1956 Dewey Kendrick dual 8 4-pedal - updates & pics!

Jim Sliff · From: Lawndale California, USA

Anyone heard of a player or maker named Dewey Kendrick?

I fell into a deal for a dual-8, 4+2 thing that looks like a cross between a Bigsby, Fender, Red Rhodes concoction and a Rube Goldberg invention.

But it was CHEAP. And it appears to have a Stringmaster-like setup with 2 pairs of pickups (IMO multiple pickups and volume/tone controls belong on EVERY steel).

Maple body, huge fiber-type pulleys and Fender-like cables, but some pretty sophisticated engineering in the bell cranks and some other areas...and then changer lowers that look like an afterthought!

It's gonna be my Hawaiian guitar. Due to health problems my gigging has been cut to zero, so I just jam with people at my place (a 1200 sq ft musical man-cave) and record.

Probably means I'll end up parting with one of my Fender 400 "Sneakycasters". Stay tuned for more info - and pics of the new....thing.

(I didn't have time to get pics together but you can probably still find them on Reverb.com or eBay's closed auctions.)
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Jim Sliff · From: Lawndale California, USA

Followup on the Kendrick dual-8:

I still have found NO info on Dewey Kendrick other than that the shop in Oregon found info from members here and local players.

It was definitely influenced by Bigsby (but not quite a as "clean" and neat, plus fewer machined parts. REALLY nice birdsdeye maple construction! Made around '56 (pots are dated '56, the fiber pulleys and other hardware also seem to be from the same era.)

It also has 2 Stringmaster-like pickups on each neck with blend and volume controls plus neck switches; single-line Kluson Deluxe tuners in Fender-ish recessed pans and length-extending clutches on all 4 legs. Both necks are even fully fretted, and very nicely done.

It sounds amazing and like it would be expected - a cross between a Bigsby and a Stringmaster.

Plus it's LIGHT, but stable - under 35 pounds. The dang case weighs more than the guitar!

The 4 pedals actually work like a modern guitar - very precise and quick. The knee levers seen in one pic have been removed - the metal one was not hooked up to anything, and the two wood ones, while very well build, are not needed for what I want to do (and the connecting system was lame). The goofy cables connected with yellow compression firings will be replaced with all-new cables.

The front neck has only a 2nd and 3rd string raise finger - pretty much the upper part of the "Issacs" setup - plus a "Triplex-like" 3-position tuning changer lever (that's going to take some time to figure out - from the basic tuning to string gages so the other two positions shift accurately).

The back neck has a single finger on each string (again all raises). I've dismantled that changer - it was caked with oil, grease and old dirt like every other +15 year old guitar that's been oiled - and lubed with dry Teflon.

I think the front neck should probably have E7 on it (I don't et along well with E9) and just A&B pedals (using pedals 3 & 4, which are already configured for it); the back neck will likely have C6 or B6 (both of which I'm familiar with) - it's going to be my Hawaiian neck. I just don't know what changes to use yet. I'll have a total of 5 raises...no lowers - 2 from pedal 1, 2 from pedal 2 and one from a second cable split off of pedal 3.

If any one has any thoughts for the most usable raise-only changes for an 8-string C6 (top to bottom E-C-A-G repeated...inversions I'm used to) for Hawaiian playing toss 'em to me!

After I got the extraneous levers, cables, eyelets and a few other nonsense parts off of it I discovered it's actually a really well-built guitar that somebody just messed with later. the large pulleys are even set at lateral and depth positions plus optimum angles for the run between each pedal lever and the corresponding small pulley (or changer finger). It's even more efficiently thought-out than Bigsby's flat pulleys.It should turn out really nice - and it cost next to nothing!

Thanks in advance for any C6 copedent ideas - and if anyone has info about Dewey Kendrick, please let me know. On the internet he's a ghost!

Jim
(PS one of my Sneakycaster 400's will probably be up for sale soon. Keep checking the classifieds once I get this done)...

_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Erv Niehaus · From: Litchfield, MN, USA

Just the pictures give me a headache. Whoa!

Chris Lucker · From: Los Angeles, California USA

Wright pedals
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Bob Hoffnar · From: Austin, Tx

Looks amazing ! Looking forward to hearing it.
_________________
Bob

Chris Lucker · From: Los Angeles, California USA

I love those kind of guitars. Lord knows I have enough of them. At least yours has cables. Here is an AJ Smith guitar that has rods doing what cables should.

_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Erv Niehaus · From: Litchfield, MN, USA

Where's my Tylenol! Whoa!

Chris Lucker · From: Los Angeles, California USA

"It's even more efficiently thought-out than Bigsby's flat pulleys."

Bigsby guitars came with angles pulleys and wonderful cable guides and sometimes stacked pulleys with a cable tensioning lever. However, since so few Bigsbys, from my experience, have cables running the routes they did when they left the Bigsby shop, the pulley angles don't make sense or the angle originally made in the top of the "duck foot" pullet mount has been ground off and the guides are missing.

