About this banjo
The Winston Marshall Signature Model by Deering is, in his own words, the ultimate touring banjo. Every detail of this banjo has a purpose. Some are by necessity – features that he has adopted over the last eight years of playing Deering Eagle II banjos on some of the biggest stages on the planet. Others are personal aesthetics, revealing a glimpse into the mind of the man who has arguably bought banjo to the forefront of modern popular culture more than anyone before him.
- Maple Stained a Dark Honey
- Natural Ebony Fingerboard
- Bone Nut
- Ivoroid Bound Fingerboard with Black/ White Trim
- Mother of Pearl Original Willis on the Peghead
- Mother of Pearl Inlays of GOTR Shields Down the Fretboard, Union Jack at the 7th Fret, and Bold Name Plate Inlay with Winston Marshall Engraved into It at the 19th Fret
- Slender Deering Neck Shape
- 22 Nickel-Silver Frets
- Fully Adjustable Two Way Truss Rod
- Deering Planetary Banjo Tuners
- Deering Geared 5th String Tuner
- Satin Finish
- Deering Hartford Grenadillo Wood Tone Ring
- 11″ Three-Ply Violin Grade Maple Rim
- Deering Brass Notched Tension Hoop
- 11″ Frosted Top Medium Crown Head
- 24 Round Hooks and ¼″ Hex Nuts
- 24 Bracket Shoes
- Eagle Series 2-Piece Shoe and Plate Flange
- Slender Shaped Armrest with Golden Honey Stained Maple Overlay
- Nickel Plated Hardware
- Deering True Tone Tailpiece
- 5/8″ Deering Smile Maple/Ebony Top Bridge
- Kavanjo Blender System / Duel Volume Switcher Model Banjo Pickup
- 1/4″ Output Jack
- XLR Mic Output Jack
- Maple Stained Dark Honey
- Ivoroid Binding with Black/White Trim
- Straight Inside Sidewalls
- Satin Finish
Deering Hardshell Case Included
The combination of the rennaissance head mounted to a grenadillo tone ring gives the Winston Marshall model a warm, yet punchy tone.
G,D,G,B,D in standard G tuning
Can easily be tuned in other tunings as well.
- Comes with Deering 5-String Light Gauge Banjo Strings tuned to in standard G tuning (G,D,G,B,D)
- Gauges: 10 11 13 21w 10
- End Type: Loop
- Neck Width at the Nut 1 1/4″
- Scale Length Nut to Bridge 26 1/4″
- Resonator Diameter 13 7/8″
- Rim Diameter 11″
- Overall Instrument Length 38″
- Weight Approx. 10 lbs
The trust and pride we share in our product gives us the confidence to grant every owner of a Deering banjo a Lifetime Warranty ensuring the quality of our materials and workmanship.
THE ULTIMATE TOURING BANJO
The Winston Marshall Signature Model is, in his own words, the ultimate touring banjo. Every detail of this banjo has a purpose and is the result of more than a year of close collaboration between Deering and Winston. Some are by necessity – features that he has adopted over the last eight years of playing Deering Eagle II banjos on some of the biggest stages on the planet. Others are personal aesthetics, revealing a glimpse into the mind of the man who has arguably bought banjo to the forefront of modern popular culture more than anyone before him.
On the surface, one could argue that this banjo is quite understated. However, underneath this smooth simplicity lies a beating heart of banjo innovation.
The electronics are a key feature of the Winston Marshall Model. The Kavanjo/piezo blended pickups were inspired by a similar system from Deering’s Phoenix banjo, only taken up a notch specifically for Winston’s Signature Model and his touring needs.
This new set-up is the Kavanjo Blender System DVS (Dual Volume Switch) model which features two knobs which allow the player to control the volume of the Kavanjo and Piezo separately to get the perfect honed-in mix between the two. The volume knobs on this model have also moved location from the traditional “below strings” of an electric guitar, up to the top shoulder of the rim of the banjo, more akin to the EQ dials of an acoustic guitar, for ease of access.
Nestled in between the knobs is a 3-way toggle switch, giving the player the ability to quickly select the Kavanjo at the neck position, the piezo at the bridge position, or simply blend the two at the flick of a switch.
With a standard guitar cable players can plug directly into an amp, DI, or pedal board and be ready to roll. However, look closely, and you will notice something different about Winston’s banjo. Snugged in next to the jack, is an XLR jack. This is an added tool that compliments (or works alongside) the pickups. You can install your favorite mic, by simply plugging it into the XLR jack and strapping it to the coordinator rods. This is a feature Winston has used from time to time on tour and, together with the pickups, gives the broadest range of amplification control and options possible on a banjo.
The Grenadillo wood Tone Ring has two benefits. It gives the banjo a significantly lighter weight which is heaven sent for players like Winston who like the freedom to move on stage. While at the same time giving a warm depth of tone while not losing on the bright side of the tonal range. This has become the tone ring of choice for many professional mainstream players.
The banjo itself is a maple banjo, stained in a rich dark amber and finished in a sleek, understated satin finish. The fingerboard inlays are all Winston. All the inlay work is mother of pearl, with the majority of fret markers depicting the shield motif from Gentlemen of the Road [GOTR]. Winston’s name features at the 19th fret, while the symbol of his home the Union Flag waves across the seventh fret. The peghead is adorned by the original “Willis”, Mumford & Son’s long-standing, top hat wearing mascot who has become synonymous with the band since day one.
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We can add these as a free service when you purchase a banjo from us. When you add this banjo to your cart just select that you want the capos. What is this? When you use a standard capo on your banjo fretboard, fretting strings 1 through 4, you’ll need to capo the 5th string separately. The 5th string starts at the 5th fret. If your standard capo is on the 2nd fret, you also need to capo the 5th string two frets higher, at the 7th fret. We recommend installing railroad spike capos on frets 7 and 9 (A and B). We install them on the fretboard just under the 5th string, an idea that was developed and used by Earl Scruggs himself. We use them, and so do most of the professional players we know. When you’re playing, you don’t really notice the spikes because they’re out of the way, but they’re always there when you need them. Simply slide the 5th string under the spike. When you’re done, slide it out.