Resonance tune a banjo; the howl method: Part I, the head скачать в хорошем качестве

Resonance tune a banjo; the howl method: Part I, the head

Describes procedure to use resonance tuning to improve a banjo's sound. It's a little hard to hear the banjo's resonant sweet spot in this video. But you'll know it when you hear it with an actual banjo; just raise and lower the pitch of your voice (howl) in the right frequency range, and you'll hear it -- and feel it. In this video, I describe resonance tuning the head. The head is all you can resonance tune if yours is an open back banjo. I will try to get to Part II soon, in which I'll resonance tune the air chamber. The resonant note is more distinct with some banjos than others; for example, the Goldstar I use in this video actually has several resonant frequencies in the same general frequency band, whereas my Bart Reiter banjo has a more distinct single resonant frequency that falls between C# and E, depending on the tension of the head. My sense of which is the best note to aim for in resonance tuning relies heavily on the information presented by Roger Siminoff in his book, How to Set Up the Best Sounding Banjo (Hal Leonard Corp., 1999). The major difference between the howl method and Roger's approach is the howl itself. Roger uses a specialized hammer and "tap-tuning" to sound the resonant note. I think it's a lot easier to hear the resonant frequency when you're howling. Banjos and howling just seem to go together.