Bigsby guides were made from coated steel crate strap material folded over a 3/32 or 5/64ths drill bit. Two feet were added by again bending the strap material so it looked like an upside down "T". They were tacked into place wherever they could help and made specially for their particular purpose -- height and location.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

John Billings · From: Ohio, USA

Very cool Jim!
_________________
Dr. Z Surgical Steel amp, amazing!
"74 Bud S-10 3&6
'73 Bud S-10 3&5(under construction)
'63 Fingertip S-10, at James awaiting 6 knees
'57 Strat, LP Blue
'91 Tele with 60's Maple neck
Dozen more guitars!
Dozens of amps, but SF Quad reverb, Rick Johnson cabs. JBL 15, '64 Vibroverb for at home.
'52 and '56 Pro Amps

Jim Sliff · From: Lawndale California, USA

Chris, thanks for the info! I had no way of knowing the "flat" pulleys I've seen pics of on Bigsbys were modded guitars (shouldn't be surprising given the age).

Mine is actually quite simple - if anything, the exposed electronics wiring and blend pots confuse things (plus the knee levers - which are now gone).

Basil is helping me with a B11 back neck copedent for Hawaiian use (my whole purpose for the guitar). I'm debating simple E7 with Isaacs-type pulls on strings 2&3, or abandoning pedal changes on that neck and trying Em13 (another Hawaiian tuning).

I'm in the process of re-making a couple of the cables (I need to make a decision on the front neck before I finalize them) and reassembling it after thoroughly cleaning the back neck changer. Also, the volume controls had ben disabled, so I'm going to reconnect them either as volume controls or one master volume and a master tone.
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Chris Lucker · From: Los Angeles, California USA

I don't know if you can see the angle of the pulleys in a photo. But the top of the duck feet were tilted on Bigsbys so the cable goes straight from the pedal crank and then to the changer where a yoke may split between two fingers.
The raw duck feet castings,of course, are flat on top. But each part is customized to match the factory setup. But, those setups were usually changed over the years--sometimes pretty dramatically. I like to put my Bigsbys back to the original setups, even if the original requested are not that smart. On some guitars you find some changes that are there only for licks, as far as I can tell. Like the original player played a neck "straight" like a non pedal, but would use a pedal or two to allow what must have been a pet lick.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Chris Lucker · From: Los Angeles, California USA

Jim, I have a bunch of those pulleys if you need them. You can find them on eBay all day long too. Just search aircraft cable pulleys.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Bob Muller · From: Oregon, USA

Very nice!!

Chris Lucker · From: Los Angeles, California USA

The original Bigsby ceramic pulleys are very hard to find. I have found fewer than two dozen of them. I think they were not approved by the FAA, because they are brittle. The impregnated linen pulleys were FAA approved, so they are easy to find.
Paul Bigsby probably got a great deal on the ceramic pulleys. Good thing his guitars fit into the case top side up or many of those pulleys would have broken by the guitar owners dropping things on the pulleys.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Jim Sliff · From: Lawndale California, USA

Thanks Chris - if I needed and pats you were going to be my first call! Winking

But I only need 4 pedals anyway - this is going to be a very simple guitar, with a B11 Hawaiian neck and either an E7 with 2 isaacs changes on string 2 & 4 (the only fingers on the front neck) or another Hawaiian tuning. I bought it primarily for Hawaiian playing in the first places.

The following pic should alleviate the Tylenol headaches some folks were having. I stripped out all the extraneous crap, repositioned a few things for cleaner pulls - tomorrow I'll bring it up and start solving problems (grin):

Glad it was a cable steel - after the several dozen Fenders I've fixed this was actually the easiest.
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Chris Lucker · From: Los Angeles, California USA

It is curious that he did not turn that far right, or even both right side pedal cranks 90 degrees so they would have direct pulls to the changer. If you turned both then one of the pedal rods would not line up with the others, but he certainly could have turned one and the pedal rods would hang the same way.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Bill Sinclair · From: Waynesboro, PA, USA

Bigsmaster?

Seriously beautiful guitar on the topside. Quite sure you'll get the innards sorted.

Jim Sliff · From: Lawndale California, USA

Thanks Chris - if I needed and pats you were going to be my first call! Winking

But I only need 4 pedals anyway - this is going to be a very simple guitar, with a B11 Hawaiian neck and either an E7 with 2 isaacs changes on string 2 & 4 (the only fingers on the front neck) or another Hawaiian tuning. I bought it primarily for Hawaiian playing in the first places.

The following pic should alleviate the Tylenol headaches some folks were having. I stripped out all the extraneous crap, repositioned a few things for cleaner pulls - tomorrow I'll bring it up and start solving problems (grin):

Glad it was a cable steel - after the several dozen Fenders I've fixed this was actually the easiest.
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Jim Sliff · From: Lawndale California, USA

Spent today pulling my hair out...

Moving the cable ends to different fingers created a bunch of friction issues - had to grind down the sides of the brass ends so they wouldn't rub.

