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Topic: Do they make dobro cover plates without the hand rest? |
Steve Cunningham
From:
Atlanta, GA
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 12 Mar 2009 7:54 pm |
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Just move your picking hand off the bridge cover and palm block to your heart's content.  |
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Todd Clinesmith
From:
Lone Rock Free State Oregon
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Posted 12 Mar 2009 7:59 pm
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National makes a removable hand rest.
Some one told me Scheerhorn is making some with out hand rests.
I have had them milled off for customers before chrome plating.
Todd |
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Ulric Utsi-Åhlin
From:
Sweden
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Posted 13 Mar 2009 12:48 am
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I can see what Steve´s getting at,keeping the palm o´
the right hand secured on the bridge has advantages,
not only do You get the semi-muted effect,but You
also pick the strings where there´s minimal move-
ment,which produces well defined & clean tones...
BUT...pros & cons,and I never removed those covers,
for various reasons,and I would recommend that You think twice,but I´ve seen a number of resos without
bridge cover.McUtsi |
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John Dahms
From:
Perkasie, Pennsylvania, USA
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Posted 13 Mar 2009 2:27 am
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It's really a "cone collapse protector" more than a hand rest.
_________________
Time flies like an eagle
Fruit flies like a banana. |
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Tamara James
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Posted 13 Mar 2009 4:05 am left hand blocking
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just my 2cents.....
I like palm blocking. It is comfortable. BUT there is alot to be said for learning to block with the left hand and picks. 3 ways of blocking. I find all of them necessary at different times. I am not likeing learning it, but my playing is so much cleaner with all three. The left hand will reduce overtones greatly, both electric and acoustic. At least that is what my ears hear. |
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Olli Haavisto
From:
Jarvenpaa,Finland
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Posted 13 Mar 2009 5:18 am
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Scheerhorn makes one with a removable handrest.
Pictured here on a Rayco.
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Olli Haavisto
Finland |
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Ray Shakeshaft
From:
Kidderminster, Worcs, UK.
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Posted 13 Mar 2009 5:27 am
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| As John Dahms said, surely the piece over the bridge is to protect from the downward pressure on a very delicate cone. I would never dream of having a dobro or my National ukes without that protection. |
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Steve Cunningham
From:
Atlanta, GA
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Posted 13 Mar 2009 8:25 am
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I see the merit of having the piece there for protecting the cone - I wasn't aware the cone was that delicate. I always rest my hand on the bridge when I play acoustic or electric lap steel, I guess that's not realistic for a dobro, due to the downward pressure of the right hand...is that correct?
Thanks everyone!
_________________
Zoom/Skype/Facetime lessons available http://www.atlanta-guitar-lessons.com
YouTube
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John Billings
From:
Ohio, USA
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Posted 13 Mar 2009 1:41 pm
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| As far as being a "cone protector." that is valid. But I don't see why it has to be that wide. The bridge is sitting in the middle of it. Most of the front of the cover could be cut off without exposing the cone to any danger. So,,, just wide enough to barely cover the front edge of the bridge. And,,, it would also be nice if they were height adjustable. On all three of my resos, there's way more clearance above the strings than is required. All those "fixes" would make palm muting easier. Actually, you could probably replace the cover with a soldered/brazed on piece of 3/16 round bar that would sit right over the bridge. |
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 13 Mar 2009 5:22 pm
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Greg Booth of Alaska posts here occasionally, and he is a fine picker. Maybe he'll see this thread and chime in. He also has over 30 years in on pedal steel, but only picked up dobro maybe 4-5 years ago, but has progressed at breakneck speed. He doesn't like the palm rest being there from all the years on steel
A few weeks ago, he was in the area visiting his son, who plays upright bass and sings in the Kathy Kallick Band, and played some gigs withv them on dobro and banjo. And I got to play his brand new Scheerhorn, which by the way, was one of the finest resonator guitars I have ever had the pleasure of playing. It has, as shown in the photo posted by Olli, a removable palm rest.
I have always been used to having the thing there (I see Todd Clinesmith posted earlier - I have one of his beautiful guitars, and Todd - Greg really liked my Clinesmith), and often the right edge of my hand is in contact with it - but I have to tell you, Greg didn't have it on his new 'horn that day, and I honestly didn't miss having it there.
I know National has had these things for awhile, and now Tim Scheerhorn has them, and it seems like a no-brainer to me that the resonator guitar industry would shift over to this.
