dobro question ?

Ron Shepard · Post by **Ron Shepard** » 11 Jan 2001 5:50 pm

What is the difference between the slotted pegheads and and solid ones on a dobro. Yup
I'm a newbie.

mikey · Post by **mikey** » 11 Jan 2001 11:49 pm

I believe slotted headstocks are 12 fret to the body necks, solids are 14...scale length is the same so it puts the resonator in a different spot in the body...I personally prefer 12 fret necks, they seem more balanced tonewise, and I'm used to having the octave at the body joint.
Aloha,
Mike

Mike Auldridge · Post by **Mike Auldridge** » 12 Jan 2001 9:22 am

Ron,

The only difference between a slotted peghead and a solid peghead is the ease of changing strings.... solid is 100 times more preferable, in my opinion. Many Regal guitars of the 1930's (who were licensed by Dobro and some were sold with the Dobro logo), as well as many of the Dobro models used the solid peghead. I've always thought the solid peghead Regals were the most desirable of the old resophonic guitars. The solid peghead may even add a little more density to the neck, which could help the tone somewhat.

Mike

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www.mikeauldridge.com

Ted Smith · Post by **Ted Smith** » 12 Jan 2001 10:13 am

Mike, I certainly respect you and your playing and your music. But someday if we ever rub shoulders at a show I'd like to have you compare some Slot heads with Plain heads in sound. I think it could respectfully change your thoughts on that.

Ted
Melobar

chris ivey · Post by **chris ivey** » 12 Jan 2001 10:34 am

aw...whadda you guys know about dobros anyway.............................................................(just kidding)

John Kavanagh · Post by **John Kavanagh** » 12 Jan 2001 10:42 am

I thought I liked slotted better because
they're more convenient to tune. But now I like solid better because Mike Auldridge says so. I love "Eight String Swing" and listen to it all the time.

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John Kavanagh
D-8, acoustic 8

Mikel Nelson · Post by **Mikel Nelson** » 12 Jan 2001 12:54 pm

Hate to dispute anyone here...
But since Bob Brozman showed me the trick to changing strings on a slotted head...I can do it faster than on my solid head resonators...

Mike D · Post by **Mike D** » 12 Jan 2001 1:38 pm

So Mikel, give us the lowdown on the Brozman String Swap! And why didn't he show Mike A. anyway

Tom Olson · Post by **Tom Olson** » 12 Jan 2001 7:55 pm

Just an observation here -- the slotted heads appear to be substantially thicker than the solid heads which leads me to believe that the stress within slotted head due to the pull of the strings is less.

However, on the other hand, those two big slots in the slotted head take away a lot of cross-sectional area, so maybe the stress is actually greater in the slotted head. I haven't sat down to actually attempt to calculate the difference in moments of inertia between the two types.[This message was edited by Tom Olson on 12 January 2001 at 07:58 PM.]

Tom Olson · Post by **Tom Olson** » 12 Jan 2001 11:11 pm

By the way, I've got a question about Dobros too: What are the things, in order of importance, that affect the tone of a Dobro?

For example, since most of the tone comes from the cone, I wouldn't think the wood of the body makes much difference. But, maybe it does -- I don't know. What about the bridge inserts? Different types are available. How do they affect the tone? How about strings? What type are the best? I've heard a lot about Quarterman cones. What is it about Quarterman cones that makes them better than any other cone. Does Gibson make their own cones, or do they use Quarterman?[This message was edited by Tom Olson on 12 January 2001 at 11:12 PM.]

Howard Parker · Post by **Howard Parker** » 13 Jan 2001 2:56 pm

<BLOCKQUOTE>quote:<HR>By the way, I've got a question about Dobros too: What are the things, in order of importance, that affect the tone of a Dobro?
<HR></BLOCKQUOTE>

The short answer...It's the entire package. Tonewood, resonator, strings, inserts all effect the tonal quality of the instrument.

Some of the differences are purely subjective. Differences that effect playablity, ie. construction and setup are a whole other topic I suppose.

Oh....let us not forget that the player and technique probably account for 80% of the total package

Cheers

HP

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Howard Parker
poobah@resoguit.com
www.resoguit.com
ListOwner RESOGUIT

mikey · Post by **mikey** » 13 Jan 2001 7:22 pm

uh-huh[This message was edited by mikey on 14 January 2001 at 11:21 PM.]

Marc Weller · Post by **Marc Weller** » 13 Jan 2001 10:50 pm

Mikey,

For those of us who are not masters, a superior instrument can be a big help.

MW

mikey · Post by **mikey** » 14 Jan 2001 1:45 am

yes[This message was edited by mikey on 14 January 2001 at 11:22 PM.]

marley hay · Post by **marley hay** » 14 Jan 2001 9:00 am

Tom, as far as the Quarterman cone goes,it is hand spun,using John's own alloy.They are very thin and sensitive.I put one in a Fender FR-50 and turned an entry level reonator into a really nice sounding instrument.A bone nut and maple bridge helped too.

Aaron Schiff · Post by **Aaron Schiff** » 14 Jan 2001 11:35 am

I get so tired on every music forum of hearing how a good instrument won't make you a better player. This is very true. However, if good instruments didn't sound better and weren't easier to play, then everyone would play crappy instruments. Of course, Mike Auldridge would sound much better than me if he were to play my Fender FR-50. But obviously he thinks his Guernsey is better than my Fender or else he wouldn't have spent the additional 3 grand!!! I like my Fender a lot because I could afford it and it gives me the opportunity to play. But I would trade it for a Guernsey, Beard, Allen, Scheerhorn, Deneve, Tutbro, Melobro or even a Dobro in a heartbeat. Any takers out there, please email me immediately. It wouldn't improve my technique, but the sound would be more pleasing. And yes, the D-60 I had a chance to play last night at an open mike was easier to play than my Fender with its aluminum adapter nut, narrow neck, radiused saddle inserts and lighter gauge strings.

mikey · Post by **mikey** » 14 Jan 2001 10:58 pm

yeah[This message was edited by mikey on 14 January 2001 at 11:23 PM.]

Howard Parker · Post by **Howard Parker** » 15 Jan 2001 6:01 am

Well..

I do understand. Let me state my point a bit differently.

After a while you'll begin to search out an instrument wich will represent your inner "voice". For some of us it'll be Gibson, for some it'll be Scheerhorn/Guernsey/Beard..whatever. But it'll be _that_ luthier and _that_ guitar. No other will do. It is _subjective_.

Now I'll stand by my 80% player contribution. 20% still is a healthy contribution though.

And btw..The fact that you get the same response time after time oughta say _something_!!

Cheers and happy hunting.

hp

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Howard Parker
poobah@resoguit.com
www.resoguit.com
ListOwner RESOGUIT

Aaron Schiff · Post by **Aaron Schiff** » 15 Jan 2001 2:59 pm

Well Howard, I agree. 20% is a lot to award to the instrument. In fact I would love to get a 5% improvement from a different instrument. I just think that there is a certain level of tool necessary to effectively learn to do any task. The Fender does it for me, but a step up would make things more rewarding. The suggestions you and others on the dobro list made a while back helped a lot with the playability and tone of my Fender. Now I just need to save the money to send it to Paul Beard. BTW, I haven't gotten any takers yet on my offer to trade;-)