Strings for a Stewart Banjeaurine

[Andy Alexis]

(adapted from a similar post on banjo hangout):

I recently took possession of a beautiful S S Stewart banjeaurine.  It hasn't been played much for at least 40 years;  it was set up with steel strings;  the neck looks ok.   However, it was tuned way down, perhaps to A.  

I put some nylguts on it, thinking that would be better for the neck, esp. considering that it needs to be tuned up to C.  I also wanted to have a banjeau just for classic pieces.  However, I've had issues with intonation;  I think I need a compensated bridge, and a bridge with bigger slots so the strings won't pop out of the slots.

I have been tempted to try the steel strings again; what have others done with these old banjeaus?

I'll try and get some photos up.

Andy Alexis (Edit : by thereallyniceman. I added the pics for you Andy)

[Mike Moss]

Stewart recommended using slightly heavier strings on the banjeaurine than on the banjo -- a set of Clifford Essex or Chris Sands heavy nylons should do the trick.

I've had intonation issues with brand new sets of nylguts, especially with the third string -- that's one of the reasons why I gave up on nylguts and wouldn't touch them with a barge pole. I have never, ever had these intonation problems with nylons, even when they were very old and started to stretch unevenly.

You've got a quality banjeaurine which deserves heavies to bring out its full voice! Also, try a two-footed uncapped maple bridge -- that will really bring out the bark in it!

[Trapdoor2]

Looks lovely! I use standard nylguts on mine...and would never put steels on it. If you break it while it has steel strings on it, Stewart will not honor the warranty! ;-)

Just file the slots on your current bridge to suit or order a "correct" Stewart-style bridge from Joel Hooks. He makes them per the Stewart pattern, they look and sound great. He'll slot it for the nylguts too.

http://www.thejoelhooks.com/

Intonation on these things is always a compromise. Most compensated bridges are too heavy and they just look 'wrong' on a classic banjo.

[Andy Alexis]

Good tip on the gauge of the strings.  I would never have tried those!  I have an email in with Joel about the bridges.  

Not sure how it happened; the first nylgut string broke, and I tried replacing it with a nylon;  about .28, and that doesn't work.  

New bridge, new strings. 

[Jody Stecher]

I'm a bit confused here. If a standard nylgut string broke from tension then it would seem that a lighter string is called for, not a heavier one.  However, if the length from nut to bridge is not more than 14 inches, it is more likely the nylgut string broke from contact with a rough spot somewhere ( in the peg hole, in the nut, on the bridge, or on the tailpiece).  Another point to consider: the gauges of nylgut cannot be compared to the gauges of nylon or even of gut. You'll get nowhere with a micrometer. But if you contact Curtis Daily at Aquila USA and tell him the scale length (nut to bridge) he'll recommend the appropriate strings.  If you want to use nylon, Savarez has several good options which can be studied at Stringsbymail.com.  

[Andy Alexis]

I think the bridge is the issue, here:  it is a steel string bridge and the strings rest on the slots, not in the slots. I think that is what is causing the intonation and the breakage problems.

I am going to try the two-footed bridge/heavy nylons first.

[Patrick Garner]

I'm definitely coming in to this discussion late, but want to say I appreciate all the advice, having just acquired an identical banjeaurine. I'll be getting some new nylguts. Thanks, all!

[Patrick Garner]

And will follow up my earlier comment to note that the old Stewart loves the Nylguts and has a wonderful tone.

[Patrick Garner]

Reviving this thread just briefly to note that I'm on the hunt again for better strings than the Nylguts. Intonation is poor on the old Stewart. Back in Feb I noted that w/ the Nyls it "has a wonderful tone." But that was dumb enthusiasm. I think steel strings are probably the way to go with this banjeaurine.

Can anyone recommend a brand and weight that might work on this old timer? :-)

[Jody Stecher]

If you are having intonation trouble and the bridge is in the right place, then steel strings will make the intonation worse, not better. Nylgut and nylon and pvf etc ("soft strings") are more forgiving pitch-wise than steel. 

Patrick Garner said:

Reviving this thread just briefly to note that I'm on the hunt again for better strings than the Nylguts. Intonation is poor on the old Stewart. Back in Feb I noted that w/ the Nyls it "has a wonderful tone." But that was dumb enthusiasm. I think steel strings are probably the way to go with this banjeaurine.

Can anyone recommend a brand and weight that might work on this old timer? :-)

[Patrick Garner]

Pot tension is fine; bridge is 2-foot, a good period imitation and properly placed; and tone remains poor. Strings are a couple months old. The banjeaurine was advertised by Stewart as an instrument to project notes clearly, to stand out above other orchestra instruments. Yet that is far from an apt description of this one. By the way, the instrument itself is gorgeous, if not apparently flawless. But the tone, again, is plunky and is more "doing" (as in a sound) than ringing.

[Jody Stecher]

When/where have you heard ringing sound in a classic banjo context? I assume you are tuning up to the intended pitches, yes? five semitones above a standard five string banjo is the usual I think. Plunky is the norm.  The banjeaurine was designed to conform to a plunky aesthetic. Whether a big pot and a short neck are good idea in a musical instrument is debatable however.

Patrick Garner said:

Pot tension is fine; bridge is 2-foot, a good period imitation and properly placed; and tone remains poor. Strings are a couple months old. The banjeaurine was advertised by Stewart as an instrument to project notes clearly, to stand out above other orchestra instruments. Yet that is far from an apt description of this one. By the way, the instrument itself is gorgeous, if not apparently flawless. But the tone, again, is plunky and is more "doing" (as in a sound) than ringing.

[Patrick Garner]

"The banjeaurine was designed to conform to a plunky aesthetic. Whether a big pot and a short neck are good idea in a musical instrument is debatable however."

Yes, I acknowledge that it could sound as intended. As I've noted in earlier posts, I continue to use the instrument for 1920s and '30s blues, as well as for classical. For blues, it would have never cut it in a honky tonk, never have carried over all the noise. For a quiet setting, it's fine for classical... But even trying to imagine it in a banjo orchestra, circa 1920, I don't believe it projects enough to have been acceptable to anyone 90 yrs ago. Hence my search for alternate strings.