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Mark |
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Blake Wilson
From:
Boulder CO, USA
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Twayn Williams
From:
Portland, OR
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Posted 17 Mar 2009 10:31 am
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| Ray Shakeshaft wrote: |
| As John Dahms said, surely the piece over the bridge is to protect from the downward pressure on a very delicate cone. I would never dream of having a dobro or my National ukes without that protection. |
I'm sorry, but I'm afraid I can't buy this reasoning. IF the cone was that sensitive you'd find all sorts of problems with resting your hand on the strings, not to mention the wildly different string gauges that can be used and the immense amount of pressure they bring to bear on the bridge.
It seems more likely to me that the bridge cover was originally an aesthetic choice, i.e. the cover looks cool. I also imagine it's easier (cheaper) to make the "hubcap" with an integrated bridge cover than it is to have a separate removable cover.
My $0.02 only!
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Primitive Utility Steel |
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John Billings
From:
Ohio, USA
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Posted 17 Mar 2009 11:09 am
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| Twayn, over on the resonator guitar forum, there was a post from a guy who had removed the cover. Whilst on a gig, he crunched the cone. So,,, it can happen. |
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Jonathan Lam
From:
Brooklyn, NY
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Posted 18 Mar 2009 6:59 am
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| I saw pics of greg booths Horn on the reso nation, Its so beautiful! Lucky you go to play it. |
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Twayn Williams
From:
Portland, OR
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Posted 19 Mar 2009 10:40 am
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| John Billings wrote: |
| Twayn, over on the resonator guitar forum, there was a post from a guy who had removed the cover. Whilst on a gig, he crunched the cone. So,,, it can happen. |
Wow, there musta been something wrong with the guitar to begin with!
As an experiment, last night I pressed down quite firmly on the strings both right if front of the "hand rest" and right behind it at the same time and separately. There was zero effect on the guitar. This is on a PBGT. When resting your hand on a bridge like a guitar player, there's very little actual pressure involved, so I still stand by my original assertion that the "hand rest" part of the cover does not actually protect the cone from excess downward pressure.
Of course, someone like Todd Clinesmith or Paul Beard would be the ones who would have the real answer!
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Primitive Utility Steel |
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Beard Guitars
From:
Maryland, USA
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Posted 19 Mar 2009 11:03 am
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Tim Scheerhorn uses our raw brass (formed) cover plates modifies the palm rest and has them plated.
My take is that the palm rest, being traditional, protects the bridge/cone from shock more then constant increased tension. I just had 2 OMI vintage guitars in the shop where the palm rests were significantly dented. In these cases the inserts and spider bridges were OK but the lip of the cones were crushed. We had to reposition the palm rest to set up the guitar properly. I've seen a couple of instances where the cover plates were beyond redemption and had to be replaced.
Many "modern" players pick further in front of the bridge and palm/pick block, so the palm rest is usually no longer a factor.
I confess that I'll occasionally beat the cover plate with my fist in tempo with the music..If I get excited. I would hate to "miss" if there wasn't a palm rest there. 
YMMV
h
_________________
Beard Guitars, LLC
21736 Leitersburg Pike
Hagerstown, MD 21742
301-733-8271
pbeardguitars@hotmail.com |
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John Billings
From:
Ohio, USA
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Posted 19 Mar 2009 11:14 am
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Can't find the thread I remember, but here's something:
http://www.guitarseminars.com/gs/viewtopic.php?t=2733
And, of course, this is probably only an issue with "biscuit" guitars. I would think that on a "spider" guitar there'd be little risk of crashing the cone. |
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Twayn Williams
From:
Portland, OR
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Posted 19 Mar 2009 11:37 am
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| John Billings wrote: |
Can't find the thread I remember, but here's something:
http://www.guitarseminars.com/gs/viewtopic.php?t=2733
And, of course, this is probably only an issue with "biscuit" guitars. I would think that on a "spider" guitar there'd be little risk of crashing the cone. |
Ah, yes, my experience has only been with spider cones, so I don't know anything about biscuit cones... Someday that'll change 
Howard, yeah, I can see the use of trying to stave off sudden shocks to the bridge, but I can't help but wondering how much power would need to go into the blow to cause the cone to collapse with a spider bridge. Seems like it might be a comparable amount of force that would punch a hole (or at least leave a large crack) in a flat top. Course, without doing any actual damage tests, this is just me blowin' smoke...
