Banjo maker hits the right notes to thrive in U.S.

Los Angeles TimesFebruary 8, 2013 


Founders Greg and Janet Deering, right, in the showroom at the Deering Banjo Company in Spring Valley, California, January 9, 2013. (Mark Boster/Los Angeles Times/MCT)


It all started with the Kingston Trio.

One day in 1963, a San Diego kid and his friends got their hands on an album by the popular folk group. Greg Deering, 12 at the time, recalls studying the musicians on the cover and thinking, “I’ve got to get a banjo” – not out of love for the twangy instrument but mainly because his pal already had a guitar.

Fifty years later, Greg, his wife, Janet, and daughter, Jamie, preside over the best-selling banjo-making business in the United States.

From a small Spring Valley, Calif., factory, the Deering Banjo Co. is having its best year ever, defying the U.S. skills gap and California’s manufacturing doldrums. It has expanded and trained its own workforce, and it expects to top $4 million in sales for the year ending June 30.

Greg Deering, 62, is the creative force behind the banjo design and the machinery used to build them. Janet Deering, 58, handles operations. Jamie Deering, 34, might have the most fun job: liaison with the company’s big-name roster of professional musician customers.

Over the company’s 38-year history, it has developed a loyal following from the likes of Taylor Swift, Keith Urban, the Dixie Chicks, Steve Martin and Mumford & Sons. Artists who play Deering banjos rolled up 13 Grammy nominations this year.

Two of Deering’s fans illustrate how the company has managed to ride the banjo’s renaissance as an instrument that crosses several musical genres as varied as country, reggae and indie rock.

“It’s great working with a family company, an American company that really cares about the artist and making top-quality banjos,” said Jeff DaRosa, singer, bassist and banjo player for the Dropkick Murphys, a Boston-based Celtic punk band.

Scotty Morris, lead vocalist of the contemporary swing revival band Big Bad Voodoo Daddy, called Deering Banjo “the quintessential American instrument builder.”

“When I call Deering, I talk to a Deering, and I like that almost as much as I love the instruments they build,” Morris said.

That kind of reputation combined with specially crafted manufacturing tools and a skilled, veteran workforce has helped the company weather the recession as well as cheap competition from China. Deering has been able to expand its workforce in a way that other companies have not, growing to 42 workers from 30 a year ago.

Greg Deering credits his father, who worked in Southern California’s aerospace industry, for developing his eye for design.

“He started me out on model airplanes when I was 2,” Deering said. “He turned me loose on my own, making models when I was 5. At age 7, he bought me my first set of drafting tools. …

“My father was a very intense mentor for me. He was teaching me how to be a craftsman.”

Deering’s first manufacturing gig was a brief stint building and repairing banjos. In 1975, after a short-lived partnership with another banjo maker, Deering Banjo was born. For a while, the company made dulcimers until the banjo business began to gather steam.

By fiscal 1997, Deering hit $1 million in sales for the first time. Until the current fiscal year, 2006 had been the best, with $3.9 million in sales.

The twin blows of the recession and Chinese competition hit sales hard, dropping them back to about $2.4 million in 2009. By 2011, the company was back over $3 million in sales as it tightened its processes and consumers felt more flush.

Prices range from $499 to $30,000 for an elaborate model called the Gabriella.

Deering credits his workforce for the quality of the finished product. Some of Deering Banjo’s employees have been at the company for 30 years or more and came with considerable skills.

But he said skills aren’t necessary for the newest employees, who are trained through an apprenticeship-style program.

“What really matters is that they are conscientious and responsible people,” he said. “That is really the most important thing. The rest can be taught.”

Along the way, he said, there have been moments he said he never could have imagined. One of them was buying the Vega Banjo company, makers of the banjo he had ogled in a music store as a child but couldn’t afford.

The best might have been making banjos for the members of a certain singing group he once idolized.

“We’ve made banjos for the Kingston Trio,” he said, “and that’s something I never could have imagined happening.”

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