EDIT: MAKING THIS INTO A SEPARATE THREAD
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Tom-
Your post was perfectly timed! I was going to ask this today..
Dobro bars seem to have one 90 degree side (some sharp and some rounded) and one more pointy side...and in fact some even let you order a 10 or 20 degree angle....
What are the issues around this? How do you choose between them? I assume it has something to do with pull-offs vs. slants?
Thanks!
p.s. I finally gave up on my bullet bar (Broz-o-phonic) - fine for lap but not for dobro, and I've been using a Shubb SP-2, which has a rounded end and a somewhat, but not very, sharp end. I've ordered a Scheerhorn for the dobro and Shubb GS-1 for the Weissenborn (looser strings, the light weight should still be fine)
Dobro technique question...
Moderator: Brad Bechtel
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Steve Lipsey
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Last edited by Steve Lipsey on 2 Mar 2013 1:34 pm, edited 1 time in total.
www.facebook.com/swingaliband & a few more....
Williams S10s, Milkman Pedal Steel Mini & "The Amp"
Ben Bonham "CooderNator" archtop parlor electric reso w/Fishman & Lollar string-through
Ben Bonham "ResoBorn" deep parlor acoustic reso with Weissenborn neck and Fishman
Ben Bonham Style 3 Tricone., 1954 Oahu Diana, 1936 Oahu Parlor Squareneck
Williams S10s, Milkman Pedal Steel Mini & "The Amp"
Ben Bonham "CooderNator" archtop parlor electric reso w/Fishman & Lollar string-through
Ben Bonham "ResoBorn" deep parlor acoustic reso with Weissenborn neck and Fishman
Ben Bonham Style 3 Tricone., 1954 Oahu Diana, 1936 Oahu Parlor Squareneck
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Ulrich Sinn
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In my opinion a nice sharp ended bar is essential for Dobro technique. Keep the weight on the bar back on the low strings. It makes the tip of the bar lift over the high strings easier.
Probably my best piece of advice for someone coming from lap steel to dobro: Play open strings.
Learn how to include the high D into whatever key you are playing. Its a hallmark of the style and essential for playing fast runs. Same with really all open strings. Anywhere on the neck and at any time learn to be ready to play an open string.
Also, experiment with barring only the low strings and alternating picking with the open high strings. Frets 5 and 7 work real well for this -- its how you can fill in all the passing notes in a G scale while still ringing the high strings banjo style. Don't be afraid to play higher on the low strings than you are used to. I find a lot of use at frets 5, 7, 9, 10 for alternating with open notes.
Also, lots of people (me included) flat their Bs a little. This just means that if you are using your open B's with a barred you must adjust your bar position slightly flat to be in tune with the open note.
Play in Keys other than G. I find that even stuff like Bb and Eb actually lie out really nicely with the tuning using open strings. Any key that has a G, a B or a D in it has extra possibilities with using open strings. Don't get stuck in the "G Mind."
Probably my best piece of advice for someone coming from lap steel to dobro: Play open strings.
Learn how to include the high D into whatever key you are playing. Its a hallmark of the style and essential for playing fast runs. Same with really all open strings. Anywhere on the neck and at any time learn to be ready to play an open string.
Also, experiment with barring only the low strings and alternating picking with the open high strings. Frets 5 and 7 work real well for this -- its how you can fill in all the passing notes in a G scale while still ringing the high strings banjo style. Don't be afraid to play higher on the low strings than you are used to. I find a lot of use at frets 5, 7, 9, 10 for alternating with open notes.
Also, lots of people (me included) flat their Bs a little. This just means that if you are using your open B's with a barred you must adjust your bar position slightly flat to be in tune with the open note.
Play in Keys other than G. I find that even stuff like Bb and Eb actually lie out really nicely with the tuning using open strings. Any key that has a G, a B or a D in it has extra possibilities with using open strings. Don't get stuck in the "G Mind."
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Stephen Gambrell
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