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Primitive Utility Steel |
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Beard Guitars
From:
Maryland, USA
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Posted 19 Mar 2009 11:58 am
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| Quote: |
| Howard, yeah, I can see the use of trying to stave off sudden shocks to the bridge, but I can't help but wondering how much power would need to go into the blow to cause the cone to collapse with a spider bridge. Seems like it might be a comparable amount of force that would punch a hole (or at least leave a large crack) in a flat top. Course, without doing any actual damage tests.... |
I'll not volunteer any of my guitars either. 
We do see lots of deformed cones. Usually where the spider leg slightly crushes the outer lip of the cone. On the minor stuff we can sometimes just rotate the spider slightly. Most spider bridge cone "issues" are caused by someone manhandling the tension screw.
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| you mean it's not a tone adjustment...? |
h
_________________
Beard Guitars, LLC
21736 Leitersburg Pike
Hagerstown, MD 21742
301-733-8271
pbeardguitars@hotmail.com |
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John Bushouse
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Posted 19 Mar 2009 2:42 pm
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Well, Paul Beard seems to think that not having a coverstrap - heck, not even having a coverplate at all - is a dangerous thing.
 
I don't think it's really an issue with spidercone guitars. You're pressing down on the spider bridge, which doesn't apply any downward pressure to the cone (unlike biscuits or tricones). |
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Howard Parker
From:
Maryland
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Posted 19 Mar 2009 3:03 pm
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If it matters...That's a round neck electric geetar.
_________________
Howard Parker
03\' Carter D-10
70\'s Dekley D-10
52\' Fender Custom
Many guitars by Paul Beard
Listowner Resoguit-L |
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John Bushouse
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Posted 19 Mar 2009 8:53 pm
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| Good question. Does it matter? Serious question. The only resonator I have owned is a single cone biscuit bridge. I play either Spanish or Hawaiian (with a nut raiser). I never considered whether or not lap vs. nonlap would make a difference. |
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Greg Booth
From:
Anchorage, AK, USA
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Posted 15 Aug 2009 10:12 am
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I just found this thread, hope it's not too late to add my 2 cents worth. Like Mark says, I came to the dobro from PSG and never liked the feel of the hand rest (as Tim calls it). I got used to it, but one day while watching a video of myself playing I noticed that in certain passages where I use palm blocking I was moving my hand slightly forward of my preferred picking area to make contact with the strings. Let me say here that although I use palm blocking occasionally on the dobro, I try to use left hand muting techniques or pick blocking as much or more. Anyway, I had Tim cut the hand rest off of a W/S blem and I put it on one of my guitars. I love going strapless! When I got my new Scheerhorn with Tim's new coverplate design I simply had him leave off the hand rest. At Wintergrass I was jamming with Rob Ickes and we traded guitars. I had forgotten about the palm rest being absent and right off Rob goes, "Oh, I like that!" He spent a minute or so trying all the right hand things he does and said he liked it and was going to get one of Tim's new cover plates. Don't know if he has yet or not. I haven't had any problems with the cone, and I often carry my dobro in a soft gig bag. If you want to palm the bridge and have another effective way of damping / muting / altering tone it's the way to go. Here is a link to my version of Folsum Prison Blues on the strapless Scheerhorn. It wouldn't sound the same with the palm rest in the way. Makes string changing and servicing the bridge inserts and tension screw adjustment easier as well. Howard, I thought Tim found another maker for his new CP, and that it was stamped from pre-plated material. He showed me the sheet stock they are made from.
_________________
Greg
Kathy Kallick Band
www.youtube.com/user/aksliderdobro |
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Howard Parker
From:
Maryland
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Posted 15 Aug 2009 10:35 am
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Cool Greg..
You are definitely the "early adopter" on this. I'll have to chat up Tim about the pre plated stock. Sure it was brass? That plating would be darn durable.
Like many players that come from the bluegrass side I just palm block in front the the palm rest when I feel the need. I like the tone up there for the _not_straight_ahead_stuff. It's just what I'm used to. That and...I have a habit of pounding out the tempo if I'm really rockin out. I think I personally need the rest for self preservation 
I've seem pics om Tim's coverplates with removable rests. They do look cool.
_________________
Howard Parker
03\' Carter D-10
70\'s Dekley D-10
52\' Fender Custom
Many guitars by Paul Beard
Listowner Resoguit-L |
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