| Author |
Topic: Baffle&Sounposts vs. Soundwell |
Bob Stone
From:
Gainesville, FL, USA
|
Posted 19 Mar 2002 8:07 am |
|
It seems there are two main schools of thought in resophonic guitar making these days: traditional soundwell with a body made of laminated or solid wood and the baffle&soundpost design with a solid wood body.
In addition to my own 1990 60DS Dobro fitted with a Quarterman cone, bone nut and maple/ebony bridge saddle I have played three other resos recently: a Tennessee (Taylor) walnut (soundwell) and a DeNeve maple (soundwell) and a Gibson Jerry Douglas mahogany (baffle/soundposts).
Based on my limited experience it sure seemed like the baffle/sounpost Dobro ha a lot more "open" sound, especially on the bass. But if the baffle/soundpost design is best, why are so many builders still making instruments with soundwells?
I'd be very interested in hearing comments on and comparisons of instruments of these two designs.
By the way (based solely on the the info on their website and my limited knowledge), Clinesmith resos seem to be the most reasonably priced instruments of the baffle/soundpost design. And if the lead time is only two months or so, they sure beat Scheerhorn in that regard.
Please post your comments and comparisons.
Thanks,
Bob |
|
|
 |
Mike D
From:
Phx, Az
|
Posted 19 Mar 2002 4:23 pm
|
|
I've not been building spider cone guitars but on my wood single and tricones I leave the back entirely 'free' it's braced like an acoustic. I support the well with a brace that goes from head to tail. IMO this really opens up the tone and gives a great bass response.
I've talked to Paul Beard about soundwell vs posts and he basically said he likes the more vintage tone. Randy Allen builds using soundposts but doesn't use baffles. His guitars are highly rated too. |
|
|
|
Bob Stone
From:
Gainesville, FL, USA
|
Posted 21 Mar 2002 5:51 am
|
|
Gee, I expected more action on this. Maybe some people were diverted to the Clinesmith thread.
I'll stick my neck out a little. To me it seems a baffle/soundpost reso sounds a little more like a guitar (i.e. more "open," especially on the bass) and a little less like a banjo when compared to a reso with a soundwell. That should stir things up!
Let's hear those comparisons.
Bob
|
|
|
|
Scott Camara
From:
Connecticut
|
Posted 21 Mar 2002 7:29 am
|
|
I have a McKenna with the soundwell and a Wolfe without. I was told that the Wolfe was designed just like an RQ Jones inside. I opened it up and its pretty crazy with the baffles, etc. I agree with your opinion that the baffle guitars sound more "open", its hard to describe. Its really just like a speaker box if you think about it, a speaker is really just moving air. By changing the size of the speaker enclosure, you get a different sound. The cone on a reso is really like a speaker, so I think that without the soundwell its like having a bigger box. Also, you get more of the "guitar" sound because the soundwell really keeps the top from vibrating. Different size/shape holes in the soundwell will also change the sound.
Which is better? I like em both. |
|
|
|
Howard Parker
From:
Maryland
|
Posted 22 Mar 2002 2:22 pm
|
|
Paul Beard has made and sold several arch back, square neck guitars. No internals except for the resonator/spider resting on a traditional shelf.
Amazing sounding box and very unique. I believe that Phil Leadbetter plays one now.
hp
------------------
Howard Parker
poobah@resoguit.com
www.resoguit.com
ListOwner RESOGUIT
|
|
|
|
Andy Volk
From:
Boston, MA
|
Posted 22 Mar 2002 6:45 pm
|
|
| My Benoit with koa body & spruce top has a traditional soundwell albiet with special heavy duty construction. I always thought it sounded more guitar like than other resophonics I've heard. I've played a cherry veneer Beard, a mahagony Gibson Jerry Douglas model, an upgraded Regal and a few vintage squarenecks at Gruhn Guitars. None sounded outright bad. The plywood models sound more metalic, more "Dobro-like" for want of a better phrase - likely due to more damping of the body than with a solid wood instrument. The JD Gibson is the only one I've played with the soundpost design. It had a warm, open sound. Tim Sheerhorn told me his design philosophy was to create a guitar that could go head-to-head with a banjo in terms of volume. Rob Icks sounds great playing a Rosewood/Spruce model. I always dug the more mellow tone Mike Aldridge gets on record. I'm very happy with the warmth & projection of the Benoit. My 2 cents. |
|
|
|
