spot, with the pinkie clamped on the head. I move around for contrast, but have been criticised for doing so...

Anyway, I've just seen this image of Fred Bacon and it is clear from the marks on the vellum that he moves around a lot, mainly in two positions, but with all points in between. I had never thought of looking at head markings before, but they can be quite revealing. Fred is not just going towards the fretboard occasionally just for contrast. It looks like he does it often, sometimes setting up camp there.

So, how do you play - fixed or moving?

[Rob MacKillop]

Looking at his banjo head again, i probably spend most of my time in between his two main areas, and move closer to the bridge or neck for contrast from there. I'm curious what other players do.

[Jody Stecher]

Moving. If I wanted only one sound I'd play xylophone.

[Rob MacKillop]

But how much, Jody? Bacon seems to do it a lot.

[thereallyniceman]

As you know Rob I play a lot with my pinkie planted close to the bridge so that picking is about 2-3 inches from the bridge. This gives me the snappy sound I like. I don't consciously move the pinkie backwards and forwards from the bridge, but as I have a big dirty line running up the vellum I obviously do as my ear instructs!  I looked at one of my minor masterpieces :-) and can see the phantom finger in action. (All in about 10 seconds)

I usually don't like picking near or over the rim of the hoop as it all sounds too "thin and wishy washy" for my taste.

When I play a bass string solo I hit the bass with my thumb close to the hoop as the bass seems to vibrate better.. you can see where my dirty thumb hits the vellum (oooh!)

[Rob MacKillop]

Ian, that was beautiful. You should play like that more often ;-)

[Trapdoor2]

I was taught (by my bluegrass teacher) that there were two positions, X (near the bridge) and Y (near the neck)...and that you varied your tone and dynamics by moving between them. Initially, the technique was taught that one "soloed" at the X position and "vamped" at the Y position. Later, I decided I liked the sound playing about halfway between the bridge and the neck.

So, my "home" position is in the middle and I wander between there and the neck...I rarely play near the bridge anymore. The wear/dirt on my CE's head is similar to Ian's.

nb: I actually had my Stelling out not too long ago and put on my old BG picks, etc. It took me a while to remember but when I really dug in, I found my pinky was barely touching the bridge! Old habits...

[Jody Stecher]

How much? It's yours for 75 cents.   Seriously.  how much do I move my right hand?  As much as needed to get the sound I want or to get the resistance I want. The closer to the bridge the more the string resists the fingers and thumb. One can play harder and the string pushes back and it feels good. Very close to the bridge is maximum push back but it sounds unmusical. The closer the neck one plays the warmer and fuller the sound, reaching maximum fullness and maximum floppiness and vagueness at the middle of the string over the 12th fret.   I also play with a free hand, with a planted 4th finger, with a planted 3rd finger and with both planted.  It all depends on what is being played and how I want it to feel and to sound and sometimes string feel and banjo sound are just a bit in conflict. Sometimes there's a compromise to be made.

Rob MacKillop said:

But how much, Jody? Bacon seems to do it a lot.

[Jody Stecher]

When I play there it sounds *thick" and wishy washy.

thereallyniceman said:

I usually don't like picking near or over the rim of the hoop as it all sounds too "thin and wishy washy" for my taste.

[thereallyniceman]

Ah Jody, I guess that this must mean that you are thick and I am thin... probably neither are true.

:-)

Jody Stecher said:

When I play there it sounds *thick" and wishy washy.

thereallyniceman said:

I usually don't like picking near or over the rim of the hoop as it all sounds too "thin and wishy washy" for my taste.

[Rob MacKillop]

Talking of hand positions, I've just read this from Ellis:

I have a Temlett zither bee on it's way from eBay land, thought I'd try it again. I hadn't realised that it was recommended to play "near the end of the fingerboard". I'll give it a try on Tuesday, when it arrives. 

[Jody Stecher]

A fair amount of experimentation with bridges and strings is necessary before each zeebee becomes an instrument and not a beast. I have found they are all different. A standard black top bluegrass/old time banjo bridge sometimes is just the thing. I find the Cammeyer bridges unstable. They fall down easily.  Be sure to string your zeebee as lightly as possible. The gauges on the Abbott Amboyna I got from you were "regulation" gauges and the bridge was "correct" but the sound was bitter and clangy.  I used lighter gauges for the 3rd and 4th strings and a two footed bamboo bridge made by Eric Stefanelli and now the Amboyna sings like a bird.  

A Temlett is likely to have a shorter scale than the Abbot and so the gauges and bridge you had on the Abbott might be just right.

Rob MacKillop said:

Talking of hand positions, I've just read this from Ellis:

I have a Temlett zither bee on it's way from eBay land, thought I'd try it again. I hadn't realised that it was recommended to play "near the end of the fingerboard". I'll give it a try on Tuesday, when it arrives. 

[Rob MacKillop]

Thanks, Jody. I'm sorry I sold the Amboyna, but not sorry I sold it to you. I'm sure you'll get the best out of it. I really didn't know what I was doing with it, but this time will experiment more to get the best sound. The Temlett was absurdly cheap, but looks in good condition.

What is the metal attachment on the head intended for?