THEN setting the changes was (is still) a nightmare. Finally figured out I had to tune the raised note first, then the "open" string. Then the raise would be out of tune. FINALLY got the single raise on pedal 1 working...at least it's close, I still think the strings need to settle in. Pedal 2 has 2 raises (I'm using a B11 - which really isn't a B11, but I guess it's CALLED that for convenience) on adjacent strings, and that one is just GANGS of fun.

Not only is there the balancing act between open and raised on ONE string - once you get one set, when you work on the other it throws the first one off - the two being connected via a cable through a secondary pulley (like a Fender) creates a knife-edge balancing act I still haven't solved completely.

But I got them close. and discovered that open I can't play anything coherent; if I engage 1 &2 I get a major chord on the upper 5 strings but letting off any of the pedals foists an atonal cacophony on my poor parrots. Not being a theory whiz...I'm an ear player....this is going to take a LONG time to figure out. Luckily the darned guitar sounds great, the one redeeming factor. Well, actually, there are 2 - the pedals I have working are smooth and accurate. The 3rd pedal does not want to cooperate with the change I have on it.

I'll try to post the copedent in the next day or 2....

(and I haven't even started on the front necklet!)
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Erv Niehaus · From: Litchfield, MN, USA

Now who has the headache? Whoa!

Chris Lucker · From: Los Angeles, California USA

Yes, you tune the highest note at the keyhead while holding the finger at its raise stop, which I assume is the cabinet. Then, you release the finger and tune its open at the changer with those open tuning screws. If the fingers do not stay in tune, which would be odd for such a simple action, then you have binding -- probably because of cable pulls that are not straight. Move the pulleys to make the pulls straight. For a double pull, make a yoke that allows the cables to go to the changer in a straight line. Even out a multiple pull by using the Bigsby and early Emmons method of connecting the cable to the finger (or rod to the finger in the case of early Emmons guitars) with an extension spring.

I would still consider rearranging the pulls on the front neck to go straight to the changer and avoid that hairpin turn the builder thought was a good idea. That angle is only going to add stiffness to the change. Go straight to the changer with at lease one of the cables. You can keep the pedal crank pedal rod mount in line with the others.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Jim Sliff · From: Lawndale California, USA

Chris Lucker · From: Los Angeles, California USA

Hairpin turn -- explain why in the world to those pedals for the outside neck first have the cables going perpendicular to the aprons, then the cables make a 135 degree turn then turn around another guide pulley to the changer?
Don't you think it would be an easier pull if you did not have that unnecessary redirectioning? The pedal crank could simply be turned and the cable could go straight to the fingers. Straight. No rerouting. simple. Bigsby did that sometimes. Raises straight to the changer and lowers straight to the pivoting tuning keys. Or raises and lowers straight to keyhead plungers.
_________________
Chris Lucker
Red Bellies, Bigsbys and a lot of other guitars.

Jim Sliff · From: Lawndale California, USA

Chris, I think it was originally designed only to have changes on the back neck. As there are only 2 fingers extending through a small hole of the front neck, the changer blocks themselves are completely different (The top of the front one looks like it came from another guitar as it has useless tuning nuts for the other 6 strings), there are an assortment of odd, "do nothing" set screws on that neck, and the cables are connected to hand-bent hooks instead of brass fittings I believe the front was intended to be a console and converted later.

And the 2 front neck changes actually work fine, once I got 6 or 7 other tuning experiments eliminated and set up E7. In fact all of them work pretty smoothly (pedal 3 is a little stiff and short, but I can live with it as it's not my primary use for this instrument).

Rotating the bell cranks would reposition the pedal rods unevenly and the pull still could only be relatively straight on the 4th pedal, as #3 operates on both necks (and again, there are no lowers - I posted a typo on the copedent chart).

Also, using the small pulleys to "re-aim" the cables straight to the front changer fingers is almost identical to the cable guides I install on Fenders to straighten the pulls, which works extremely well. On this one, the cable turns for pedal 4 don't seem to cause any issues at all.

And mainly, I got this with the original intent of using it for Hawaiian console playing and if the changers worked at all it would be a bonus. If I had to have new parts machined for it it would exceed my already exceeded budget ( I couldn't afford the guitar at all and after my surgery/5 day hospital stay next week, as soon as I can move stuff around I'll be selling hear to repay me savings) and I have no way to make parts myself. Sure was nice before Disability when I actually had income and could pretty much get whatever I needed and spend the money to make major improvements. I literally can't put another dime into it.

But those days are gone and I have to adapt to the limitations of the instrument. Like I'd love to have someone calculate how to make the Triplex-ish lever work in tune by determining the correct radius for each string's pitch changers, machine new parts, figure the string gages and tuning need etc etc. Every experiment I tried was an utter failure...but that would be an expensive engineering project - so it's just going to be a conversation piece.

Here's the final copedent for the moment. If I can work out something different for the front neck I will - but being a theory cripple I finally gave up and went with what I already knew would work.

_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

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