All wood banjo

[Dave Yelverton]

Here's a problem upon which I would like to focus the wisdom and experience of members. I had this banjo brought in in pieces a few weeks ago. I've restored it, it's very obviously early 20thC work, but neither I nor the owner have a clue as to it's provenance. Can anyone shed any light?

[Ned Knepp]

Dave,
The turned bowl is pretty cool. (Yes, I still use that term. It embarrasses my daughter... and that's just plain fun for me.) It sounds good too. I don't have access to a lathe or I'd think about turning a ring.

When I said "veneer" I wasn't being too accurate. I don't actually envision using stock veneers. I was thinking of material just a bit thinner than guitar sides. I think that dividing the ring into three segments would allow the material to be bent fairly quickly on my side bender. Overall, it would take a while but coopering gives me head aches. I haven't done a lot of it and I always seem to either get the angle or the width just a hair off which compounds until I have a gap. I CAN get it right but not with out a lot of "adjustments". Building up layers also affords me the ability to stagger end joints for a stronger ring. I'll admit that it would take a while to make one but then I have the luxury of being a hobbyist so I don't have to worry so much about time.

8 mm for the ring thickness is a lot thinner than I thought it would be. I was thinking of more like twice that amount. It makes sense though, no "implosion" specific stresses from the head.

I think you are right about the resonator. It seems like a good idea. I just wondered if you happen to try the banjo without it.

I appreciate you input on this. I have too little time now but I'm seriously thinking about throwing together something to experiment with when I get a chance.

Ned

[Wayne Robinson]

When Clifford Essex arid Alfred D. Cammeyer dissolved partnership in 1900, Cammeyer took over the workshops (established in 1896 at 13 Greek Street, Soho) for the production of Cammayer instruments. These were mainly zither-banjos but some banjos (and later, plectrum banjos and tenor banjos) were made. The man in charge of the workshops was Sidney W. Young who was responsible for the designs of the famous "Vibrante" and "Vibrante Royal" zither-banjos and the "New Era" banjos bearing the Cammeyer name.

When Cammeyer retired from business ill 1939, Sidney Young took over the workshop at Richmond Buildings, Soho, and continued to make instruments under his own name up to the outbreak of World War II. After the war he established a workshop at 70 New Oxford St., "here he worked in conjunction with John Alvey Turner Ltd. until his retirement in 1963. When Cammeyer died in 1949, Mr. Young acquired the stock of Cammeyer "parts" and timber and from these Produced many "Vibrante" zither banjos but these instruments do not carry the facsimile signature of Alfred D. Cammeyer, which first appeared on Cammeyer instruments after July 1st, 1900 and was attached to all his instruments until the date of his retirement.

also more on http://www.cliffordessex.co.uk/pages/history.htm