I've been playing a 6 string banjo (Goldtone GT-500, $600+, Elderlys or go to www.banjostore.com [click Goldtone] or contact Goldtone1@aol.com) for a couple of years now, and I have to say its more fun than white people should have by themselves. It should definitely be finger-picked (Travis for country or reels, thumb-roll for bluegrass, or arpeggio/folk for waltzes, though a spanish roll really supports the mando guys). Do not strum this banjo in public as the combined base strings give out a Buddhist type "OMMMM" sound that works only at Gore fundraisers.

The company owner's name is Wayne out of Titusville Fla. He's busier than a duck at a cockfight, but they can do some custom work, and I'm in the process of upgrading to their GT-750 with a bell bronze pot. I've played Gibsons and Deerings, and like it or not, the Goldtone is superior in all respects, except using expensive woods (they use maple, though well done) and some high end appointments.

They include a mag pickup attached to one of the tension rods inside the banjo which makes it sound like one of those sixties surf guitars, with a thump! effect on the bass strings that actually sounds great playing off one of my partner's Stelling 5-strings. (This is not advised at Trad App jams). In fact, truth be told, sans pick-up, it sounds great in concert with any other "regular" banjo, especially when you're doing a rolling bass run underneath.

The biggest downer is the fact that the 6 string comes with a stupid name "Banjitar," and a clear plastic head (a marketing ploy to show off the pick-up). For the longest time I had a black head (ordered from Deering, with the logo removed by non-acetone nail polish remover) on it, and it looked great against the black headstock and logo. During gigs, I was frequently introduced as one of the last living black 6 string banjo players in the world. Later, based on some sound tests, I found that the Remo Fyberskin II gives the bottom end a smoothness the thinner heads did not.

The only other changes I made was a slightly higher bridge and heavier bass E and A strings, both of which worked to correct and define the bass end which, given the mix of the bands I play in, is where this banjo's grace notes are heard. For the record, I also play a 5 string, a long neck, and a uke strung tenor.