Testimonials

What I’ve always liked about your work is that it feels like you put a little of yourself into each banjo you make. Every one of em that I’ve ever held or played seemed like it was special and unique, like you were present when building it and really care about what you’re doing—artistry, I guess. They don’t ever feel like they were pumped through an assembly line process or rushed to get out the door.

That’s why I want to own another one of your banjos, so please take as much time as you need to make another special banjo, know what I mean?

What’s to be said of a craftsman who unintentionally pins both thumbs to the shell of a cabin he is building with a pneumatic framing stapler, and alone on the job site in the remote border country of the southern Rockies, remains patiently for his companion on the project to return from a trip into the village to free him with a wonder bar. Clearly this would make that person one hellacious, uniquely qualified, double thumb banjo player. For my money, and I am not naming names, that person could be Brooks Masten, a craftsman above reproach, and, thumbs down, my choice for the finest traditional banjo fabricator working today; also my favorite musician on said instrument as well. Unwilling to thumb his nose at apprenticing with the great mid-generation luthiers, this person has distinguished himself as someone incapable of resting under the thumb of convention by producing the Spartan, part instrument and part weapon.

My first Brooks banjo is #07, a calfskin over a White Lady tone ring with an internal resonator, the latter pushes the low and mid back through the skin for a perfect warm and tubby voice. The ring handles the high with a clarity that still amazes me after many years of faithful service. There are several other unorthodox features to this instrument which have turned a few heads and caused many more to exclaim I want a banjo configured exactly like this.

My #22 is equally unique in all respects. This calfskin 13 5/8’’ fretless minstrel with a 27 plus inch scale and fitted with heavy gauge gut, speaks with boss authority tuned to low A. Twenty-two continues to make me arrive late at the office.

It bears mentioning that I am guilty, perhaps as others have (in the old days), to demand special features on a banjo that departed from what Brooks holds as tradition and faithful reproduction of period instruments. Old Number Seven is such a departure. From the beginning I have referred to this guy, my favorite banjo, as “the Hybrid,” while Brooks prefers “the Mutant.” Instruments in the current catalog appear unique as well, exotic and traditional at the same time. I know from first hand experience that Brooks will continue to make great leaps with every instrument he crafts, that the most recent I have played are truly his best work, and by god, I have thumbed through all the catalogs and web sites and banjo pest holes out there. Brooks, I have two words for you, be have.

What a fine machine, It has just enough pop to its plunk. i am hearing different and new tones i have never heard before come from my other banjos. and not to mention it is one good lookin instrument!!!!!

I could not be more satisfied.

To sum up, I’m totally thrilled with my banjo and couldn’t be any happier. I just hope I haven’t done too good a sales job for you over here, or I’ll be having to wait years to get my next one!

I recently bought your banjo #75 from John Bernunzio and felt that I should write and let you know that this is the most amazing instrument! For sound, playability, and looks I think it is just the best out there, period.

I own a few banjos, old and new, and this one has become an instant favorite…when I can get it out of the hands of a couple of banjo-playing pals. Thanks for a great instrument, I will be spending a lot of playing time with it, and I’ll let everyone know where they can get their very own!

I’ve got two words for you: Damn son!!!

I love It.

I wanted to tell you how happy I am with my banjo. First thing, it smells and looks good. Secondly, and more importantly, it sounds great. Thirdly, it is a real pedigree item in terms of construction.

I have owned quite a number of banjos, trying to find a sound and setup that I am happy with. Something not too shrill like a lot of current stuff, good volume, with a nice sustain but not too much, something that sounds at home with old-time but that copes with more contemporary tunes. This banjo does just that. The best thing is that the setup on it lets me play gentle and also lets me really work hard and give that banjo a darn good frailing when I need to. The sound works so well on slow and fast melodies that I have gone back to a number of tunes that I first learnt to play and they just come out so well.

The construction is excellent, and the care and attention starts in the quality of the individual components. I am really pleased I opted for the skin head as it gives me the “plunk” that I wanted. The neck profile really works for me too. Ultimately, it is the really flexible instrument that I hoped it would be and it is just a pleasure to pick it up, sit down and play it.

I’ve tremendously enjoyed working with Brooks getting the banjo I wanted. He made me a simple, elegant and stellar fretless that I love so much I’m having him make me another fretted!! His willingness to work with me is amazing and his knowledge of banjo history allows him a breath of choices and details. His instruments are playable all the way up the neck. The tung oil method of finish he uses is the finest I’ve ever played on. There’s no hint of drag at all that I’ve gotten from other finishes.

I recommend him with the highest of praise.