The Deering Goodtime II is a five‑string banjo built for players who want clear projection, low maintenance, and American manufacture at a mid‑range price point.
Quick buyer snapshot: who should choose the Deering Goodtime II and why it stands out
The Goodtime II suits beginners who want a reliable first five‑string and intermediate players who need a gig‑ready instrument without a hefty price tag.
Gigging players get a banjo with solid projection and a consistent factory setup that tolerates heavy touring; that makes it a practical stage choice.
Expect a bright, ringing top end with focused midrange punch; the Goodtime II delivers clarity more than deep low‑end warmth, which is exactly what bluegrass leads need.
Key selling points: playability out of the box, simple setup, consistently good resale value, and a name brand with a long American manufacturing record.
Construction deep-dive: rims, resonator vs open-back options, and how materials shape tone
The Goodtime II uses a single‑ply head on a maple rim in most standard models; maple rims favor brightness and attack, while mahogany rims smooth the top and add warmth.
Resonator models increase forward projection and sustain; open‑back options reduce punch and emphasize a warmer, rounder tone better suited to old‑time clawhammer.
Rim depth matters: shallow rims tighten the low end and emphasize high frequencies; deeper rims add body and a fuller bass/mid response.
Deering sells Goodtime II variants both with a resonator and as open‑back conversions; choose the resonator for bluegrass punch and the open‑back for campfire or clawhammer work.
Neck profile, scale length and fingerboard materials that determine feel
Neck profile on the Goodtime II is typically a medium C for balanced fretting comfort and flat picking; players with larger hands should test neck girth before buying.
Scale length is standard five‑string length; confirm the exact measurement at the shop because subtle changes affect string tension and feel under finger.
Fretboard choices—maple or rosewood on some variants—impact attack and sustain: maple gives a snappier tone, rosewood smooths highs and adds warmth.
Check nut width and string spacing; narrower nuts favor clawhammer fingerings, wider spacing helps roll accuracy and hybrid fingerpicking.
Hardware, head type and tone rings: the small parts with big tonal effects
Most Goodtime II banjos ship with a Remo or similar single‑ply head that produces bright, articulate sound; head tension controls brightness—tighten for bite, loosen for warmth.
Deering Goodtime II models usually omit an elaborate metal tone ring; absence of a heavy tone ring means less metallic shimmer but more open sustain and a lighter feel.
Tailpiece quality and bridge material affect string vibration transfer; a well‑fitted ebony or maple bridge paired with a solid tailpiece yields better intonation and tone.
Factory tuning machines are serviceable but not premium; replace sealed‑gear tuners only if you need finer tuning stability or lighter weight for gig rigs.
The Goodtime II tonal profile: what it sounds like across styles
Core sonic character: bright top, clear chime, focused midrange, and moderate sustain that projects without harsh overtones.
Bluegrass leads benefit from the punchy midrange and brightness that push through a band mix; single‑note lines stay distinct.
Clawhammer and folk players will find the open‑back variants or detensioned head settings produce a rounder, warmer tone more suited to rolls and accompaniment.
Change strings and setup to shift tone: heavier gauges add drive and projection for live bluegrass; lighter gauges ease bending and give a softer open‑back voice for old‑time music.
Excellent contexts: small venues, backyard jams, and recording sessions that need a clear banjo presence without an overly metallic edge.
Playability and setup: dialing in action, intonation, and the ideal string choices
Start with a basic setup checklist: verify bridge placement at the scale markings, measure action at the 12th fret, and check neck relief by fretting the first and last frets and observing string gap.
Action height: set 12th‑fret action around 0.085–0.115 inches for bluegrass; raise slightly for heavy picks to avoid buzzing, lower for clawhammer comfort.
Check intonation by comparing fretted 12th‑fret pitch to open string octave; minor errors usually correct by bridge repositioning or replacing worn bridge slots.
Recommended string gauges: for bluegrass use 9–11G sets (9s or 10s) for brighter attack; for clawhammer prefer 11–12G for balance and warmer response; mixed tunings like open G or drop C respond predictably to these choices.
Basic setup checklist every buyer should request or perform
1. Bridge alignment: confirm bridge sits at scale‑calculated position with saddle leg orientation correct.
2. Action measurement: measure at 12th fret; adjust bridge or head tension if outside target range.
3. Neck relief: check truss rod adjustment only if you understand consequences; small turns, quarter‑turn increments.
4. Fret buzz diagnosis: identify buzz location, check for high frets or low action, and determine if a fret dress is needed.
5. Intonation check: compare fretted octave to open string harmonic and correct bridge position or saddle height.
Amplifying and gigging with a Goodtime II: pickups, mics, and stage setup
Pickup options: under‑saddle and bridge contact pickups provide consistent level and feedback resistance; rim mount pickups capture head vibration and offer a more natural tone.
Microphone’ing the head gives the most authentic acoustic sound but increases feedback risk on loud stages; use tight cardioid mics close to the head for stage use.
For live EQ, cut some low mids around 200–400 Hz to reduce boom, boost 800–2kHz for note clarity, and add slight high shelving for chime without shrillness.
For recording, use a high‑quality condenser mic near the 12th fret and supplement with a close mic on the resonator or rim to capture attack and body separately.
