Which dobro to get?

Dean Richard Varga · From: Arizona, USA

Hello Dobro dudes!

I have been playing pedal steel for a long time. I have little exposure to dobro, other than hearing it alot, and just like with steel, the sound is huanting me.

So, I guess its time. What should I be looking for in a dobro for bluegrass. Flat neck, round neck,whats the difference. I am familiar with Rusty Young, Bobby Black, Shot Jackson, and just lately I learned about Jerry Douglas. These are styles that I would like to play. Sorry for the stupid questions, I just don't know where to start?

Thanks, Dean

Yann Obergfell · From: Gottenhouse, France - Soon in Bloomington, Indiana

My two (euro) cents. A roundneck and a squareneck dobro are hardly the same instrument, except that they have the same or similar sound. A roundneck dobro is like a regular guitar with a resonator. In country or bluegrass environnement you're more likely to hear a squareneck dobro. It plays a lot like an acoustic lap steel. IMHO you can do much more things steel-wise on a squareneck dobro: slants, rolls, single-note runs...

What to get? I think most people hear would say: "Beard Gold Tone"!! And they would be right. Not too expensive and sounds great.
I should be getting soon a Wechter/Scheerhorn. I'll tell you about it.

Billy Gilbert · From: Texas, USA

For bluegrass you need a squareneck reso. The Beard Gold Tone is probably your best bet as it will set up properly. A Gold Tone from any other source probably won't have an ideal set-up. Google Resophonic Outfitters for a Beard.

Charles French · From: Ms.

I second the motion. You'll need a Squareneck. http://www.beardguitars.com/deluxesq.html

Chris Morrison · From: Massachusetts, USA

I third the Goldtone Beard recommendation. Definitely squareneck for bluegrass, Jerry Douglas -styl;e playing. Roundneck allows bottleneck slide/fingerpicking but not bluegrass with a steel. Note that there are two models, mahogany and maple (the deluxe). The former is a couple hundred dollars cheaper, and it is excellent -- I own one, have seen several among players, listeners at festivals comment on how good the instrument sounds (vs my playing, which is on the way Winking

I have only seen one maple GTB ever. Have no fear buying the mahogany! -Chris

[This message was edited by Chris Morrison on 25 August 2005 at 07:20 AM.]

Erv Niehaus · From: Litchfield, MN, USA

Since the subject is dobros, I'm going to mention one that I am going to be looking at tonight. A friend of mine, who has owned some music stores over the years, is bringing a gold colored, metal, biscuit coned, square necked Morgan Monroe. This was a pilot model that Morgan Monroe made and then never put into production. It has some etching on front and back and from the pictures, it looks like a Hawaiian scene on the back. If I get it, I'll post some pictures for you to look at.

Erv

Bill McCloskey · Posted 25 Aug 2005 6:53 am

Goldtone is probably a great start. I have a Beard Mike Auldridge model, and there is no finer sounding dobro than that, but certainly much more pricey than the goldtone.

Be prepared for a learning curve: speaking from one coming the opposite way - learning pedal after having played dobro - there is not much in common as far as technique is concerned. Get your self a stevens bar and be prepared for some fun times.

Dean Richard Varga · From: Arizona, USA

Gentlemen,

Thank you so much for your response.

I think I know which direction to go.

Best Regards, Dean

Mark Eaton · Posted 25 Aug 2005 9:24 am

There are a lot more "hand friendly" bars as far as getting a good grip these days than a Stevens. Modern dobro playing styles are more "physical" than steel. I have an E.G. Smith bar. Stevens is good for slants-but the modern top players like Jerry Douglas, Rob Ickes, and Randy Kohrs don't use slants that much.

I think Mike Auldridge is the holdout among the top players-I believe he still uses a Stevens.

------------------
Mark

Bill McCloskey · Posted 25 Aug 2005 9:29 am

Man, don't get me started on bars.

My current favorite is a wooden handled Shubb.

Bob Storti · From: Matthews, North Carolina, USA

Yea, bars are always a good topic of conversation with us reso-geeks. I'm on my fifth different bar now (Scheerhorn Chrome). This is just one of the things that you will have to try several different types and see what feels and sounds right for you. One size/type/brand does not fit all.

