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@@BuyinFromBryan thanks ! I had an old one with tiger stripes. I sold it on eBay years ago. I saw my ebay pictures on a website about Gregory amps where they said it was clearly not an American Gregory amp, but likely an Asian import... Makes me wish I'd taken photos of the stamp inside. Ah well. There's not a lot of good info on these amps out there. Please post when yours is in playing shape!

@@nicpennsylvania definitely will. I'm digging through old forums to try and find out more information about the company and especially curious about the particular model I have. My first 60s tube amp. Haha maybe not high wattage but you can bet your bottom dollar I'm gonna have this thing mic'd and singing in the studio as soon as I can

@@luminawarren8132 it's not mine, but I do like these banjos. You're right, they don't cut like some others, but I think they sit better in most groups.

@@nicpennsylvania these were a big hit in the 70s because melodic fiddle tunes were just starting and these could pump a good melodic fiddle tune w a warm tone.

My understanding is that the person who would go on to found ODE/OME started at StewMac and was instrumental in the development of this integrated aluminum pot/ring. They became pretty popular for a variety of reasons. I'm not sure I'd call this one "warm", but this head is tuned pretty high. I even mention a heavier head would "tone it down" in the video. No doubt that these were widely available as melodic Clawhammer started to really establish itself.

@@nicpennsylvania it would make sense that the japanese copied this after the ODE aluminum model.

@@nicpennsylvania id say if you put a brass tension hoop on it w a heavy brass tailpiece, change out the plastic nut, put a maple resonator on it would pump really good.

Any time

No problem!

I'm playing "Over the Waterfall".

I do still have it. Zachary Hoyt has some available regularly now since we collaborated on this. You can get in contact with him here (hoytbanjos.com/banjos/wood-topped-banjo-4-950/) as he has this one in stock.

There are many masterclones out there, and Japan produced some of the best. I know that the Gold Stars have long been well regarded. I have heard that some of these higher-end Iidas were made in the same factory as Gold Stars, but I cannot confirm that.

I've not had an issue with the thumbstrap on a one row. I don't use one on any two-four row boxes though, as it definitely inhibits there. Also, I use my thumb on the keys on a three and four row. I know Cajun style players favour the strap, and it seems Celtic one-rowers do too. Different strokes.

Thanks much! Yes, I been focused on these Steriesche accordions for the past year. Not as nimble as the one and two rows, but they're beautiful, have a great sound, and are really rewarding to play

Also, the new book is out now, and your name is still in it. www.halleonard.com/product/1298172/how-to-play-the-button-accordion-song-book

@@nicpennsylvania Wait, what? I'm totally ordering it like right now

Yep, in the thanks section

​@@nicpennsylvaniaI just received it. Thank you for the kind words

Oh yeah. You could buy a single pick and the folks at Banjo Ben will make sure you have stickers and a thank you note.

I really appreciate your saying so.

Ugh... I know. I didn't realize until after the fact.

Both songs go by a few names. The first is "Spotted Pony/ Snowshoes". The second song is most commonly known as "Soldier's Joy" but around here is just as often called "The King's Head". Both are common songs, but Soldier's Joy is one most everyone knows. This sort of box is fine for Cajun playing - any diatonic box can be. The iconic Cajun boxes though, are four voice (four reeds sounding per note) and have two bass buttons for the I & V chord. The box I'm playing here is two voices and has four bass buttons for the I - IV & V chords. That IV chord comes in handy. But yes, while any diatonic is good for Cajun music, the one rows are preffered, more so a four voice box.

Thanks for your reply Nic, would you see any limitations if the box was in the key of G? Would it still be good for Cajun?

@@enjaycable The key is not a limit aside from most instructional music you'll hear for Cajun is in C. The layout is the same, so the buttons all have the same relationship to one another, even if the letters are different. Celtic players who use one row boxes tend to favour G boxes because so much of their repetoire is in G and D. A G box can play in D mixolydian (same as a regular D scale, but with a flattened 7th note).

The National Button Accordion Festival is in Sharon, Pennsylvania.

I've gotten very lucky, and I sure appreciate it. Hope you're doing well!

Thank you. Yes, I'm always interested in how people come by some instruments. I always wonder what an old instrument has seen and whats been played on it. To know this banjo's story, for me, is to know some of its story.

Thank you much

Thank you much!

Mach dir keine Gedanken über die Grammatik, ich verstehe dich gut. Außerdem ist meine Muttersprache Englisch. Ich schätze den Kommentar. Trotz all ihrer Einschränkungen behält die eine Reihe ihren Reiz.

Danke für das Kompliment. Ich spiele meistens zwei row (ich kenne nicht dieses wort) Akkordeons. Ich habe auch ein Steirische Harmonika mit drei rows, aber ich bin neues mit es. Die Steirische hat eine andere Stimmung. Ich sehe, du spielst auch klavierakkordeon. Ich habe schon lange angst vor alle diesen Bässen. Entschuldigung Sie, mein Deutsch ist wie ein kleines Kind.

I've seen some Richelieu banjos out there, but I thought Richelieu was based in France. Am I wrong? I've had an old Weymann tenor with the pop-off resonator. A great banjo. I'd love to get my hands on one of their five strings. I think I've only seen one Jany in the flesh. Regrettably, I wasn't so informed at the time. The banjos that I've inlaid with my own pearl have featured Liberty Bells, keystones, and other Pennsylvania symbols including Brook Trout, and native leaves.

@@nicpennsylvania I thought so too due to the name, but C. C. Richelieu is a Midwest native and he built his banjos in Wisconsin. He must have had a fondness for the Mummers to build a special edition commemorating us. If you get a chance to play a Richelieu 4-string, give it a try - they are in the same quality tier as Ome banjos and have a very slim neck for fast action. Jany banjos - they're definitely strange. Most of them(including mine) have a metal pot and a custom archtop tone ring. This gives it a very bright and tinny sound that's good for Philly string band music but might seem harsh for other genres. They are a truly unique folk instrument made in PA, though.

From S.S. Stewart, Weymann, Bob Rock, and Jany... PA sure has some great makers. Ever play a Bob Rock? My most recent video, from last night; has me playing an old 1909 Vega with a Bob Rock neck on it. He was a blacksmith, among other skills, in Everett in Bedford County. He made a good number of plectrum banjos. I've been told that, in the seventies, only good players could use Rock banjos in a jam because they were so loud. Most of his necks have a large volute like an eagle's talon. Mine does not, but likely because it was an earlier neck, as my friend bought it from Rock sometimes around 1961 or 1962. That mystery banjo, the original one... I've heard a couple people state that it may have been made by this guy in the Johnstown area around 1890-1910. He was a gunsmith and instrument maker. I wonder what other banjo history is hidden in the Commonwealth's hills and valleys.