Michael Nix

The Banjar, created by Michael Nix, is a seven-string banjo that combines elements of the classic five string banjo and the classical guitar. Its nylon strings sound somewhat like a cross between the banjo and a lute or harpsichord.

The inspiration for creating the Banjor was a combination of Michael’s musical journey playing the banjo and guitar and his research into the  history of the banjo.  Creating the Banjar took several years of research and collaboration with a variety of musicians and instrument makers.

Throughout his career, Michael’s playing of  the banjo and guitar ranged from Bluegrass, folk music, rock guitar to classical guitar He developed a unique banjo style, influenced by elements of Scruggs, melodic, clawhammer and classical guitar styles.  He applied the banjo to classical music, including transcribing Bach cello suites for banjo. 

He transcribed a program of classical music for the banjo leading him to design a banjo that would maintain an integral bass line like the lute or guitar, have a dark, rich, powerful, sustaining tone, and use the high tension strings of the classical guitar. 

Michael’s banjo research revealed that seven-string banjos were used in England in the 1800's and it seemed like some modern materials and design could be applied to the concept. Michael and Rick LaPierre took in an exhibit of the banjo collection of James F. Bollman at The Museum of Our Natural Heritage in Lexington, Massachusetts, looking for design ideas, and soaking up some banjo making history.

Michael determined that the open back banjo produced a rounder, less "cupped" sound than those using a resonator.  The open back banjo had greater control of dynamics and diversity of timbre that Michael was looking for so it was chosen for the body of the Banjar.

A number of different head materials were considered. Natural materials such as calf or goat skin lost tension in humidity, drastically altering the tuning on summer days. White plastic heads produced a sharp, unpleasant tone, and the Fiberskyn heads were a little too dull. A head of timpani material (Renaissance style heads) was chosen for its ringing and sustaining qualities.

Michael sketched out the design for the instrument, and approached Tony Creamer for his input, and for help in finding a banjo maker. Tony recommended Bart Reider, and Michael Ramsey, both fine makers of historical open back banjo's. After playing instruments of both makers, Michael chose Ramsey for the richness of tone that he brought to his instruments. Ramsey completed the instrument in March of 2004.

Michael was unhappy with the sound of a traditional banjo bridge. The footed bridge gave the instrument a lot of cross vibration between strings, which obscured the individual voices so necessary for the polyphonic classical style. He asked Ivon Schmuckler of the Leeds Guitarmaker's School to work with him to design a bridge that would give some of the sustain in the bass and tone of the classical guitar, and retain the sweet openness of the banjo. Ivon came up with a solid bridge with cut outs in various places, sustaining the bass, and opening up the treble.

The Banjar was given its premier at a NixWorks Series Concert on March 20, 2004 at the Ariel Jones Studio in Turners Falls, MA. Nix performed three Stephen Foster songs with Mezzo Soprano Eileen Ruby, and his solo Variations on Greensleeves. A week later he performed the Foster Program and his own set of variations for the seven string banjo on "Spanish Fandango" at the Gilford Community Church in Gilford, NH. The first full solo program was performed at the Coop Concerts at The Station in Greenfield, MA on 6/17/04.

After twenty years of performance and composition for the Ramsey Banjar, Michael felt it was time for some design upgrades and commissioned Will Seeders Mosheim of Seeders Musical Instruments to produce the instrument.  Seeders custom Banjar, #125, was delivered in 2023.