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This was a great project to build something of a Bandolim/Mandolin hybrid. So what actually is the difference between the two? Well that is still very much up for discussion. But it was an excellent reason to delve into a world of music I knew little about. Truly an eye opener into the virtuosity that some of Brazil Bandolimists have to offer. Its now in the very safe hands of a musical pioneer in London and I for one am very much enjoying the music he is making with it.

A wider and deeper body than my usual mandolins with a cedar top for extra warmth, paired with a lovely set of European walnut. Keeping things local to the UK it has a Bog Oak fingerboard and peghead overlay. The extra course inspired by musical legend Hamilton de Holanda.

Trad with a twist. Here is a recently finished little open back tenor for a customer in America.

Taking inspiration from a number of little open-back banjos from the 1920s I have been lucky enough to have in my possession over the years. This is a new take on a classic.

I have always found something quite charming about the 17 fret banjos of the 20s and 30s, but there is no doubt that for a gigging musician the stability of tuning is a real issue. Adding a more substantial pot, dual coordinator rods and a two way trussrod to the three part neck has brought this right up to date.

17 frets to the body on a 20.75" scale it a comfortable little banjo to play. A soft V shape neck rather than the modern C allows for more meat on the neck while feeling more slender in the hand. With a nice sharp volute to add some crisp lines to the neck.

I really enjoyed using purpleheart wood, very strong and super stable adding a cheeky touch of colour to the banjo. But I have to confess, it has made the rosewood stripe on my own banjo look rather boring in comparison.