The next step is putting strings on. First attach the tailpiece. You don't need to tighten this down firmly-just enough to attach the strings and position the bridge so it doesn't fall off. Start with the tailpiece a bit higher than the top of the tension hoop. I usually put the 1st and 5th strings on first so they hold the bridge in place. Put on the other three strings and tune the banjo to standard pitch. It's very important to keep the strings tuned to correct pitch while you tighten or loosen the head as well as when you adjust the height of the tailpiece.

You'll need to position the bridge at this point in order to tune the banjo up. With a new head it's not obvious where the bridge should go. One way to get it very close to the right location quickly is to use a yardstick or other long ruler. Measure the distance from the nut to the 12th fret. This distance should the same as the distance from the 12th fret to the bridge. When it's close you'll need to find the exact spot by ear. Tune the strings to standard pitch with an electronic tuner. Now we need to fine tune positioning of the bridge so that the banjo plays in tune up and down the neck.

To do this you'll need to be able to play a harmonic note at the 12th fret of the 1st string. This is done by lightly touching the string exactly over the 12th fret. Don't press down on the string with your left hand, just rest the tip of your finger lightly on the string. Pluck the string with your right hand (it works better if you use a finger pick) and take your left hand finger off the string immediately after plucking the string. You should hear a high ringing note that is often referred to as a “chime”. I want to stress again that this works best if the strings are tuned correctly.

When the bridge is in the right spot this harmonic note will be the same as the note you get by fretting the 12th fret normally. If the fretted note is flat or lower than the harmonic move the bridge toward the neck a very small amount and try again. If the fretted note is sharp or higher than the harmonic move the bridge toward the tailpiece. The basic concept to remember is that we make a string higher in pitch by shortening it and lower in pitch by lengthening it. This is what we're doing by moving the bridge closer or farther away from the tailpiece. The bridge is in the right place when the note from the “chime” matches the fretted note. You'll need to do this procedure for both ends of the bridge by repeating this process on the 1st and 4th strings (the 5th string doesn't work for this).

I need to point out that it's not possible to get every string to match if you are using a standard flat or uncompensated bridge. This why we usually only check the 1st and 4th strings when setting the bridge position. It's still likely that the 2nd and 3rd, strings are not perfectly in tune. Usually the 2nd string will be very slightly off while the 3rd string will be more noticeable. This problem is caused by the differences in string gauges. If the 1st and 4th string intonation is correct the bridge is lined up as good as it can be.

The main way to correct this problem is to use a compensated bridge. There are a couple of ways bridge makers do this. Some compensated bridges have a inset cut into the bridge top facing the neck for the 3rd string making it a little longer than the others. This usually helps with this problem. Other bridges are made so that each string is compensated differently by making the bridge with angles changing the length of each string. With a traditional uncompensated bridge setting the intonation the way I described above means that the bridge is on slight angle relative to the strings with the side under the 5th string a little closer to the tailpiece. There is no perfect solution to this problem but it can be worth trying a compensated bridge if you are really bothered by it. For now, let's put the resonator back on and go to the next step.