Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
APRIL 7, 1928
19
The Music Trade Review
ceded that players do prefer gear pegs. The
instrument manufacturers that are first to satis-
fy this demand will be the first to cash in. We
predict that within a few years it will be prac-
tically impossible for a manufacturer to sell a
medium-priced banjo unless it is equipped with
efficient gear pegs.
The Development of the
Banjo and the Banjo Peg
Walter Grover, of the A. D. Grover & Son, Inc., Describes the Leading Orchestras Endorse
Pirastro Wondertone Strings
Development of This Typically American Musical In-
Members of New York, Philadelphia, Boston,
strument and the Peg's Importance in This
New York Philharmonic and Metropolitan
Opera Endorse Product
EW people realize that the banjo is the only musical instrument that has been originated
and developed in this country. Ever since Joe Sweeney introduced his first crude instru-
ment, manufacturers and players have been trying to overcome inherent defects of the in-
strument. The first banjos made were not expected to stay in shape for more than a few months;
the finger-boards were not fretted; the only strings that could be obtained were far from satis-
factory; the construction of the rim was such that it was impossible to tighten the head to a
satisfactory point; and, to add still further to
the player's troubles, the only pegs available pinions and two internal gears which are stag-
were wooden taper pegs similar to the regular gered in relation to one another. This peg is
violin peg type. As these were seldom properly now on the market under the name of the De
fitted to the peg head of the banjo, they were a Luxe Gear Peg and is being used by several
constant source of annoyance to the player who manufacturers of high-grade instruments. To
usually congratulated himself whenever he was demonstrate that the peg is entirely proof
able to get through one selection without stop- against slipping we suggest the following test:
ping to re-tune his instrument.
Attach one of these pegs to a tenor banjo and
The first step taken toward improving banjo tune the string up to pitch or above pitch.
tuning pegs was in the form of a combination Then remove the retaining screw, the celluloid
metal and celluloid friction peg which was a button and the metal cup from the back of the
distinct advantage over the old wooden taper peg, and you will find that the peg will hold the
peg. By means of an adjusting screw, it was string in any position in which you may set it.
We can truthfully say that we have never
possible to tighten the peg to a point where
sufficient friction was obtained to maintain the made an accessory that has received so much
strings at pitch for at least a few hours with- enthusiastic approval on the part of the profes-
out re-tuning. During a period of about twenty- sional player as has this new peg. This, to our
five years, several pegs were made that were minds, constitutes conclusive proof that we
very similar to this first so-called "patent peg," have produced a superior article. As we look
but having no distinct advantage over the first back over the various forms of tuning pegs with
one, being merely modifications. Several differ- which banjos have been equipped during the
ent models of these "patent pegs" were placed past twenty-five years, it gives us considerable
on the market, and practically every manufac- satisfaction to realize that we have at last elim-
turer described his product as being non- inated one of the greatest defects of the banjo,
slipping. Practically any player can testify to and we hope that we have done our bit toward
the fact that this claim was a rather extravagant elevating the instrument to its proper position
one, as it was usually necessary to tighten the among American-made musical instruments.
pegs up every few hours.
With the introduction of the resonator back,
A few years ago several different models of the long scale, greatly improved tailpieces, the
so-called "gear pegs" were placed on the new gear pegs and other general improvements
market, giving a reduced ratio of motion be- in appearance and construction, sales of banjos
tween the thumb piece and string post, thus in this country have increased considerably
enabling the player to obtain a more accurate from year to year. A few years ago gear pegs
tuning adjustment. These gear pegs were dis- were being used as factory equipment on only
tinct advantages over the old types of friction the highest-priced banjos, retailing from $100
pegs, but even these were not non-slipping. The up. Manufacturers were not particularly anx-
mere use of gears in a tuning peg cannot pre- ious to equip cheaper models with gear pegs,
vent the peg from being turned backward by as the gear pegs were much more expensive
tension that is applied to the string post, and, than the old style friction pegs that had been
as no gear locking device was provided in any used for so many years. However, when deal-
of these gear pegs, players soon found that they ers found that prospective purchasers of new
were confronted by the same old problem. To instruments were very anxious to have gear
be sure, it was not necessary to tighten the pegs pegs included as equipment on the instruments
as frequently as had been necessary before with that they were considering, they began to write
the friction pegs, but a certain amount of atten- to the manufacturers urging them to equip the
cheaper models with gear pegs. Many dealers
tion was nevertheless necessary.
About five years ago, we placed on the market have found that their customers invariably
our first Internal Gear Peg containing a driv- picked an instrument that was equipped with
ing pinion and a larger internal gear, that is a gear pegs when choosing one from their stocks.
gear having its teeth on the inside rather than The old style friction pegs have always been
on the outside surface. This peg also contained such a source of trouble and annoyance to the
a spring wHTch kept the retaining screw from player that gear pegs have come to him as a
coming loose, thus eliminating the necessity of distinct relief, and he will not consider pur-
tightening the peg at frequent intervals. How- chasing an instrument that is equipped with
ever, the satisfactory action of this peg de- friction pegs when he can obtain at a reason-
pended to some extent upon the manner in able price an instrument that is equipped with
which it was attached to the instrument, and gear pegs.
For several years we have been urging manu-
also on the amount of friction obtained between
facturers to equip their cheaper models of
one moving and one stationary surface.
During the past five years about ten different banjos with gear pegs, and have advanced the
models of gear pegs having gear ratios of from belief that by so doing they would increase their
two to one, to eight to one, have been placed sales of these instruments. Practically every
on the.market by various manufacturers, but manufacturer who has tried this out has found
the players still called for a non-slipping peg. that his increases in sales more than made up
After spending about two years on this prob- for the difference in -price between friction and
lem we devised a gear construction which was gear pegs. After all, it is the public that deter-
self-locking. The construction calls for two mines an issue such as this. It is generally con-
F
One of the biggest publicity stunts ever
undertaken to advertise strings was put through
by Henry Simson, of Simson & Frey, Inc., 257
Fourth avenue, New York, who conceived the
original plan of getting the individual endorse-
ment for the Pirastro Wondertone strings from
every member of the string section of five of
America's greatest orchestras. These include
the New York Symphony, the Philadelphia,
Boston Symphony, New York Philharmonic
and the New York Metropolitan Opera House
Orchestras.
Facsimile reproductions of all the signatures
are shown in a folder which has been prepared
for music dealers giving the unqualified en-
dorsement for Pirastro Wondertone strings of
these great musicians. The circular is headed:
"A Symphony of Praise on One String," and
features a letter from Willem Mengelberg, in
which he says: "I have often felt that I should
like to comment on your Pirastro Wondertone
string, for I have noticed a marked improve-
ment in the tonal quality of the string section
ever since your strings were used by the mem-
bers of the New York Philharmonic Society."
Rudy Wiedoeft in Detroit
DETROIT, MICH., April 3.—Rudy Wiedoeft, the
noted saxophonist, has been appearing in person
at the Frank Holton Michigan Co., recently
opened at 1518 Broadway. M?. Wiedoeft ap-
peared three times daily.
Consult the Universal Want Directory of
The Review.
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