My Writings. My Thoughts.
Paul Roberts asks Adam Hurt about his tone
// November 11th, 2009 // 95 Comments » // Banjo Players, Old Time Banjo
I played your to CD, “Insight,” to a lady who is far from a banjo aficionado. She was struck by what she described as the “sweetness” you bring out of your instrument; exactly the same response I, and many others had when first hearing your music. There’s something about the tone you are able to pull out of the banjo, which along with your distinctive style is a uniquely defining characteristic of your music. Can you say something about how you arrived at this sound?
The matter of tone is an issue I have some pretty involved feelings about, and one that I am glad you raised.
I have spent a great deal of time thinking about and experimenting with tone.
In my experience, many banjo players feel that most of their tone comes from whatever instrument and setup they choose; in other words, a Whyte Laydie or Tubaphone-type banjo with a plastic head and a Kerschner-style tailpiece will produce a bright, focused tone, while a short-scale, 12″ banjo with a skin head and a No-Knot tailpiece will produce a dark, fuzzy tone, with various other types of banjos and setups filling in the spaces between fully bright and fully dark.
While the instrument and its setup are one piece of the tonal puzzle, the manner in which the player’s body interacts with the instrument is another, and is in my opinion has equal, if not greater, significance.
The area of the preferred fingernail that hits the strings may seem like a trivial matter, but it affects tone in a startling way.
I use my index finger nearly all of the time, only wearing a pick if I require extra volume and only switching to my middle finger if I break the index nail. Extending my index finger straight out in front of me – and thinking of its nail as having a left half and a right half – I can identify the upper right half as being the section that actually strikes the strings. This section of the fingernail, for me, produces a warm, round and clear tone with adequate volume. If I rotate my hand while playing so that the upper left half of the nail strikes the strings, my tone becomes increasingly bright – to the point of being almost brittle and riddled with clicking fingernail noise. The volume also seems to decrease as I move my hand in this way.
The right-hand attack which sounds the very best to me, is one that runs neither totally parallel to the surface of the head nor totally perpendicular to it, but halfway in between the two extremes, in a sort of 45-degree angle to the head and strings. The clearest way that I have found to teach this attack involves playing over the base of the fingerboard, whether or not that is where one typically prefers to play (scooped fingerboards can present a problem here, but the point can still be understood). In that position, one should be able to literally feel the preferred fingernail – striking as I described – graze the edge of the fingerboard after hitting the first string. Of course, the same thing cannot be felt, per se, on the other strings, but if the attack remains the same from string to string, the resulting tone will be consistently full and rich.
The manner in which one holds the banjo also affects the tone. Holding the pot in the middle of the lap, as so many people do, can feel secure, but the torso blocks a great deal of the escape route for the sound. Moving the pot over to the top of the right thigh allows some of that sound to get out, and also brings the neck a bit closer to parallel with the floor. This neck angle feels more comfortable to me than holding my left hand well up in the air as I would with the pot cradled in my lap, but more importantly, at least for me, it makes the fingernail-to-string relationship feel more natural. Some might worry that the banjo can slip away too easily in this position; if that is a concern, it would be better for a strap to be worn – yes, while sitting down -than to write off this posture as impossible. But nothing is set in stone; these are merely my preferences and others might feel totally different about their ideal tone, attack and so on.
I periodically conduct a short workshop on the mechanics of tone, in which I go over all of these concepts, all the while demonstrating the different types of tone that I can get out of one banjo simply by adjusting my physical relationship with the instrument. At some point during the session, I ask to borrow a couple of banjos from the participants; ideally, I look for instruments that represent, in and of themselves, the extremes of the bright- to-dark spectrum, and are as different sounding from my banjo as possible. With these banjos, I repeat the same procedure – rotating my right hand, changing my angle of attack and moving the banjo from my right thigh to the middle of my lap – all the while striking the strings. Though the tone is never identical to my banjo, it can be fairly close. It is always amazing to see how much warmth I can bring out of a fundamentally bright banjo, and vice-versa, simply by exploring these basic concepts.
