Triple-X: The Basics

This page outlines the basics of the various permutations that Triple-X banjos came in. First there are Types: tenor, plectrum, banjo-mandolin, and five-string (I have only heard of the latter). These Types came in different Styles (or Models), such as the A, B, C, D, Super, and Professional, which is similar to the way Lange issued his Paramount banjo line. We’re uncertain about C and D Styles at this point. Types-Styles came in what I believe were three Versions based on the evolution of the Triple-X headstock inlay pattern and the resonator design: Early, Intermediate, and Late. Yes, all of this in a line of banjos that was only produced and officially marketed between 1924 and 1926! Whatever form, Triple-Xs were definitely the progeny of William Lange, including notably the unique tone ring – tube design, headstock and neck design, inlays, and Paramount tailpiece.

Types and Styles

Triple-X Banjos were manufactured in tenor (17 and 19 fret), plectrum (22 fret), 5-string, and banjo-mandolin types. Tenors with 17 frets are by far the most common type.

Of those types the Styles (as Lange referred to A, B, C, etc. Paramounts in his other catalogues of the time — see Lange’s Paramount catalogue) included the base Style A (maple), the Style B (mahogany), and Styles C and D (walnut and or something else).

Triple-X tenor banjo headstock inlay examples of Style A (Early Version), Style A (Late Version), Style B (Early Version), and Style Professional (Late Version). Images used with permission and copyrighted.

To my knowledge, examples of Styles C and D have not yet surfaced, if they were even made. To my knowledge, the Style Super was not advertised but the Style Professional was. Were the Style Super and/or Professionals Cs or Ds? It is hard to say.

Professionals are mahogany, walnut, or rosewood (as some have suggested) and thus, likely a C, or D. Whichever number, the Professional must have been the top Triple-X model. In addition to intricate mother of pearl inlays in the headstock and fretboard, the latter very Lange-like, the woods and purfling were comparatively exotic, and the heel beautifully carved (like the top versions of Paramounts, Orpheums, and some non-Lange banjos). The Professionals appear also to have been marketed somewhat separately from the Triple-X, even though Triple-X was emblazoned on the headstock (see image above and the 1925 advertisement below)!

Credited to The International Arcade Museum: http://mtr.arcade-museum.com/

Triple-X tenors (17 fret) have been found in Style A and B forms. Plectrums (22 fret) have surfaced as A and Bs. Professionals, a 19 fret tenor and very likely the top of the line Triple-X banjo, are either C or D Styles; further research needs to be done to figure this out.

 

The Lange Effect

Triple-X banjos had a number of features that make them unique but also very much Lange-like. This includes a Lange-like headstock design, a typical Lange neck construction and heelcap design (two), a Paramount tailpiece, albeit somewhat ‘disguised’ for all Styles except the Professional and, of course, the unique tone ring – tone tube system.

Lange Headstock Design

The headstock cutout design on Triple-X banjos pretty much screams Lange. While it is quite similar to many other Lange headstocks, outline, angle of cut, etc., it is uniquely Triple-X. I am particularly fond of the ‘devil’s horns’, which are more exaggerated than the design on Lange Paramount brand banjo headstocks.

The very pleasing headstock design of the Triple-X Style A (late version). Lange-like but also specific to the Triple-X line.

Neck and Heelcap

As a Lange product the neck was constructed in the very functional three-piece design with a covered heelcap and heel carving on the Style Professional. A Styles in maple have the central strip in what appears to be dyed pearwood. B Styles in mahogany have a central strip in a light coloured wood, possibly maple. Triple-X Professionals were 19 fret tenors that have beautiful five-piece necks, a sandwich of darkwood with with two inner dyed green layers and a central light coloured wood, plus a beautifully carved heel section of the neck.

Three-piece maple neck with middle strip of dyed ‘pearwood’ (?) and dyed pearwood heel cap on a late version Triple-X Style A tenor. Note the original friction tuners which were standard on a wide variety of 1920’s banjos.

Three-piece mahogany neck with middle strip of maple (?) on an early version Triple-X Style B tenor. Note the heel cap (not shown here) appears to be ebony or a dyed hardwood.

