Heli-Mount banjo design

Much has been written about the benefits of Helically mounted banjos, or Heli-Mounts. But if you have not tuned in to Nechville.com lately or have not viewed our banjo setup videos, you may not be aware of the amazing simplicity and versatility of Nechville’s design.

The Reasons for Helical Mounting

The main acoustical reason for helical mounting is the separation of structural components from the acoustic components of a banjo. In a standard bluegrass banjo, the neck is directly connected to the rim and tone ring imparting mechanical stresses and interference to the pure tone of a rim / tone ring that is mounted without connections to metal parts.

The many side benefits to helical mounting add up to make it the clearly superior method of banjo construction. Tone component changes and adjustments are quick and easy plus the Heli-Mount frame provides an easy, secure, adjustable and removable neck connection.

Head Adjustment

You may have heard of the Heli-Mount’s unique ability to switch heads in 2 minutes or less.  The threaded flange is the only moving part responsible for tensioning the head. Perfect concentricity, and perfectly even tension is applied automatically to the head.

This sets Nechville in a league of its own when it comes to clarity and evenness of tone and volume on every spot of the fingerboard. You turn the 2 pinion wrenches counter-clockwise to tighten the head. Since you are applying tension around the entire perimeter of the head, you will have to turn both wrenches with sufficient force to bring the head up to the desired level.

Use of Drum Dial

A dial indicator mounted on a base, called a Drum Dial, is useful in determining the approximate ideal tension for the head. If you tighten until the dial reads 90 -92 you are in the Bluegrass head tension range. If you can hear the pitch of a tight head, some players try to tighten it until the G# note predominates.

You can also use the top of the tension hoop as a rough guide when using a medium crown Remo head. When in the proper range of tension, there is only about .1″ between the top of the tension hoop and the surface of the head.

Choice of Bridge and Placement

You probably have a bridge that came with the banjo or an alternate bridge that you plan to use. There are many reasons to consider a higher bridge, and so I generally suggest bridges that are 11/16″ or taller.

Be sure that the bridge you choose is radiused to match the curvature of the frets, and be sure that the 3rd string is correctly intonated especially high up the neck. I strongly suggest the use of only Enterprise compensated bridges for Nechville banjos. Place the bridge using the 19th fret harmonic and match the fretted note at that location. If the action is too high or low, you will address that in the next step, and you will need to re-intonate the bridge for proper placement once the neck is finally set.

Neck Angle and Truss Rod Adjustment

The neck needs to be in the proper angle to achieve perfect action, plus the shape of the neck’s bow must simultaneously be correct for the playability to be optimal.  If you hold the taut string against the fingerboard at the 1st and last fret and inspect the distance between the string and the middle frets, It should only be about .01 or the thickness of a business card.  Some people go a little more or less and the neck angle can be set accordingly.

With a straighter neck, the neck angle needs to be a little shallower, raising the action so strings do not buzz. More bow means that neck angle can be set back for more uniform playability from low positions to high. Intonation problems tend to crop up more when the neck is too bowed, so I suggest straighter necks with fairly low action down low and gradually getting higher as you go up the neck.

Tailpiece Adjustments

The Nechville inline tailpiece has down, left right and forward back adjustments through turning the set screws on the back of tailpiece. You may want to check the note that comes from the tailpiece side of the strings and get it to match a higher octave of one of the string’s harmonics. I use that 19th fret note and try to bring the tailpiece back far enough to get that note behind the bridge.

If strings are slightly off center, you can turn either the left or right set screw until the strings line up as desired. Downward pressure generally should be minimal for fuller sound. Tightening the center set screw brings tailpiece lower, sharpening the sound and lowering the action slightly (which is another micro action adjustment to keep in your bag of tricks).

Once you have snugged up the head and set the neck for perfect action, you can be confident that your HELI-MOUNT WILL GIVE YOU COUNTLESS HOURS OF FUN and entertainment.

When I dream, the banjo often recreates itself in my mind. Nothing about the instrument need be held as sacred in the fantasy world of recreational invention. But assuming we are bluegrass musicians, let’s start dreaming on the iconic image of “banjo” that for many of us may be a 1934 Gibson flathead five string. The old flat heads that have withstood the test of time, still sing with a timeless voice that defines the classic sound of the instrument.

In your dream let’s say you pick up this imaginary instrument a garage sale for $100 and you are thrilled. After playing it for a little while you notice that its weight begins to drag you down. Your dream instantly provides you with a lighter weight flat head of the same vintage with the similar character of sound. Your playing commences only to be interrupted by the thought that the neck was profoundly narrow for your style and hand shape.  Poof! The neck widens into a shape that makes chokes and slides effortless.

