Chords for Tony Trischka talks about his Deering Saratoga Star

_ Hello.
_ The sound of the Deering 10 brooks that I've got here is just a wonderful, rich, deep sound, which is what attracted _ me to that sound in the first place.
One of my students had one of these things, and I always like to check out full _ _ _ _ _ _ sound.
And I've got a pre-war flathead master tone from [Fm] 1932, and I'm not saying this [N] sounds exactly like that, but those kind of banjos have a deep, richer sound.
So that's the kind of sound I'm looking for these days.
_ This Deering _ Saratoga Star 10 brooks banjo has all that sound and more, so I'm really happy with the sound of it.
I've used this banjo on my Double Banjo of the Great Spectacular album, and more recently on my Territory album.
_ _ I'm just going to play a tune right now [C] so you can hear how this thing sounds _ [D] with the Swiss tone ring.
_ This is one called the East Tennessee Blues.
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Beautiful.
[G] So what string gauges do you use? _
The string gauges, I've got 10, 11, _ _ 13, 22, 10.
_ Great.
And how do you like it [F] set up?
What head tightness?
How do you set your banjo up?
I have my head _ banjo head tightened to an A note.
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And set up-wise, I've got _ another bridge put on here by one of your competitors.
But it's, I don't know the exact height because it's a radius fingerboard, so it's a radius bridge.
_ And beyond that, the action's not particularly, it's not [Gm] that high.
I like it not too low, not too high, somewhere in the middle so I can do [D#] intricate stuff,
but also have a little bit of a power for _ bluegrass playing.
And when you first got it, how was it when you first got your banjo?
What was your reaction to it when it first arrived?
I loved [E] the sound of the banjo when it first arrived.
It had a really big open sound and that sort of thing.
And it's changed because I play it all the time and I put a lot of mileage on it.
So it's just got a slightly different sound, not better or worse, just different, but still a lovely sound.
And it's nice because you can make _ really nice sounds with more slower, sweeter kind of tunes,
or you can blast [N] in a bluegrass kind of way.
It accommodates all those different feels really nicely.
And particularly with the slower, prettier kind of things, because you can make pretty music on a banjo.
It really is nice because it does have that rich sound that just kind of feeds you into the space.
I have a new album called Territory, which is on the Smithsonian Folkways label.
And it started out as a solo album with 12 solo cuts featuring this banjo.
_ And then I decided to take some double banjo things that were supposed to be on my double banjo bluegrass spectacular album,
but they just didn't quite fit into the bluegrass realm.
A tune with Pete Seeger, one with Mike Seeger, one with Bill Evans, Bruce Molsky.
Anyway, I put a bunch of those tunes, five of those tunes, on the Territory album,
_ and started realizing there's not really any bluegrass on here.
So I [Em] recorded four tunes in the bluegrass mode in the New York City [F] area and threw those on there.
And there's the album.
Here's a song from my double banjo bluegrass spectacular album on Rounder Records, [F#] and it's called Escher's [F] Waltz. _ _
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_ _ [N] And I actually have this brand new album, at least as of this taping, or 1 and 0-ing, or whatever's going on with that machine I'm looking at. _ _
And a new album called Hill Country, which actually is an old album because it came out originally in the early to mid-80s.
It's a bluegrass album.
This is a tune that was perhaps going to end up on that album but didn't, so it doesn't have a name.
But it's a fairly bluegrassy kind of tune.
[G] You get to hear how a driving banjo [F#] sound comes out of this. _
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