All of that having been said, let’s go back for a moment to instrument and setup choice and how these things relate to tone. Years ago, I heard Richie Stearns of the Horse Flies playing his H.C. Dobson banjo. I knew immediately that the tone of his instrument, regardless of the way in which he played it, was something special and different. It was exactly what I was looking for. I played examples of these banjos whenever I could and found them to possess – by virtue of their patented Silver Bell tone rings – a remarkable combination of warmth and definition, striking a kind of happy medium between the Vega-style instruments and the 12″ banjos. These Dobsons were also rather consistent-sounding and surprisingly responsive, as long as they were properly and similarly set-up.
It took me quite some time to locate an excellent example with the characteristics I was seeking – an 11″ rim, and a build quality substantial enough to handle light-gauge steel strings, with no repercussions – along with the very best tone of this nature. Finally, I was able to trade another banjo for the perfect Dobson Silver Bell: a rare slot head model with a possibly unique double-spun (metal on the outside AND inside) rim and some fancy appointments, which may have been a custom-ordered banjo. While there doesn’t seem to be any one standard Dobson banjo, this instrument is more unusual than some, and a definite cut above most. It has a very light setup, with a thin skin head, a No-Knot tailpiece, and a maple bridge without an ebony top. I also stuff a medium-weight dishtowel inside the back, balling a portion of it fairly tight near the neck attachment and spreading the rest of it throughout the pot. This banjo and set-up, together with my physical interaction with it, combine to create exactly the tone I seek.
Sounds like there’s at least enough material in all that to base on entire course on banjo tone. Thanks for going so far into it, here, from your perspective.
New Creative Opportunities with the Cello Banjo by Cathy Moore
// December 12th, 2008 // 70 Comments » // Banjo Players, Cathy Moore, Cello Banjo, Old Time Banjo
“The cello banjo has helped me develop as a musician by giving me new creative opportunities.
Cathy Moore and Cello Banjo
Its low voice and long sustain inspire me to try slower, darker tunes than I usually play on a regular banjo. The cello also asks me to slow down some of my regular repertoire, drop extraneous notes, and syncopate the core melody. This often reveals a surprising depth and complexity within a tune that I had been playing on autopilot for years.
My right hand adjusted to the wider spacing of the original cello bridge, but it wasn’t happy switching between the cello and regular banjos. So I’m now using a bridge made by Mike Keyes that has normal string spacing, and my right hand feels at home everywhere.
The new all-wound strings are a great improvement over the original ones. Melody notes on the first string are clear and bell-like, and the equal amount of sustain from all strings makes a strum sound full and round.
The long sustain persuades me to simplify melodies a bit, especially in tunes that use a lot of low notes. I play near the middle of the head or, for more clarity, closer to the bridge.
I love how easy it is to tune the cello banjo–there’s so much resonance, you can easily hear what you’re doing. Also, the neck is so stable that when I retune one string, I don’t have to tweak all the others.
As the days get shorter, I find myself going to the cello more often to expand my repertoire of dark, introspective pieces. But the cello also holds its own in a rollicking old-time jam, filling out the bottom of the sound and inspiring me to explore bass runs. It’s a great way for any clawhammer player to develop their creativity and grow as a musician.”
©2008 BanjoMeetsWorld
Used by permission
Cello Banjo Development Circa 2007 by Wayne Rogers
// December 11th, 2008 // 27 Comments » // Banjo History, Banjo Players, Cello Banjo, Marcy Marxer
Wayne Rogers and Mary Z Cox - "Just had my 5 string banjo cello set up by Wayne and Chris at the Gold Tone Factory in Titusville - and boy does it play awesome now!" - says Mary Cox
Bob Carlin introduced me to Marcy Marxer, a fabulous multi-instrumentalist, who performs in a popular duo with Cathy Fink. Marcy had borrowed a 4-string vintage Gibson cello banjo from Mike Seeger, and she was accompanying Cathy’s banjo by playing the cello banjo in a new tonal and rhythmic style.
I searched YouTube and found them playing some old-time tunes, “The Buffalo Girls/ Puncheon Floor” and “Coleman’s March.” I was immediately struck by how the two banjos sounded together with the harmony, counterpoint and bass lines Marcy was playing on 4-string cello banjo. I was hooked on this instrument!
I contacted Marcy and she was thrilled to think we would offer a production model. We began the plans. Marcy sent me a vintage Gibson Guit-jo 6- string banjo that had the same exact pot as Mike’s 4-string. I was surprised to see the pot had a hollow internal chamber 1″ from the sides.