Five-piece mahogany or walnut or rosewood neck and highly carved heel of a late version Triple-X Professional 19 fret tenor.

Paramount Tailpiece

All Triple-X Banjos came with the very excellent Paramount ‘dial-and-flip’ tailpiece (more about these on the Design page). However, most of these have been ‘disguised’ by the drilling of five strategically placed holes over the word Paramount. The only two stock undrilled versions I’ve seen were on Triple-X Professional Style tenors, so perhaps the highest end version sported the original form Paramount tailpiece. Gretsch made a similar copy and there are no-name knock-off tailpieces out there.

Lange-made Paramount ‘dial-and-flip’ tailpiece found on most Triple-X banjos; Professional models came with the undrilled version. This is a high quality tailpiece that is very desirable  The cover ‘flips’ up to access the strings, then ‘dials’ down to get the strings at the right angle to the bridge. Note that the word Paramount has been strategically eliminated through the drilling of five holes! Was this because the Triple-X was a custom banjo for Stadlmair Co. or for another functional reason?

 

Triple-X: Early, Intermediate, and Late Versions

Although the Triple-X was only produced 1924 – 1926 there appear to be Early, Intermediate, and Late versions based on 1) the headstock inlay, 2) the resonator design, and 3) the combination of these factors.

1) Headstock Inlay

A lovely ‘darkwood’ lamination covers the headstock and provides the background for the distinct and ‘scandalous’ Triple-X logo in mother of pearl (MOP) found on all models, but in early and late versions. Below this, a decorative inlay in MOP identified the model and did not change between the early and late versions (i.e., same for each model).

Early Version Inlay

The early version has a Triple-X inlay with “Triple” over the “X” and Style dependent design below. In this version the model identifiers, at least on the As and Bs, were stamped on the dowel (even though the wood and inlays revealed the differences).

Late Version Inlay

Late version Triple-X heads sported Triple in dark ‘ink’ across a MOP banner, with X ‘inked’ onto a MOP ‘shield’, and the model number ‘inked onto a mini MOP banner below. Later model Professionals took the same form. The model numbers were no longer stamped on the dowel.

Comparison of the early and late versions of the Triple-X Style A tenor banjo headstock inlays. Both have their merits, although the early design is the grittiest! Images copyrighted.

2) Resonator Design

While Triple-X banjos were produced only between ~1924 and 1926, Lange & Co., and likely the sole distributor, Stadlmair & Co., noticed some potential structural issues with the Triple-X resonators–they were prone to damage and may have rattled.

Early Version Resonator

The early versions have a resonator made completely of wood: a rim holding a flat resonator. The design is fine looking with a purfled bird’s-eye maple rim comprising the side and a two-piece book-matched back maple pieces with what appears to be a dyed pearwood central strip. The strip matches the dyed pearwood in the centre of the three-piece neck and headstock. All examples of this resonator version I’ve seen — 88+ years after the fact — have a significant crack down the pearwood strip. The resonator was affixed to the pot by two handsome pressed steel embossed spring-loaded clips. I’ve not had one in hand but I wonder if the lack of adjustment lead to the resonator vibrating. This could be made worse by the loss of the four rubber buttons that cushion the resonator from the pot. In any event, something significant led to the resonator being updated and all wood construction and clip design of the early version may have contributed to this.

Triple-X Model B early version mahogany resonator and banjo pot. Note the pressed steel embossed clips to hold the resonator on to the pot. Images copyrighted and used with permission.

Late Version Resonator

The late versions sported what I would consider an improved resonator design, not necessarily from a tone perspective, but structurally. The wood resonator is encircled by a robust and heavily chromed ring that replaced the wooden rim. A heavy squared brass ring inside the resonator helps to hold the two pieces together. The resonator is affixed to the pot with two heavy large-headed screws. Thus, the resonator is protected from cracking and can be help tightly against the four rubber buttons on the pot. Some have suggested that the metal encirclement is a flaw, making the banjo slip off one’s lap more easily, but I have this version and have not noticed it sliding any differently than that wood resonator model.

