Before we begin, I must note that this is _not_ the most common attachment method that I have observed in antique Kentucky-made mountain banjos. The folk banjos of this region are often "full spike," i.e. the neck runs the entire length of the instrument, terminating at or a little beyond the rim, as seen in early gourd banjos. For this reason and others, it is possible that the Kentucky mountain banjo (whose characteristic octagonal sound chamber is basically a wooden gourd) predates the more industrial North Carolina/Tennessee mountain banjo popularized by Stanley Hicks, Frank Proffitt, Tab Ward and others.
Photo 1: shows our walnut neck seated in the mortise I created by cutting a 2.5" gap in one of the pot's eight side panels. Three 1/4" holes have been drilled (through the back plate and into the neck tenon) and three 1/4" oak pegs have been prepared as fasteners. When joining wood like this, it's best to use pegs of a harder material than that being joined, i.e. when joining pine, oak or pegs should be used; when joining oak, cherry/maple/walnut pegs should be used.
Photo 2: shows the three pegs seated in their holes, ready to be tapped in with a rubber or rawhide mallet. You'll also want to smear some glue on each peg and inside each hole (note shown).
Photo 3: typical method for trimming peg ends once seated. Take an old saw blade, build up the ends with tape so the teeth can't mar your work surface, and carefully use this to shorten each peg.
Photo 4: use two small boards and a pair of C-clamps to hold the pegs tightly in their holes while the glue sets. In the morning, I'll remove the clamps and plane the pegs flush.
Clifton Hicks
2020-03-23 14:49:29 +0000 UTCJake Tolbert
2020-03-23 13:46:37 +0000 UTCKapel Coolac
2020-03-22 04:00:17 +0000 UTCClifton Hicks
2020-03-22 02:05:10 +0000 UTCNick Conner
2020-03-22 01:47:20 +0000 UTC