The design began. I decided on a solid 3-ply Canadian maple 14″ rim and used a heavy brass tone ring, instead of the hollow chamber on the old Gibson. We invested in tooling for the rim, tone ring, and counterhoop, as 14″ sizes were non-existent. Remo designed a special jig for a 14″ plastic banjo head. Marcy sent me tracings of Mike Seeger’s cello banjo neck. I modified the bulky Gibson neck to a thinner design.
Cello Banjo Set-Up
Marcy and I conferred often on every detail. We chose a Weyman-style inlay, rarely used on replicas. Dual coordinator rods were necessary for stability and adjustment (the Gibson used a non-adjusting dowel stick).
Marcy and I discussed whether there would be any market cello banjos, since she was really exploring new territory. Other than having a relatively short heyday – in turn of the century banjo orchestras and banjo bands – this instrument was relatively obscure. Unique marketing and lots of creative promotion was our only hope!
At the 2007 Clifftop Festival, we met with Curley Miller, a prominent classical 5-string player, of The Old 78’s. The Old 78’s (Curley and his wife, Carole Anne Rose) use a 5-string cello banjo, and they have recorded with Clarke Buehling, who has performed and recorded with one for many years. We began design on a 14” 5-string.
Old-time Florida banjo champion, Chuck Levy, convinced me this was a perfect body for a 6-string, which would extend the bass frequencies of a standard band. So, a third model – with an extra low 5th string – was added (not a Guit-jo).
Our target date was January 2007– NAMM …5 months away. When our samples arrived, Bob Carlin was the first to play one and he was “blown away” by the incredible tone and volume. We quickly made a call to Marcy and played it over the phone. She was delighted.
After the show, the 4-string sample went to Marcy. She immediately called and said we had done it! Tone, playability, and cosmetics were all perfect … beyond her expectations. Within hours, she and Cathy posted two YouTube videos. Sales Manager Tommy Sivert traveled to Bonnaroo and showed a cello 5-string to Bela Fleck, who ordered one on the spot. Mike Kropp, Bob Carlin, Tony Trischka, Mary Cox, Cathy Moore and others received their instruments and started posting videos on YouTube.
After designing over 150 instruments for the Gold Tone line, this project will always be my most memorable. Thanks to the help of Marcy Marcer, this instrument – I believe – will become mainstream and enter many genres of music with its distinct punchy and irresistible tone!
By Wayne A. Rogers
President of Gold Tone
©2008 Used by permission.
http://www.goldtone.com
How to Make a Banjo Bridge by Mike Keyes
// December 11th, 2008 // 53 Comments » // Banjo Players, Cello Banjo, Irish Banjo, Tenor Banjo
Mike Keyes How to make a banjo bridge for tenor or cello banjo...
Cathy Fink – Close-up on the Cello Banjo
// October 10th, 2008 // 33 Comments » // Banjo Articles by Paul Roberts, Banjo Players, Cello Banjo
-
Cathy Fink
“I think the unique sound of the cello banjo, in a new context, is a significant development for old-time music, jazz and related sounds. It’s like finding a long lost instrument and bringing it back to the public ear.” - Cathy Fink
Cathy and Marcy met in 1980 at the Toronto Folk Festival. Since then they have toured extensively, released over 20 albums for both children and adults, won two Grammy Awards, written more than 200 songs and won several songwriting awards. Cathy and Marcy have performed at the the Kennedy Center, the White House, on television and National Public Radio. Cathy and Marcy have been acknowledged in the Congressional Record for their work with children. They have produced more than 50 albums for other artists and have created instruction materials ranging from guitar and ukulele for kids, to how to sing harmony.
Recently, they Cathy and Marcy have received much notice for their musical compositions, incorporating an ancient American instrument, the cello banjo.
How does it feel to play duets with regular banjo and cello banjo?
We love these duets and have worked up about 15 of them. It’s not far from the tunes we play together on banjo and mandolin. We like doubling parts in unison on the two instruments, harmonizing, alternating playing various kinds of rhythms, etc. There are many options. And it’s such a big, fat sound. We’re still exploring lots of new ideas.
What gave the two of you the impetus to start working with cello banjo?
It started with Mike Seeger bringing a cello banjo to our studio for the Old Time Banjo Festival recording of “Ain’t Gonna Work Tomorrow,” in the summer of 2006. On that session, I played Mike’s cello banjo like a bass and Marcy played banjo uke.
