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Topic: Beard Triphonic - 3 changeable resonator systems |
Andy Volk
From:
Boston, MA
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Posted 22 Oct 2006 3:36 am |
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This is a great theory in concept. I hope the execution matches the promise of this very cool idea. I wonder if it's ever been tried before? I haven't spotted the price yet. Beard's workmanship and construction is genereally first rate.
http://www.beardguitars.com/guitar%20beard%20triphonic7.html
He's also developed some new coverplate designs - a long overdue idea. Kudos to Paul for innovating with an instrument that's (IMHO) often stuck in the mud of slavish tradition.[This message was edited by Andy Volk on 22 October 2006 at 04:40 AM.] |
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Bill McCloskey
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Posted 22 Oct 2006 4:47 am
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It is very cool looking and makes me GASssy just staring at it.
I wonder about the practicality though. Swaping out the different resonators still takes time making it cumbersome for live playing. I wonder how long it would take to swap them in and out.
What is the cost? Anyone know? |
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Howard Parker
From:
Maryland
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Posted 22 Oct 2006 5:21 am
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It only takes a couple of minutes, but, you'll need advance planning to get the strings off.
It works very well. The guitar shipped with a "presentation" case which holds the resonator systems. The guitar is quoted as a custom and is pretty expensive. I don't recall precisely what the last one sold for. probably in the $7K-8K range.
BTW...This is a round neck guitar. Paul has not built a square neck version.
HowardP
Beard Guitars
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Bill McCloskey
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Posted 22 Oct 2006 5:31 am
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"This is a round neck guitar. Paul has not built a square neck version.'
Ah, pity.
It's okay though: I'm getting ready to pick up an 8 string MA. |
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Howard Parker
From:
Maryland
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Posted 22 Oct 2006 5:52 am
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Oh My! 
hp |
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Andy Volk
From:
Boston, MA
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Posted 22 Oct 2006 6:35 am
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| Having to remove the 12 coverplate screws each time you swap resonator types seems to me the flaw in the system. It might still be worth it if time isn't a big issue and the tonal differences between cone types are profound but it seems to me you would need no more than about four or five locking points to make it truly practical. if you could have some sort of cam lever that would slack all the strings at once and then bring them back close to pitch that would be even better and faster. [This message was edited by Andy Volk on 22 October 2006 at 07:36 AM.] |
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Bill McCloskey
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Posted 22 Oct 2006 6:59 am
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| One guesses if it was a squareneck that loosening the strings wouldn't be necessary. Make it easier to get the coverplate off and you would really have something. |
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Howard Parker
From:
Maryland
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Posted 22 Oct 2006 7:17 am
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Ahh well.
It's a unique axe for sure. There are several out there.
The owners seemed to be pleased.
There is a blues market that Paul addresses with several roundneck resonator models (as well as the Gold Tones). "Production" models include round neck versions of the "R" and "E", including a cutaway. Then there are the customs like the Tri-Phonic and Retro-Phonic.
As one might imagine it is a small market as compared to square neck guitars, which in itself is a small market in the global scheme of all things "guitar".
Cheers
h |
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Mitch Druckman
From:
Arizona, USA
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Posted 22 Oct 2006 8:23 am
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While this new Beard is a clever design, for the price of this 3-in-1 I could buy 2 or 3 high quality complete guitars. I also picture a large, heavy case holding the guitar and all of its parts. As a collectible I could see it becoming valuable due to its uniqueness, but in terms of practicality I don't think it works.
It reminds me of having a bass with 2 interchangable necks. It seems like a good idea if you play a little fretless sometimes, but when you have the fretless you lose your fretted bass. After the initial purchase you tend to pick one configuration and stick with it.
I think it's a better plan to have seperate guitars for each sound or style, that way you can easily switch between guitars or have a friend jam with you on your other guitars. When you purchase seperate guitars you can also optimize the sound of each guitar to your taste. A brass bodied tricone, a koa bodied spider cone, etc., rather than all 3 configurations made of the same body material. |
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Loni Specter
From:
West Hills, CA, USA
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Posted 22 Oct 2006 10:03 am
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"Having to remove the 12 coverplate screws each time you swap resonator types seems to me the flaw in the system. It might still be worth it if time isn't a big issue..."
Andy, I use a cordless screwdriver for all those peskey little screws on pickgards and such. They make em small now for around $25. Saves me a lot of time.