The shape of the fingerboard raises up slightly down the center of the fingerboard almost to meet the strings. Your left hand is now more comfortable than ever, but you notice that the old bridge is saggy and certain notes don’t ring with the same pure sound.  Poof! The bridge grows taller, especially in the middle and you find clarity of every note until you find the third string going sharp. Poof! The bridge reshapes to provide correct compensation and all is well again.

Suddenly one of the strings pops out of the bridge slot because the tailpiece is was apparently originally designed for a narrower 4 string banjo.  Poof! The tailpiece widens so that each string has the ideal straight line break angle over the bridge, and your dream goes on until dark when the dew appears on the wildflowers.

In the moist air the fingerboard swells causing low action and string buzz, the one way truss rod suddenly becomes a dual action rod solving yet one more problem. Your dream calls you to fly to a foreign land to play. Poof! With one twist of a tool, the neck pops off and you carry your banjo through customs nestled safely in your suitcase. Upon reassembly you find that the neck has a range of adjustment adaptable to any height bridge or string height and you quickly find the perfect neck angle for buttery action, and the party begins.

Your dream is interrupted by a smart phone alarm. It is Al Price with some great news from Nechville. An all-original 1934 TB-11 one- piece flange pot was recently decked out with a matching new Nechville neck. This is a Pre-war flathead without all the weight of a full tone ring. The brass top on the 11′s old 3 ply maple rim is about 3 pounds lighter than other banjos in the Mastertone family. The wide radiused frets and compensated bridge remind you of your dream. You realize that your dream has come true when you hear about the flux-mounted neck and comfort bevel armrest provided on this dreamy hybrid of a banjo.

It’s here, It’s real, It’s a dream come true for one lucky picker. Now available from Nechville for the honest value price of $4999.99. Let’s add one penny for shipping to make a round figure.

Please note that the same banjo with lesser necks have been sold for 3 to five times the price with the simple modification of adding a pre-war style tone ring. Nechville builds authentic pre-war spec tone rings and professionally installs them in our custom shop. Personally, I think it is better to keep this pot original but we have the know-how and the best tone rings to take it to that next level if you want.

If this banjo or one that pops into YOUR dreams tickles your fancy, please contact me or Al.

This story brought to you by the Banjo Revolution.

Contact Tom@nechville.com

or Call 612-275-6602

See and hear and learn more at www.nechville.com

Banjo pickups have been around a long time. There are several easy methods of picking up the sound of the banjo, especially through Piezo transducers, and magnetic pickups. Specialized microphones are also in common use. It’s traditionally been a problem solved differently by nearly every musician finding the need for amplification. While at this point, no one solution seems to prevail.

The problem with most banjo pickups is that the transducing element, whether it is piezo, magnetic or microphonic has its limitations. In order to reproduce a more natural and lifelike acoustic tone, a combination of sources is advantageous. The issue has gotten the attention of some of the industries top designers.

Urged on by Nechville, EMG has recently unveiled a new banjo sensor a that has a more natural, yet big and fat sound. Nechville has combined this newest pickup in a dual pickup “acoustical harness” giving players infinitely more control over their sound than before. Heli-mount owners will be glad to learn that Nechville is incorporating the EMG component into a completely new dual pickup solution for all banjo players. Called the Crescendo Acoustic Harness (TM), Nechville expects availability by year end. The harness will have an outboard clip on housing containing magnetic volume, acoustic volume, tone control, battery and ¼” jack. The internal harness installs under the head in seconds, and quick connect wires mean no soldering. It comes with everything needed for quick installation, (except the 9 volt battery).

Nechville Musical Products is a top producer of modern and traditional banjos, electric banjos and all kinds of supporting accessories for banjoists. EMG is a leading guitar pickup manufacturer based in Santa Rosa, California.

Contact tom@nechville.com for more information or call 952-888-9710. www.nechville.com

The comedy of entertainer Steve Martin has been a part of American life for 4 decades. We all know his hilarious movies and abilities as master of ceremonies at the award shows. He’s more than a comedian, actor and writer; he’s a true American icon and musician. Who would have thought that this untouchable star would descend to Earth and start hanging out with us banjo players?