When the recording was done, I handed Mike’s cello banjo over to Marcy to try and she flatpicked it like a tenor banjo. Mike loved the sounds and style. He offered to loan it to her for a few months, and she never put it down.
When Mike wanted his banjo back, Marcy scoured the country for a cello banjo and found one in great shape. It was only a few serial numbers away from Mike’s vintage instrument (circa 1918).
Marcy learned lots of fiddle tunes and continued expanding her skills (she gets a great calypso rhythm on it), to get sounds of a tuba, bass and banjo. Then we began using it on lots of recordings.
May Day 2007 was the auspicious day the YouTube video appeared with you and Marcy playing The Buffalo Girls and Puncheon Floor. Your clawhammer banjo, combined with Marcy on cello banjo, was a banjo duet like I’d never heard. It was a great kickoff for a new era for cello banjos.
We posted a few duets on YouTube and Wayne Rogers from Gold Tone discovered them. We thank Bob Carlin for the connection to Wayne. Wayne was so taken with the sound that he created the Gold Tone Marcy Marxer signature model cello banjo with 4 strings (CEB-4).
Since then – as the popularity of this instrument grows in 4 and 5 string models – Marcy is constantly fielding questions, emails, threads online helping folks make the most of their cello banjo. We’ve posted many more YouTube videos (search for Marcy Marxer cello banjo), and continue to make it a major part of our arranging for recording and performing.
Just about everywhere we play, as soon as a good guitarist or banjo player hears Marcy play, they WANT one!
Marcy Marxer and Cathy Fink video
The Buffalo Girls and Puncheon Floor
[youtube=http://www.youtube.com/watch?v=NOYYCheJV38]
Cathy Fink – Close-up on the Cello Banjo
By Paul Roberts 10/3/08
BanjoCrazy.com
©2008 all rights reserved
Banjo Talkin’ – Album Review by Hilary Dirlam
// October 10th, 2008 // 3 Comments » // Banjo CD's, Banjo Players
Banjotalkin
The Old-Time Herald
Wayne Rogers Endorses Cello Banjo Specialist Paul Roberts
// October 5th, 2008 // 53 Comments » // Banjo Articles by Paul Roberts
Wayne & Robyn Rogers
Wayne A. Rogers
of Gold Tone Banjos
In case you haven’t heard, Gold Tone Cello Banjos are a unique new production instrument resurrected from the days of the banjo orchestra. The pros love them (Bela Fleck, Tony Trishka, Bob Carlin, Marcy Marxer, Cathy Moore, Mary Cox plus many more) and they easily fit into ensemble music or can be played solo. Occasionally, a Gold Tone dealer takes a special interest in a particular product and gives it his “all”. In this case, Paul Roberts of BanjoCrazy.com has set up his site featuring our cello banjos and has provided history, interviews, playing techniques, collections of music and videos, and a wealth of information on the specifications. In case you’re one of the few banjoists who haven’t heard of this instrument to possibly add to your arsenal, you should visit BanjoCrazy.com and talk to Paul who is becoming an authority on this special instrument.
Thanks for your interest in GT products,
Wayne A. Rogers
President and founder of Gold Tone Banjos.
Here’s video of Wayne and Robyn Rogers playing with Bob Carlin on
Going Back to Cairo and Coleman’s March (Carlin plays the Cello Banjo)
[youtube=http://www.youtube.com/watch?v=O0ehxDnxXFQ]
Cello Banjo History – Interview with Bob Carlin
// October 4th, 2008 // 4 Comments » // Banjo Articles by Paul Roberts, Banjo Players, Cello Banjo
Bob Carlin
Interview By Paul Roberts 10/3/08
©2008 BanjoCrazy.com
all rights reserved
Bob, tell me something about the history of the cello banjo.
Bob Carlin: There was a big boom in banjo orchestras in the 1880’s until a little after the turn of the century. Colleges and private high schools were hotbeds of banjo orchestras. Different size 5-string banjos would mirror the violin family instruments in the orchestra; cello banjos were used in these orchestras. If you look through the yearbooks from the colleges and prep schools from that era, you’ll see banjo clubs, mandolin clubs and guitar clubs. Just like they had debating clubs, they had banjo clubs.
Were they part of the music curriculum?