Bob

[This message was edited by Bob Storti on 25 August 2005 at 10:50 AM.]

Ron Randall · From: Dallas, Texas, USA

Take a look at Benoit's resonators aka d**ro.
Custom built from 6 to 10 strings.
For blue grass, blues,rock,hawaiian, a 6 string square neck gets the job done.
google on benoit guitars.

Joey Ace · From: Hamilton, Ontario, Canada

No doubt Benoit make great guitars.
HowardR is a big fan, among many others, http://benoitguitars.com/

The question we didn't ask of Dean is his price range.
Most of us, including me assumed under $1K.

That's why the Goldtones were reccommended.

D Schubert · From: Columbia, MO, USA

I'm amazed that nobody has suggested that you look at a real pre-war Dobro. You can still find good, strong bluegrass Dobros for very reasonable prices -- typically you'd seek a wooden body, spider bridge, square neck, solid peghead, 2 screen holes. These will sound as good as anything out there, IMHO. And they will generally hold their value without the big depreciation "hit" you'll take on a new instrument.

I'm lucky enough to have two old Dobros right now -- both have 60 years worth of scratches and battlescars -- and I wouldn't trade either of 'em for any new reso guitar I've ever heard.

I just sneaked a peek at George Gruhn's website and (if I counted right) there are seven pre-war Dobros and a number of more recent ones, along with other used resonator guitars. For instance, one is a refinished "model 45" from the early 30's for only $1000.

Gerald Menke · From: Stormville NY, USA

Against my better judgement I played a few resos at Mandolin Brothers, I have a vintage cherry Beard and couldn't be happier right? Anyway I played a maple Beard and a Mike Auldridge model. Unbelievable instruments, friends. The Auldrige model was the loudest thing in the store, people's heads turned when I played my best JD ripoff licks. Anyway if I were looking for killer sounding reso, and wanted to just get the one that would do for the rest of my days, I'd go with one of the high-end Beards...

Bill McCloskey · Posted 2 Sep 2005 6:24 am

Gerald,

I did the exact same thing at Mandolin Brothers which is the reason I walked away with the Beard Mike Auldridge.

Of course everytime I go to Mandolin Brothers I walk away with something. Last trip it was an Eastman Archtop.

Gregg McKenna · From: South Windsor, Connecticut, USA

There is a really clean OMI Dobro for sale on the reso-nation "for sale" page in the $900.00 range with some extras included, as well as the upgrade done on the guitar. (see photo on site post)

[This message was edited by Gregg McKenna on 02 September 2005 at 08:01 AM.]

Jim Bates · From: Alvin, Texas, USA

It's very obvious from all the replies here that there are as many different opinons as well as many fine guitars to choose from. Having many resophonic guitars (low end to high end), I find each guitar has its own sound and personality. Just being loud does not mean a guitar has quality in the sound you want. My standard advice to all resonator guitar potential buyers (and ANY musical intrument) is to play it BEFORE you buy it, if at all possible.

Thanx,
Jim

Jim Sliff · From: Lawndale California, USA

I'm brand-new on the pedal steel end but have been playing dobro for decades.

I don't recall if you mentioned a price range, but for basic use the Beard Gold Tone is pretty decent. The ones from Johnson, Regal, Fender and other budget brands are pretty lame without major surgery - new nut, new saddle, new cone/spider and a pro set up. Cost less to buy a Beard ready to go, probably.

Forget the Stevens Steel. Man, that's old school, like the cable Fender Steel I play. If you REALLY have to have one, I'll give you one - I'll never use it again. But I wouldn't be doing you any favor.

The Tipton and Scheerhorn are the top bars, but pricey. The Dunlop Lap Dawg is about $25 and a good, solid Scheerhorn knockoff. That's one I use. The otheris a Shubb GS-1, which is wood handled. It's very light, feels great, but does not have the bite of an all-steel bar. Great for certain purposes, though.

If you read arouund the 'net you'll hear a lot about Quarterman cones. They will improve anything. Beard's cones are very good, but John Quarter still has it nailed. Hoowever, I wouldn't even worry about cone changes for a few years, and FWIW my 1976 OMI Doobro has original everything except I removed the glue they used to use to hold down the cone (and killed the tone).