As a player and specifically a builder, I run into the world’s best players from time to time. I am friends with several superior players. While these players represent my own personal stars, you might see the greatest banjo player in the world walking around in public without worrying about the paparazzi. The world of great banjo players exists at very much a grassroots level. The banjoist’s world represents the antithesis to glitzy Hollywood fanfare. All the players I know display an earthy and honest approach to life.

As an average Joe, my view of Hollywood is limited to supermarket pop tabloids and magazine covers. It’s an imaginary world so far from home that I don’t want to know too much about it. Thankfully there are those in the limelight of fame who are unafraid to become known to a wider grassroots populace. Steve Martin has shown us a passion for banjo music that is making a huge difference in how bluegrass and acoustic music is perceived and appreciated.

Martin has spent a lot of time touring the last several years with The Steep Canyon Rangers, a talented North Carolina bluegrass band. If you have not yet experienced their show, you are missing some great entertainment. Being dubbed Entertainer of the year by the International Bluegrass Music Association is a fitting honor.  Not because Steve Martin is actually bringing anything new to the genre. His love of the music shines through in his well-arranged performances.

It’s this same joy of playing that has hooked thousands of bluegrass and acoustic players worldwide that he shares with the rest of us. Audience members attracted by Martin who may not have otherwise been in attendance likewise begin to catch the spirit of this joyful artform. To be sure, Steve’s sense of humor and jokes make the show extra entertaining, but his biggest impact is opening the eyes and ears of a much wider group of people. (Not that bluegrass fans aren’t wide enough.)

Martin’s belief that bluegrass, oldtime and new-age banjo playing, is underappreciated in the world led him to further the cause by sponsoring an unprecedented annual banjo excellence award. A panel of a few of the world’s best players help determine the most deserving candidates. In 2010 Noam Pikelney received the $50,000 prize for being a great technical player and a blossoming example of what the future may bring to the music. In 2011 Sammy Shelor, a veteran traditional player got his well-deserved recognition for his contributions to bluegrass. And in 2012 Mark Johnson, innovative clawhammer stylist combining the old-time techniques with more contemporary material led to his award. Not only does the financial award inspire and encourage the musicians, but it delivers well-deserved national attention through exposure to millions on the Letterman show and elsewhere.

On behalf of all banjo players across the globe, I’d like to heartily thank Mr. Martin for his love of the music, and his willingness to support players of this wonderful instrument in such a generous and meaningful way.  Here is an example of one Hollywood star who follows his passions and is making a difference in a “real world” way.

Music has proven to be a fulfilling and fun social event for all ages and such acoustic music including folk and traditional continues to spread at the Grass roots level. While mainstream media does not highlight this music much, increasing awareness of folk and acoustic alternatives has a positive effect upon acoustic instrument sales. In particular, the banjo has been on an upswing, and sales of Nechville banjos have been strong through the slow economy of the last few years. Sales statistics show all fretted string instruments on the rise.

The vast majority of banjos are relatively low quality imports from the far east, and many players that stick with banjo are now in the market for a better banjo. Nechville is becoming a clearer choice due to their unique and sensible high quality designs. I see plenty evidence that participatory social music of Bluegrass, Folk and Oldtime is here to stay. As more and more people discover the enjoyment and challenge of learning to play, our jamming circle will soon extend around the world.

I was fortunate to have gotten help from Liz several times when planning trips to Europe. She was central to the European Bluegrass scene and was a great connector of people. Even while bedridden, she would do her work that she was passionate about. She didn’t say “Why Me?” She simply forged on despite the pain and cancer. We all face mortality, but I don’t know anyone who faced it with such courage and strength. She was in no shape to appear in per-son at the EWOB festival last June, but she did. It was amazing. Even her obvious pain would not diminish her smile.

Liz, an awesome musician and song-writer was loved by so many Interna-tionally, and was such a valuable and central link between thousands in Bluegrass worldwide. When people like Liz are taken from us, it charges us with a new directive; to live on with-out fear but to face our challenges head on.

Thanks to Liz for all she has done and for her inspiration. Finally a bit of a rest for another hero. Thanks also to Pieter who stood by her side always, and went through these battles in nearly as painful of a way. Thanks Pieter for all you did to prolong her life so long. And thanks for having me in your home twice when I was last in Europe, The time I spent with Liz could not have been any better. Tom Nechville

Gibson TB-11 (Prewar)

1930′s one piece Flange Pre-War TB-11. Original pot , resonator, tailpiece. Original neck included with brand new Flux Mounted Matching color (blue) Nechville neck with Flying eagle inlay.

