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Topic: down to 2 choices for home built |
Ron Victoria
From:
New Jersey, USA
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Alan Brookes
From:
Brummy living in Southern California
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Posted 18 Nov 2006 12:29 pm |
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I've made lap steels in all sorts of odd shapes and sizes over the years. If this is a solid instrument the material and pickups are more important than the shape. I've noticed that hollow-bodied instruments sound softer, but a lot of the sound has to do with the amplifier.
The one thing that totally changes the sound of the instrument is if you use multiple courses, as in a mandolin, but that's another subject. |
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John D. Carter
From:
Canton, Ohio, USA
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Posted 19 Nov 2006 4:32 am
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| Alan, what do you mean by "multiple courses?" Thanks. |
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Bo Borland
From:
South Jersey -
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Posted 19 Nov 2006 5:23 am
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| two or more strings per note, tuned in unison or octaves. Similar to a mandolin ( 4 pairs of strings in unison) or a 12 string guitar ( 6 pairs , 2 in unison, 4 in octaves) |
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Randy Reeves
From:
LaCrosse, Wisconsin, USA
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Posted 19 Nov 2006 7:25 am
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Ron, when considering a shape for your lap steel think about how you usually set your instrument down. when I put my lap steel down to answer the phone or take a break from playing I usally lean it against my amp; bottom on the floor. with the last steel I made it had a acentric shape on it's bottom . that lap steel could not lean upright and remanin stable; it always turned sideways and typically wanted to fall over.
with my Epiphone lap steels dispite having a curved shape the bottom had a flat spot. they are very stable when set down and leaning.
so consider that. the shape and curves above the flat spot can be anything that you deem pleasing and artful.
I like both examples you show.
however, I prefer the 'gothic' shape just a tad more, as it is a bit distinctive but not gawdy.
consider also where you want the volume and tone controls. my first lap steel had one control on either side of the bridge. it looked nice and rather 'face' like. the second steel had both controls together on one side of the bridger.
placement of the vol knob is crucial if you use it in your playing. ask yourself a question: where do you rest your hand?
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Gary Boyett
From:
Colorado
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Posted 19 Nov 2006 8:15 am
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Here is one idea. Well, at least it will stand up...
The Flying Victoria
------------------
HSGA & RMSGC member
Play it with "Glass"
Boyett's Glass Bars
[This message was edited by Gary Boyett on 19 November 2006 at 09:15 AM.] |
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Alan Brookes
From:
Brummy living in Southern California
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Posted 19 Nov 2006 7:11 pm
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John answered it.
I have a console steel I built myself with one neck tuned A6 with six double strings tuned in unison, while the other neck has six double strings tuned in octaves. As most people tend to play octave harmonies by picking their thumb on a bass note, and finger on a note an octave above, this allows you to play the same effect with one string pair. If you think C6 gives a rich chord as you roar up the neck, try it on a multiple course instrument.
I don't use it on everything. I wouldn't attempt to put pedals on it. And being used to playing a Sho-Bud double-neck ten-stringed instrument I miss the additional strings. To get the equivalent of a ten-string neck you would need twenty strings, and a wide fingerboard.... |
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Vern Wall
From:
Arizona, USA
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Posted 20 Nov 2006 7:27 pm
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| The Ebay pic looks scary. I might leave the room if I saw it in a band. Is that the effect you want? |
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Randy Reeves
From:
LaCrosse, Wisconsin, USA
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Posted 21 Nov 2006 5:29 am
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multi courses sounds facinating. I just may have to try that down the line.
I have a rock maple blank rough cut to shape and a Lollar Chicago 6 pickup.
hmmmmmm.great idea. |
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Ron Brennan
From:
Orlando, Florida, USA; Formerly, Edison, NJ
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Posted 21 Nov 2006 12:42 pm
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Gary,
Ha, Ha the "Flyin V(ictoria)!! Love it!
Ron's good, can't wait to see what he comes up with!!
Who knows, he could be the next Leo Fender...so much talent here!! TX
Rgds,
Ron |
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Alan Brookes
From:
Brummy living in Southern California
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Posted 21 Nov 2006 5:45 pm
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| When I figure out how to add music clips I'll show you the difference between a single and multiple course instrument...... |
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