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Easy Method for setting tension on a hide head

From Tom Berghan on 10/18/2013 5:26:42 AM

I often see people asking about how to set the tension on a hide head (and, people ask the same about Mylar heads too!).

I have been playing with hide heads for nearly five years now, and I have endeavored to learn all about heads in general, both Hide and Mylar, and I feel pretty solid on the subject now.  By the way, yes, I have ripped a few in the process, and even deformed Mylar in this learning process.

Here is what I have learned, and some of it is opinion I suppose, but I believe that 98% of subject matter experts would agree with me.  However, there is no definitive manual on the subject and, like me, it therefore takes people a long time to learn what many others already knew.

1) There is no difference in tensioning a Hide head from a Mylar head.  The process is the same and the tension winds up being the same (for all practical purpose)  . . . I am referring to that tension where the majority of players agree that the head becomes extremely resonant. (Where the banjo sounds good!)

2) That tension, where this "resonance" occurs, is, when tapped, the head will sound a pitch in the range from G# to A-Natural, or even higher.  NOTE: Some banjo players like to go even higher than A-Natural.

3) The pitch, in and of itself, is not important . . . it is just a phenomenon that occurs when the head is sufficiently tight to become very resonant.  So, when the head becomes resonant, and you tap on it, you will get a pitch of at least G# or higher, and, as I said, some players like to go even higher than A-Natural (they go even tighter).

4) What happens when the "tap-pitch" is below G#?  Answer:  The head doesn't resonate as well.  It will sound hollow and tubby.  I personally do not like the sound of a "too loose head," for any type of banjo (Open back or Resonator), or any type of style (Picking or Clawhammer).  In my opinion the head needs to be sufficiently tight to become resonant, and when that happens the tap-pitch will be G# or higher . . .  Hide Head or Mylar Head . . . it is the same.  11-inch or 12-inch diameter - I have found it is the SAME.

5) What happens when the "tap-pitch" is above  Bb?  Answer: Well, the banjo head will still be very resonant and still sound excellent, but the head will be nearing the tension where a hide head will rip, and even Mylar will begin to deform (I have done it!).

6) Now . . . many, many people have a very hard time hearing the tap-pitch.  Well, do not worry because OTHER phenomena can be observed when the head is at the "resonant-tension."  Our BHO friend Steve Davis brought to my attention the fact that the head will depress right at the feet of the bridge.  The tighter the head, the LESS the depression.  So, if you prefer, you can forget all about the tap-pitch and just measure the depression at the bridge instead.  And it is really EASY to do. Here is how to do it.

METHOD:  The amount of head deflection caused by the pressure of the bridge, bearing down on the head, is an indicator of the head tension. It can be measured with a straight edge and a coin. A United States Quarter is about 0.07 inches thick and just fits under a 10" straight edge at the foot of the bridge when the tension produces a tap-pitch of A-Natural . . . which is the tension I personally like.  I purchased a wooden ruler for 95 cents and cut two inches off one end.  Position the straight edge parallel to the strings so it runs near the bridge. When the tension is at A-Natural, the quarter will fit tight in the gap between the straight edge and the head near the bridge.  If the head is tighter, the quarter binds between the straight edge and the head. This can be a good way to keep you from over tightening the head and tearing it. The straight edge is 10 inches long to fit inside the hoop, and slightly off center when you lay it alongside the bridge.  The 10 inch ruler and US Quarter also work fine on a 12 inch diameter head.

A-Natural ... quarter

G#...2 dimes

I hope that helps!  I find that whenever my banjo stops sounding resonant, I just take out the ruler and quarter from my case and check the gap . . . and it always happens that the head has loosened up just a wee bit and so I make the quick adjustment and it always sounds great once again! By the way, I use hide heads for most of my banjos because I love the sound of the banjos on those old 78 RPM recordings of both classic bluegrass and classic old-time music!  If the weather gets really dry, I use the same method to make sure the head is not becoming too tight.

And now an unsolicited commercial plug - I use John Balch Hide Heads!