Practice forward banjo rolls in triplets - 4-3-2, 3-2-1 over and over until you ache. Get the Jerry Douglas DVD - it has good basic stuff and more advanced things, plus he's one of the few "tape" teachers who actually communicates fairly well (I've found most killer players are terrible teachers - example, Albert Lee's guitar tapes).

Although they can be fun, I'd avoid the Dobro Book and Dobro Breakdowns and Fiddle Tunes by Stacy Phillips. The material is a little left of center and some of it is REALLY tough.

Work like heck on hammer ons and pulloffs and forget everything you ever learned about blocking (heehee). Let 'er ring. Your blocking is with the bar and your left hand, almost never the right.

Quickly learn to pull the second string 1/2 step behind the bar with your left ring finger and you shall baffle and amaze your friends.

Important - play standing up with a strap most of the time. Because the whole hammer/pulloff thing goes to heck in a handbasket if you've been practicing sitting down and then throw on a strap to gig somewhere standing up. The stability is COMPLETELY different!!! If you practice standing, you can play sitting down - but the reverse is NOT true.

There is so much tab on the 'net you'll never be shy of new bluegrass material to work on.

Enjoy!

Stephen Gambrell · From: Over there

Jim, you nailed it, although I'd disagree about the green Stacy Phillips book. If nothing else, the little record has some cool licks to listen to.
In addition, Mike Auldridge has a bunch of instructional stuff out, can be found on his website, www.mikeauldridge.com. Mike's a great teacher.
And skip the Regals, Morgan Monroes, whatever. The Beard Gold Tone mahogany is a killer guitar, right out of the box, that won't cost any more than those others, after the new parts are installed and set up.
Reso's are FUN!!!

Gary Boyett · From: Colorado

Here is question for you reso guys:
How can you quite down a reso for home/early morning practice when the wifey is sleeping and said if she hears the D@MN thing again it "EL KA-BONG TIME"

I still like the SP-2 for dobro. The two different ends allow for good pull-offs and on the slow stuff you can smothly move around with the other.

------------------
JCFSGC,RMSGC,HSGA member
Boyett's Glass Bars

Jim Sliff · From: Lawndale California, USA

Ah, the one big disadvantage - there is really no way to quiet the darned things down! They ARE an amplified guitar with no volume control. Pick as light as you can and hope she doesn't wake up....

Steve - the only reason I sugggested avoiding the Phillips book including the green one) is that it can be a little intimidating for the beginner - but after 6 months or so i think his stuff is great to work on. Plus his accompanying CD is hilarious - sounds like an old Firesign Theater Record.

George Redmon · From: Muskegon & Detroit Michigan.

Jim S..a question. Because of my health problems.."No Knees Left" i have to play everything sitting down, steel, guitar, bass, dobro..wish i could stand. But do you loose any tone sitting? i did notice more of my arm sits on top when i am sitting down. Is this affecting my tone? and what do you suggest? yes..it is a drag to have to take a short stool along everyplace i play. But like most handicaps you live with it.

George Redmon · From: Muskegon & Detroit Michigan.

sorry about the double post guys..but one more thing Jim S....do you have any samples of your songs i can hear? your Friend George Redmon

Jim Sliff · From: Lawndale California, USA

Hi George - You lose a small abount of resonation when sitting, but because of the cone/soundwell (or cone/post) setup, it's so minimal it makes no difference. So it you have to play sitting all the time, it's actually better - you have a stable platform ALL the time!!

I don't have any recorded dobro stuff, unfortunately. I always played it as a "second instrument" to guitar, so all my recorded stuff is guitar. I might have thrown a fill or two on a recording somewhere....really don't recall. But I don't consider myself a "hot" player like Douglas - I sort of have my own style that's kind of like John Hartford's banjo playing was - sort of a rhythmic gallop with twists and turns here and there.

IMO "real" dobro playing is much more closely related to banjo than pedal steel. I can usually recognize a steeler playing dobro - it's Hawaiaan licks and tremolo, as opposed to the banjo rolls and hammer/pulloff runs of players who specialize in dobro.

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