I think this is ultimately a wonderfull presentation grade instrument and will wind up being worth a small fortune in years to come. (long after we are gone)
Of course by the time you read this, somewhere in China there's a clown working on the $1,200. version now, and that includes a square neck version.
I'll buy one and so will most of you.  |
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Bill McCloskey
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Posted 22 Oct 2006 10:08 am
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| Irregardless of its practicality, it is one hell of cool looking ax. And just an another indicator (in case we needed it) that Paul Beard is one of the best and most inventive luthiers working today. We are blessed to be living at time when such great instruments are being made. |
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HowardR
From:
N.Y.C.-Fire Island-Asheville
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Posted 22 Oct 2006 10:42 am
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| That is well said. I couldn't agree more. |
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Andy Volk
From:
Boston, MA
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Posted 22 Oct 2006 12:28 pm
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| Don't get me wrong, I applaud Paul for envisioning something different and then executing it in such a quality and classy way. My wondering about its usability is only natural for an armchair-only luthier like myself. I'd own one in a heartbeat if I could. Back in 1996, I'd had a maple Beard on order for a long time when I decided to switch gears and order a Bear Creek hollowneck instead. I'll always be grateful to Paul for the gracious manner in which we arranged a refund and canceled the order. since then, his star has risen considerably. I love my Bear Creek but Beard's work continues to catch my eye. |
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Mike D
From:
Phx, Az
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Posted 22 Oct 2006 1:28 pm
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One guesses if it was a squareneck that loosening the strings wouldn't be necessary. Make it easier to get the coverplate off and you would really have something.
One would be mistaken 
Squareneck or round, the strings run across the saddle, which is attached to the cone(s) and/or spider. They have to come off no matter what. Here's a tip though, when messing with a resonator take a strip of velcro and run it across the strings before you de-tune. Then when you loosen them and pop the ball ends out of the tailpiece they stay together.
The old 'fiddle-edge' metal bodied Dobros were the first convertible resonators. They came with spider bridge cones but have a small shelf in the well that a 9" biscuit cone can drop into.
I applaud Paul, great guy and great idea. Not for everybody and there are some limitations, but very cool!
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Half-assed bottleneck and lap slide player. Full-assed Builder of resonator instruments.
[This message was edited by Mike D on 22 October 2006 at 02:30 PM.] |
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Mitch Druckman
From:
Arizona, USA
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Posted 22 Oct 2006 10:13 pm
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The Beard Convertible is clearly a masterwork. From the exquisite koa body to the beautiful hardwood cone cases. If I were looking to buy a collectible investment grade guitar, I would consider it a bargain at $7000. I would plan on keeping it for 15 or 20 years and watch its value grow.
The problem is, I would hesitate to take the guitar out of the house for casual playing for fear of scratching or damaging it. I would probably hesitate to change out the cones very often for the same reasons. If I could afford to buy a guitar like that and minimally play it in order to keep it clean, I would.
It's just that as a player I can't shake the thought that I could buy 2 Beard MA-8 squarenecks for the same money as the Convertible. That's 2 of arguably the finest 8 string resonator guitars made today. Tune one to C6 and the other to E13 or G. Sure the MA-8 is a regular production model and maybe it's not as sexy as the Convertible, but I would not hesitate to take an MA-8 to any kind of gig. Shoot, I could keep one in unplayed condition and still have a killer player guitar.
I love it when a luthier builds a masterpiece like the koa convertible. Have you seen the one millionth Martin or a PRS Dragon? It's just that being a player and being a collector require seperate budgets. My hats off to Paul Beard for covering both bases.[This message was edited by Mitch Druckman on 23 October 2006 at 08:21 AM.] |
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Todd Weger
From:
Safety Harbor, FLAUSA
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Posted 23 Oct 2006 4:41 am
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Pretty cool idea.
Regarding the comments about it's practical use as a live instrument, my feeling is that it's probably not intended for that. The idea of a essentially THREE great (and very different) sounding resos for recording, yet without having to buy three separate and complete innstruments is pretty sweet. I'm thinking that's the market he's looking at here.
Anyway, just my opinion... YMMV.
TJW
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Todd James Weger --
1956 Fender Stringmaster T-8 (C6, A6, B11); 1960 Fender Stringmaster D-8 (C6, B11/A6); Regal resonator (C6); 1938 Epiphone Electar (A6); assorted ukuleles; upright bass
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