10 Comments
	C Nyal de Kaye says: 10/17/2013 2:30:56 PM Thanks for the well-thought-out and presented info Tom. It is appreciated.
	Tom Berghan says: 10/17/2013 3:00:38 PM The pleasure is ALL mine! I had to kind of "bleed" for this knowledge, and if others do not have to go through all of that, then I will be very pleased indeed! Happy banjos have well tensioned heads . . . and hide head banjos are the MOST happy banjos! (in my opinion) ;-)
	blindsniper says: 10/17/2013 11:47:12 PM Tom, This entry comes like a fresh breeze. Thank you for this. It is well written and thought provoking. I wish I had read this a few week ago when I assembled my fisrt banjo build
	Tom Berghan says: 10/18/2013 4:57:34 AM Here are some conversions to millimeters and, equivalent coins in the United Kingdom. Of course you can use something other than a coin as your gauge. I hope that helps. US Quarter = 1.75 mm US Dime = 1.35 mm UK 5P = 1.70 mm UK 20P - 1.70 mm UK 50P = 1.78 mm
	Tom Berghan says: 10/18/2013 4:59:31 AM UK 2 Pound (from 1997) - 2.5 mm thick UK 5 Pound (from 1990) - 2.89 mm thick
	carlb says: 10/18/2013 5:15:34 AM Tom, I'm afraid I disagree completely with your method as useful for hide heads. Having played on them since I started banjo in 1973, I found that the tension of the head will vary with humidity and so you cannot set a hide head tension and have it remain the same in all humidity conditions. What I've found is that thinner heads (0.15-0.25 mm) have been best for me. Also, to keep the action approximately the same under all humidity conditions, I keep bridges of differents heights in my case and change them as needed (takes about a minute to change one). Sure, the tone changes with humidty, but that's part of the hide head experience. In addition, tightening and loosening the head only leads to a shorter life for it.
	Tom Berghan says: 10/28/2013 5:33:33 PM Quote >>>I found that the tension of the head will vary with humidity and so you cannot set a hide head tension and have it remain the same in all humidity conditions. <<< Actually I made no claims whatsoever about setting head tension and having it remain the same in all humidity conditions. Hide heads are definitely NOT "set it and forget it," but their tone is wonderful as hide head players know and worth the little extra effort (In my view). Yes Hide Heads do take on moisture (even if they have been water-proofed), and when they do take on moisture, the hide expands and the tension of the hide lessens. When the tension changes, he tones changes as well as the action. And that is exactly why hide heads need minor adjustments a few times during the year. Alternatively, they can also lose moisture and tighten . . . and sometimes they can tighten too much and rip if the tension is not monitored. I personally find that hide heads do not fatigue or fail as a result of adjusting the tension. In fact I believe that they will last longer as a result of being maintained at a constant tension. If the head slackens as result of humid conditions, and is allowed to lose its tension then it stands to reason that the head is flexing more as a result not less. And I personally believe it is best to keep the tension constant by checking he tension often and making small adjustments often. This is exactly what banjoists and drummers alike have done forever and a day. I never say to myself "Oh - it has been raining all week and my banjo sounds terrible, but, oh well, that is how hide heads are!" No, I take a moment and adjust the tension and it sounds excellent again. Because of the need make frequent adjustments, in 1937 Gibson designed their new “top-tension” Mastertone design. It was intended to make life easier for banjoists contending with calfskin heads. Calfskin heads were the standard before World War II (Remo Belli would later develop Mylar heads) and calfskin needed frequent attention (as all of us well know). Changes in the climate, especially in levels of humidity, dramatically changed the tension on a calfskin head and changed the banjo sound. Re-tensioning the calfskin head was common, and by moving the tension hook adjustment to the top without removing the resonator, Gibson made the tensioning process much easier.
	Frailblazer says: 11/6/2013 2:00:51 PM Interesting and detailed post Tom, thanks! I just wanted to mention that my Romero 12" has a tap tone of G# but only deflects 1 US dime. Fortunately, I can hear the tap tone fine but others who try this approach might get different results as I did.
	Tom Berghan says: 11/6/2013 5:21:52 PM Hi Ric! Well there you go - with your straight edge and dime you have found a STANDARD tension. And that is exactly the point. Now you have an easy and quick method and tool to repeat your ideal tension that you prefer. I like it! And because I have heard your fine recordings, I agree that your banjos sound excellent.
	ChuckS says: 1/1/2015 7:03:00 PM Thank you!
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