Late model version of Triple-X Style A resonator from side and back. Note the thick polished chrome rim replacing the wooden rim of the early version, and in the first image, the large-headed thumbscrew means to affix the resonator to the pot.

Another Late Version Resonator?

Here is another version of a Late Resonator but with quite a wrap of metal around the side. These are found on the Professional Models, which appear to be always marked as Lange-made and Stadlmair distributed. I believe that it’s a higher end version that covers the lug nuts and adds two more points of attachment for a total of four.

Intermediate Versions of Triple-X Banjos

Intermediate versions of the Triple-X banjos invariably have the early version headstock design and the late version resonator.

With respect to proportion of Early vs. Intermediate vs. Late versions, in the short period I have been researching this topic early versions are the most common, followed by intermediate versions. Late versions, IMHO, appear to be the rarest.

 

Triple-X: The Types

Triple-X banjos came in tenor (17 and 19 fret), plectrum (22 fret), five string, and banjo-mandolin types. Tenors with 17 fret necks are by far the most common type seen today, with a few 19 fretters (The Professional and the Super), and even fewer Triple-X plectrums.

Tenor

These were the most popular Triple-X banjos. This is not surprising as they were introduced in the waning days of the tenor banjo ‘tango’ craze in the mid-1920s. Specially, it was the 17 fret versions that are most common, with the Style As being the most abundant.

17-Fret 

Triple-X 17 fret tenor banjo. Style A, Late Version.

19-Fret

These could be arguably called the second most common Triple-X banjo, but there aren’t many of these, either. They appear to only have been issued as the Super and the Professional Model, the latter being the highest end Triple-X.

Super

I have only seen one example of the Super. It is basically a Late Version Style A with 19 frets and an updated fingerboard inlay design (more diamonds).

Professional 

Most of the Triple-X 19 fret tenor banjos are the Style Professional Model, likely the highest end Triple-X. Beautiful wood (walnut, rosewood, or mahogany?), lot’s of nice mother of pearl inlay, five-layer neck. and beautiful heel carving.

 

Plectrum

Triple-X Plectrum banjos appears to be just about the rarest type, other than the Banjo-Mandolin (I’ve heard of one being found), and the apparently rare five string version. These had the standard setup of 22 frets.

And here’s another interesting Style A plectrum. The headstock colouring is most curious as the top should be a pearwood laminate. Factory or other modification?

Banjo-Mandolin

These are rare! Thanks to John Hoft for providing these images of Style A and Style B versions.

Style A

Style B

Five String

I have only ever seen one of these but others have noted there are some examples out there and even being played. Here are some images of a Triple-X Style B 5-string banjo, courtesy of Charlie Hansen.

 

Triple-X: The Styles (Models)

Triple-X banjos came in a variety of Styles, Style as in what the Lange Paramount catalogue(s) referred to as their model or grade. They were the entry level Style A (maple), a nice upgrade in the Style B (mahogany), and purportedly, the superior Style C and D (walnut?). The latter two have not been seen to my knowledge. However, the Professional 19-fret tenor may be a C or D. It is NOT maple, with the wood potentially being mahogany, rosewood, or walnut, and has a beautifully-carved heel. If anyone has more information I’d love to hear it.

Styles As are definitely the most common Triple-X banjos out there, followed by Style B and the Professional. I’ve only even seen one Super.

Below are details of the models as I know them:

Style A

The Style A was the base model for the Lange Triple-X line of banjos and it came in the early, intermediate, and some late versions in evidence. All Model As are crafted of hard maple (sugar maple = Acer saccharum, black maple = A. nigrum) generally considered to be the hardest and brightest-sounding of the common banjo woods. Also common among all three ‘versions’ was the fretboard MOP inlay, which included eight sets of alternating ‘diamonds’ or corner-up squares. These were small but pretty and the extensive spread gives the illusion of a longer fretboard, in my opinion. A similar, but more sparse, pattern also appears on S.S. Stewart Champions, of which the neck and heel also appear to be very similar to the Triple-X Style A (more on this on another page). I have seen other banjos with the same fretboard design, although with sparser diamonds. Interestingly, Style As did not have a metal collar on the bottom of the dowel stick; the dowel is simply inserted into the inside of the pot and was likely a cost-saving strategy.