No, not necessarily, they were extra-curricular.
That’s when people had to entertain themselves.
Early Banjo Duo
Well, yeah, and two things collided in the late 19th century. One was the ability to manufacture instruments for the first time – not by making them one at a time, even in a factory situation, but to really knock out large numbers of instruments, to mass-produce. That coincided with the emergence, particularly in America, of the middle class. It was the first time people had leisure time, the first time they had disposable income. A number of the manufacturers were players as well, or at least the guys that designed the instruments and got the manufacturers interested. There was a general love for the instrument and a desire by people to play banjos that these manufacturers were able to fill.
You said the banjo orchestras – popular from the 1880’s until a little after the turn of the century – used 5-string cello banjos. The current revival in cello banjos started when Marcy Marxer began playing an old 4-string cello banjo. Where did the 4-string fit in?
Yes, the banjo orchestras used a five-string cello banjo. Marcy Marxer fell in love with a Gibson, which was made after the big boom in banjo orchestras. I don’t think Gibson ever made a five-string version of the instrument Marcy borrowed from Mike Seeger and fell in love with. By the time the Gibson came in, which was in the teens, the boom was pretty much over and 5-string banjos were starting to go out of fashion.
That’s when tenor instruments were starting to come in. I think that the four-string cello banjo that Marcy Marxer plays was either part of the effort to promote the four-string instruments or to be used as a bass instrument in other stringed instrument orchestras, like mandolins or guitars.
Marcy Marxer doesn’t play the four-string cello banjo particularly the way they would have played it back then. She’s using it more like an octave mandolin, combined with playing bass lines as well.
Paul Roberts writes about and interviews traditional musicians. He is a performer, composer, music therapist and arts-in-education specialist who draws his musical inspiration from many genres. Visit his website at BanjoCrazy.com
Video of Duke Davis Banjo Band playing “Ida” – Check out this bass banjo!
[youtube=http://www.youtube.com/watch?v=S_7k0VjLY2w&feature=related]
The American Banjo Fraternity Article – Cello Banjo History
// October 4th, 2008 // 62 Comments » // Banjo Articles by Paul Roberts
Victorian Banjo Lady
From an article entitled “Cello Banjo” that appeared in 5Stringer (Number 197, Winter-Spring 2008), published by The American Banjo Fraternity.] Used by permission 10/3/08
The Cello Banjo: Some Historical Notes
The 5-string cello banjo became an important part of many banjo clubs and orchestras some 120 years ago. S.S. Stewart claimed to have “originated” this instrument, but this is hard to substantiate. There were large banjos before Stewart’s time. In “A Thousand and One Banjos: the Tsumara Collection,” by Akira Tsumara, there are 4 English banjos probably made between 1850 and 1870 as large as cello banjo. One had a 141/2-inch diameter head, the other three have drums about 17” in diameter.
But Stewart may well have been the one to introduce the cello banjo into the banjo orchestra in the late 1880’s. For one thing, Stewart probably helped to create the banjo orchestra. Groups such as the Boston Ideals originally used banjos, guitars, and mandolins; banjo orchestras needed more kinds of banjo. Stewart invented/developed the banjeaurine to play lead in clubs in 1885. And this higher pitched 5-string banjo rapidly became popular as a lead instrument. As a next step, Stewart began making cello banjos and introducing them to Philadelphia organizations around 1888-1889.
As conceived by Stewart, the cello banjo had a 16” diameter drum and a scale length of 29 inches. Other manufacturers also got into the act. Fairbanks seems to have made their cellos in a 14”x28” size. However, these instruments are very rare and most cellos that we have seen are Stewarts.
Stewart also referred to this instrument as a bass banjo. There were some contra bass banjos made. These were huge standup instruments. Tom Cary used one in his banjo act – a Washburn built by Lyon and Healey for the Columbian Exposition in 1893. The head was 24 inches in diameter. It stood 72 inches tall and weighed 41 pounds. A Fairbanks-Vega ad from about 1909 showed a similar instrument. These are extremely rare and may have been used mainly as novelties.
Late in the first decade of the 20th century, as the mandolin orchestra became more popular and plectrum playing came into being, cello banjos were made with 4 strings. In England, Clifford Essex made 4-string bass banjos and 3-string contra bass banjos. These had round wooden sounding boards instead of calfskin. They used floor pins, but were held at an angle rather than vertically like a bowed cello or bass. The wooden heads seem to be about 16 and 24 inches in diameter.