It has the original Pre-war sound, but much lighter weight.  Full and powerful sounding.Could be fit with Flathead ring, currently with original Brass hoop

Detailed photos at: www.banjorev.com/tb11.htm

$6500  Please call Tom at the shop (952-888-9710) for more information.

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Gibson RB3 Wreath (1989)

Gibson RB-3 Wreath Rich-era Prewar copy. Traded for and recently customized in the Nechville shop.

It has been upgraded with Nechville’s patented neck connector, the Flux Capacitor for improved tone and enhanced adjust-ability. Warm with good tone.

Detailed pictures: www.banjorev.com/tb3.htm

$2600  Please call Tom at the shop (952-888-9710) for more information.

I hoped to reach out to more popular players, like Winston from Mumford and Sons. I Hung out with Winston last year. He is a rock star, but I treated him like an apprentice, not really aware of his high profile popularity. When we met he was interested in picking up more playing techniques and I was happy showing him my way of  playing. I thought we had developed a good friendship very quickly, and I expected that my instruments and banjo knowledge had sufficiently impressed him so that he would followup and request a banjo or at least open that conversation.

Somewhere along the way I must have said something that he took as an insult, although, I never held a negative thought about him and don’t know exactly what I may have said that turned him away, but a year went by and I saw him again over the Telluride 2011 weekend. I told him I had been hoping to show him my  instruments and give him more info about what we do. He said he’d come by my booth on Sunday. So he did, he brought a whole entourage accompanied by Dobro God Jerry Douglas.

Winston grabbed a banjo and began thrashing it like I have never heard. The volume was deafening but having grabbed a Heli-Mount that was set up well, the tone held up nicely to his boisterous style. I chalked that up to his Rock and roll persona and was slightly amused, not realizing that I was being ambushed. I offered banjo after banjo for Winston and his buddies to shred.

The climax of their little jam had Winston on electric 6 string with the bottom strings having been dislodged by enthusiastic strumming so that they clacked together with a weird distorted buzz, but he seemed to like it. Before I could say a word they had left as suddenly as they arrived, except for Jerry.

As I was assessing the damage, Jerry said, “Tom Nechville!”. Surprised by Jerry’s friendly salutation, I turned to him and got scolded for dis- respecting Mr. Country Winston. Jerry said that Winston said that I had twice indicated to Winston that he was not a very good banjo player. I thanked Jerry profusely for his kindness in making me aware of my faux pas. Now that we have properly disrespected each other, all is right in the world again, except for the finishes on my banjos.

But I can make more, and It was worth it, being able to entertain the banjo player who is likely seen by more people than anybody on the planet. I am glad for the opportunity to prove that Nechville banjos can take a slamming and keep on Jamming.

Recently Tom Nechville took the opportunity to “flux up” an original Gibson. Prior to the operation, the action was way too high, and the bridge was too low. No amount of ajustment can fix that. But with a Flux capacitor and a neck refit, you have a completely new banjo with adjustable neck angle so you can use whatever height bridge you want, always with perfect action.

The fit to the body is improved because of the solid interface and greater surface area of attachment, and the solid mounting of the Flux piece itself to the coordinator rods. We have not done that many original neck conversions this way because there is no going back and most people like our necks better anyway, but it is an option and we think a good one for improving your banjo without going for a whole new neck.

Hey did you know that a secret benefit to owning an Atlas openback is that you get a free re-usable Flux capacitor on every one?

While coolness has recently adopted banjos, the challenge I see for players is to continually find new ways for the original Americana instrument to fit into today’s live performances. The old banjo is a bucket of nuts, bolts, hoops and rods, something like a tambourine on a stick. Just what the doctor ordered for a jingle-jangling old time jam, or in the context of an intense jam band crescendo, to produce the acoustic substitute for a fuzzy distorted electric guitar.

Lou Meyers, executive director of the Folk Alliance conference, reports that a new banjo is emerging within the quickly expanding world of roots, acoustic and jam bands music. Nechville has been quietly building their brand of re-engineered banjos for over 20 years.

Tom Nechville has been trying to let the banjo out of its cage ever since the 70′s when he first heard Earl do the boggie-woogie on the banjo. Nechville has always felt that the banjo needed a new thicker voice to gain acceptance in more popular music. His designs facilitate a wider range of tonalities and choice for banjo playing artists. His “Banjo Revolution” is more than a slogan that hints at his original patented designs. It is the Nechville sponsored format by which more players can connect within the exploding world of Folk, Americana and Country music through membership in these trade associations. Nechville’s Revolution encourages growth of musical connections by facilitating membership to one of the major folk or roots associations with purchase of a banjo from their factory.