Triple-X tenor banjo Style A (late version) fretboard common on both and early and late version Model As. Diamonds are mother of pearl.

There are early, intermediate, and late version Model As in existence. Early Version Style As had “Triple” over the “X” and then the characteristic Styel A Triple-X three-part ‘tendrils-and-dots’ inlay design below. In this version Style A is stamped on the dowel (even though the maple wood construction identifies this as a Style A). Late Version Style A Triple-X heads sport Triple in dark ‘ink’ across a MOP banner, with X ‘inked’ onto a MOP ‘shield’, and the A ‘inked onto a mini MOP banner below.

Early Version Style A

Early headstock design with early resonator design

IMAGES

Intermediate Version Style A

Early headstock design with later resonator design (images copyrighted and used with permission). Note, the tailpiece is not original.

Montage of an intermediate version Triple-X Style A tenor banjo with an early version headstock inlay and late version resonator. Note the tailpiece is not original. Images copyrighted and used with permission.

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The late version Triple-Xs sported an upated late version headstock design and the arguably improved late version resonator design.

Montage of a late version Triple-X Style A tenor banjo owned by moi. Images copyrighted.

Style B

Triple-X Model Bs were, in my opinion, quite a step up from the Model As, at least in appearance. The headstock inlay may arguably be similar in sophistication (or even slightly less so) but  the fretboard inlays are quite beautiful and almost at the level of the Professional. It is not clear whether the Style B came in early and intermediate versions, as I’ve only seen the late version. The wood appears to be mahogany, but I’ll need to do some more work on this. Another nice upgrade from the Style A is the bottom of the dowel stick has a metal collar.

Early Version Style B

Lovely example of an early version Triple-X Style B tenor banjo. Style Bs were constructed of mahogany; banjos constructed of mahogany are perhaps not as ‘bright-sounding’ as banjos constructed of maple but the tone is still complex and they are arguably quite beautiful. Note the dowel stick end is inserted into the pot with a metal collar, an upgrade from the much more common Style A. Images copyrighted and used with permission.

Intermediate Version Style B?

On the way…

 

On the way…

Professional (Style C or D?)

Triple-X Professionals are the highest-grade Style I have seen. They may well be the Style C or D. Or perhaps, following the Lange Paramount banjo classification system, like the Paramount Leader it is a Style unto itself. Whichever, I have to place it somewhere in my Triple-X classification system.  The headstock inlay of the Professional is the most sophisticated of the Triple-Xs and the fretboard inlays are gorgeous and very similar to inlays on Lange’s Paramount tenor banjos. In fact, some of the individual ‘medallions’ appear to be exactly the same as some used on Paramounts.

I am uncertain if the Triple-X Professional came in early and intermediate versions, having only seen the late version. The wood appears to be anything from rosewood (mentioned as such on one sellers web page), mahogany, or even walnut. I need to do some more work on this.

Early Version Professional

On the way?

Intermediate Version Professional

On the way?

Late Version Professional

Triple-X Professionals are a beautiful instrument. The late version appears to be the only version out there. However, the resonators employ four large thumbscews to affix it to the pot instead of the two used on Style As and Bs. Check out the headstock and fretboard inlays, plus the beautiful heel carving: gorgeous. Also, note that the tailpiece is an undisguised Paramount! The name has not been drilled out with five strategically-placed holes! I have seen this on at least two Triple-X Professionals, so I will go out there and state that as the top of the line Triple-X, the stock Paramount tailpiece was included. To support this, the dowel stick on the Professional below has pressed into it Henry Stadlmair Co. and Made by Wm Lange; this is the only Triple-X I’ve encountered that has either or both markings. Here’s a link to the other Professional.

A nice example of a Triple-X Professional Model, late version. A description of a similar banjo from another site indicates that the wood is rosewood. Perhaps, but it could also be mahogany, or even walnut, as mentioned in one of the Triple-X ads (not model specific). Note the undisguised Paramount tailpiece on this! Only on the Professional Model and the Super Model have a stock Paramount tailpiece. Images copyrighted and used with permission.

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