Here is an early banjo orchestra, Trois and His Banjo Orchestra 1935
[youtube=http://www.youtube.com/watch?v=3dGj-MgfwmE&feature=related]
1928 All Women Banjo Orchestra playing Banjo Blues
[youtube=http://www.youtube.com/watch?v=hT5HpK0eWW4&feature=related]
Bob Carlin talks about Gold Tone Cello Banjos with Paul Roberts
// September 30th, 2008 // 31 Comments » // Banjo Articles by Paul Roberts, Banjo Players, Cello Banjo
Bob Carlin
By Paul Roberts 9/29/08
©2008 BanjoCrazy.com all rights reserved
Bob, you’re quoted as saying,
“Gold Tone Cello Banjos are both something old and something new. They reference the banjo’s past, back to the late 19th/early 20th century banjo groups, yet at the same time provide today’s banjoists with an interesting and flexible banjo family instrument to fill up the bottom end of their ensembles. The CEB-4 and CEB-5 can shadow the melody played by fiddlers and regular pitched banjos, or play bass lines and counterpoint, making complete any acoustic music ensemble.”
Could you tell me why you think the cello banjo is reemerging after so many years of obscurity?
Its reemergence is in the hands of Marcy Marxer. I mean she’s the one. Even though the American Banjo Fraternity has had cello banjos in their orchestras for sixty years, Marcy has re-introduced it to a larger audience, in a whole new way, just within the last two years.
Cello banjos have been around since the 1880’s but in recent times, it’s sort of been lurking below the radar. Groups like The Old 78’s have always used the cello banjo in they’re performances, but Marcy has a lot more visibility. She’s the one driving the excitement.
Weren’t you there for the unveiling of the new Gold Tone cello banjos at the NAMM Show last January?
Yes, I was at the Gold Tone booth when we got the samples. I was one of the ones who unpacked them.
What was your first impression?
The minute I played the 5-string, I went, ‘this is it! This is great!’ I think it’s been a surprising hit.
Have you been playing one?
Oh yes, I’ve been using it a lot. I’ve actually got the prototype in my possession and I’ve been taking it around whenever I perform and teach. I use it to play melody, bass lines and a little bit of chording. I think it works great; I really like it. It fills in a frequency range between a string bass and the melody instruments and it doesn’t seem to get in the way of the guitar. I find the 5-string CEB-5 to be really exciting. I play it a lot.
What’s been the response to the cello banjo at your workshops?
A lot of clawhammer players have an immediate affinity to it, which doesn’t surprise me. What’s been very interesting is the three-finger bluegrass players who have said, ‘Wow, this is cool!’ I wasn’t sure it would work for what they did.
I’ve heard that several high-profile musicians have recently gotten cello banjos.
Yeah, I can’t wait to see Béla Fleck and Victor Wooten both playing their Gold Tone 5-string cello banjos on stage. That’s going to be pretty exciting. And it’ll be interesting to hear what Tony Trischka does with his. Tony has written a very complimentary review of the CEB-5, which should be published soon.
Neither the 4 nor 5-string cello is a ‘banjo’ in the way people are used to hearing it. It seems like one can go places, musically, with a cello banjo where people might not even recognize it’s a banjo.
Right, and I think it’s fine to make sounds on banjo family instruments that aren’t the stereotype of what people think banjos sound like. My West African buddy who plays West African lutes (that are similar to a banjo) has been playing all of his pieces on one of my Gold Tone BC-350 models. He tunes it like his lute and just plays everything that he could play on the African instrument. He has a low tuned lute, called the ngoni-bau, which sort of parallels the cello banjo. Once he hears a cello banjo, I think he’s going to want one. He’ll just tune it like the ngoni-bau and play it like that.
I think you’re right they’re pretty versatile. I think it actually takes somebody like you, who’s in the folk and international music world, to kind of break it out of that world where it would traditionally fall. I think it’s going to be an exciting addendum to what’s going on in the banjo world. We’re going to be seeing a lot of people using them.
Paul Roberts writes about and interviews traditional musicians. He is a performer, composer, music therapist and arts-in-education specialist who draws his musical inspiration from many genres. Visit his website at BanjoCrazy.com