Working musicians can become associates of the Banjo Revolution to receive discounts on Nechville products and gain rights to represent and distribute them while on tour.

Nechville instruments have been built since 1986 and have received exposure in the hands of players like Bela Fleck, Alison Brown and Emily Robison of the Dixie Chicks. Country music has embraced Nechville designs, especially his new class of  electric banjos for guitarists.  Keith Urban and crew have their own model called the Urban Meteor. Its look is unmistakable for a banjo, but has power to rock the house.

Jam band veteran Mike Gordon, young bands like Chicago Cornmeal and SanFrancisco’s Hot Buttered Rum and even dead-head icon, Bob Weir were early adopters of Nechville’s cutting edge instruments. Now country/roots superstar Zac Brown is jumping on stage with his own co-branded Nechville Turbo-Charged Heli-Mount 6 string.

The future of the banjo is clearly here. We will continue to see and hear the nostalgic, primitive old charm of tradition through collectors and reproducers of music from former times. All other forms of music will benefit from the lingering charm of America’s instrument as long as the instrument itself can rise to the challenge.

Progressive playing techniques coming from players like Alison Brown and Bela Fleck and Noam Pickelny challenged Nechville to supply a banjo tone that better fit their “New Acoustic” music. Early recordings from these masters ring with a familiar shrillness that is lacking in their more recently adopted “modern” sound. Fleck, Brown, and more recently even Tony Trischka have undergone transformations in tone, lending a fuller, rounder edge to their notes. They have arrived at their jazz-friendly tone by a variety of means, which Nechville explains as a combination of setup factors like bigger bridges, and tasteful playing technique. Tony’s sound seemed to transform most dramatically when he first tried Nechville’s 3/4″ Enterprise compensated bridge. Little things in banjo set up can make a big difference in tone.

Players are generally willing to experiment with bridges, heads, even tone rings and rims sometimes, but to change the whole concept of how a banjo works is a different story….

Tom Nechville takes pride in saying his company is the world’s leader in innovative banjo design. Nechville has 2 patents on his Heli-Mount banjo and adjustable neck connection.

The Nechville banjo replaces a combination of seventy odd pieces of hardware with an innovative one-piece cast metal frame. You tighten or loosen the head of the Heli-mount by rotating a threaded flange ring encircling the banjo’s drum pot. A pair of geared T wrenches similar to a chuck key on a drill, moves the flange ring around until you reach hide-busting tension. It’s a little like operating a lid of a jar. The Heli-Mount system perfectly produces an even tension across the head of the banjo. Moreover, the patented Helimount frame stands to be the chief structural component, rigidly attaching the neck while still allowing adjustment. This eliminates the need to have sound-choking coordinator rods inside the resonating chamber of the banjo.

Nechville’s patented solid neck connection to the frame allows for easy raising and lowering of string height and interchangeability among necks and bodies.

The sound quality from a Nechville banjo has been called “musical”, “balanced” and “thick” due to the absence of dozens of metallic parts and coordinator rods that are normally clamping the whole thing together. The tone ring and rim assembly, most commonly made from bell brass and 3 ply hard maple, is literally suspended inside the framework of the Helimount insuring the most purity to the banjo sound.

Nechville’s Phantom banjo combines contemporary engineering with the old English tunneled fifth string idea. The absence of the fifth peg on the Phantom allows unobstructed left hand maneuvering, particularly when using your thumb to fret the fifth string. Because no hole is drilled in the middle of the neck, it is stiffer, lending a dense woodiness to the tone. The neck profile is a bit wider, but with a slim feel for great playability.

Even more radical, but useful, is Nechville’s patented Nuvo neck. The neck is more guitar-like and all 5 strings are playable to the nut. A sliding 5th string capo can be placed anywhere from the zero fret to the top of the neck, and a main rolling capo is built right into the neck for rapid key changes without the need to retune between settings. Innovations from Nechville seem to never cease. He has pioneered synthesizer banjos, electric/ acoustic banjos and guitars, and a new class of Hybrid instruments he calls “Flux-tones”.

Nechville uses his recently patented “Flux capacitor” to marry an old style banjo pot to his modern, comfortable engineered necks, lending better tone, easy adjustability and portability to the old banjo. Look for more to come from Nechville. This is one little company working behind the scenes that has the determination to change music for the better.

More information on Nechville products and ideas is available at www.nechville.com and at www.banjorev.com