Head-to-head comparisons: Goodtime II versus other Deering Goodtime models and competitors
Goodtime (open‑back) vs Goodtime II (resonator): the original Goodtime favors old‑time warmth and portability; Goodtime II pushes projection and brightness for lead playing.
Construction differences: Goodtime II often uses higher‑grade finishes and different neck profiles that marginally improve stability and feel over the base model.
Compared with Recording King and Gold Tone models, the Goodtime II offers superior factory setup and American build consistency; competitors may undercut on price but sometimes sacrifice final setup quality.
Intermediate players upgrade from the Goodtime II to higher‑end Deering models to gain a metal tone ring, premium woods, more sustain, and finer hardware; decide based on your tonal goals and budget.
Upgrades and mods that improve tone and playability (what to do first)
Highest‑impact, low‑cost upgrades: swap to a better head, fit a higher‑quality bridge, and get a professional setup; these provide the best tonal return per dollar.
Pickup upgrade yields immediate gigging benefits; choose a rim mount or dedicated banjo bridge pickup for more authentic acoustic response on stage.
Tone ring swaps change character dramatically and are best left to experienced techs; adding a brass or bronze ring increases metallic shimmer and sustain.
DIY tasks: head replacement, bridge swap, and simple tailpiece adjustments are approachable; leave neck resets, fretwork, and tone ring fits to a luthier.
Regular care, seasonal maintenance and troubleshooting common problems
Routine care: clean fingerboard with appropriate oil occasionally, change strings every 2–4 months depending on play, and wipe hardware after gigs to prevent corrosion.
Head tension: check and tune head every season or with noticeable tone change; mark a reference tension for consistent results after replacements.
Humidity control: keep the banjo in 30–50% relative humidity to prevent rim cracking or neck shifts; use a case humidifier in dry climates.
Quick fixes: squeaky tuners often clean up with a drop of light oil; fret buzz from a loose screw or high fret needs tightening or professional fret dress.
Warranty considerations: structural rim cracks and factory adhesive failures typically fall under warranty; worn frets and routine wear do not.
Essential accessories and extras to get the most from your Goodtime II
Pick a hard case for travel and a padded gig bag for light haul; Deering cases fit well and retain resale condition.
Use fingerpicks sized to your attack style: medium‑stiff for bluegrass and light for clawhammer; a thumbpick with medium spring is a common starting point.
Recommended tools: a clip tuner, spare bridge, small screwdriver set, and a head‑tension wrench or roller for on‑the‑road adjustments.
Pickup and mic models favored: LR Baggs, K&K, and Seymour Duncan bridge/under‑saddle styles for pickups; Shure SM57 or small diaphragm condensers work well for mic’ing banjo heads.
Buying strategy, price expectations and what to inspect on a used Goodtime II
New Goodtime II models typically list in the mid‑hundreds to low‑thousands USD range depending on resonator and finish options; used units often retain value well due to Deering’s reputation.
Inspect used banjos for rim cracks, head condition (uneven tension or tears), neck straightness, frets wear, and hardware corrosion before purchase.
Play test at the shop: listen for dead spots, check tuning stability, and confirm bridge placement and intonation across all strings.
Buy from authorized dealers, direct from Deering, or reputable marketplaces with return policies; ask for service records and case matching before completing the sale.
Fast answers to the most searched questions about the Deering Goodtime II
Q: Is the Goodtime II good for beginners? A: Yes. It offers low maintenance, reliable action, and a forgiving setup ideal for new five‑string players.
Q: Can it handle bluegrass leads? A: Yes. The resonator variant provides the projection and midrange cut needed for bluegrass leads, especially with medium or heavier strings.
Q: Does it need a tone ring? A: Not required. The stock Goodtime II sounds balanced without a tone ring; add one only if you want more metallic shimmer and sustain.
Q: Why is my banjo buzzing? A: Common causes are loose hardware, bridge misplacement, low action, or a high fret; isolate the buzz location, tighten hardware, and adjust accordingly.
Q: How often should I change strings? A: Change every 2–4 months with regular play; sooner if corrosion or tone loss appears.
Q: When should I pay for a pro setup? A: If intonation issues persist after basic checks, or if you want optimal action for a specific style, a pro setup is worth the cost.
Q: Best first mods? A: Head swap, bridge upgrade, and a professional setup deliver the most immediate tone and playability improvement.
10-point pre-purchase checklist for the Goodtime II — final practical inspection
1. Play test open strings and common chord shapes for dead notes or dead spots.
2. Check neck straightness with a visual sight down the neck and by testing fretted relief.
3. Inspect the rim for hairline cracks or separation at joints.
4. Examine the head for thin spots, repairs, or uneven tension marks.
5. Verify bridge placement and check intonation at the 12th fret harmonic vs fretted octave.
6. Test tuning stability across all tuners and after several tuning cycles.
7. Confirm hardware is tight: tailpiece, resonator bracket, and flange nuts.
8. Look for fret wear, sharp fret ends, or loose frets that indicate heavy previous use.
9. Ask for case, strap, and accessory inclusion; verify serial number and warranty paperwork.
10. Decide based on style: choose resonator for bluegrass projection, open‑back for clawhammer warmth, and consider upgrade path if you plan to move to higher‑end models.
