The Steel Guitar Forum

Jeremy Moyers wrote:While I have quite a large lap steel collection, this one has to be my most valuable.

This is my pre-fender, pre-k&f, radio shop lap steel from 1944-1945. This was one of the first instruments ever built by Leo Fender and uses the pickup that he and Doc Kauffman developed together back in 1943. This guitar was also featured on page 177 of John Sprung's "Fender Amp Book". This IS where everything started for Fender. Everything that we know today from Fender started right here! Pretty incredible piece of history!

So that's where all them old Fender's went

That’s funny Glenn! I’ve been collecting for years now. That’s just part of them. I get them all out and post a group picture later this week. They are about the only vintage Fender instruments that are somewhat affordable to collect anymore!

So many beauties on this thread!
My most expensive would have to be my T8 Clinesmith but it's not the most valued to me as a playing steel. Nothing at all wrong with the steel or it's tone.
Just that as I'm getting older and the essential tremors I have is affecting my right hand to the point it's very difficult to play steels with string spacing too close for me now.
The steel has fairly standard spacing so it's a problem only I have.

I also have two of Todd Clinesmith's all cast aluminum lap steels and they are the most valued lap steels I have even thought they cost less. The string spacing is wider and for me that makes a world of difference. The first one I got is the short scale (A6th) and the other a long scale (E6/9). I seem to play the oldest one more than the other, but really love both.
Also the tone of all three are wonderful, but I find the sustain and timbre of the two lap steels to be fantastic. They are also readily available to order from Todd though he usually has a waiting period. Good things are well worth waiting for.

The only lap steel I'd like to have for the tone is a 7 string Rickenbacker Bakelite with chrome or the Panda model. They also have terrific tone. Just that they go for quite a high price these days, so for now I don't have one.



I am planning to build a nice deco style stand to hold both lap steels so that I will play both more often. For now the A6th short scale sits at the end of my desk ready to be played any time I get the urge. Thats a few times a day.

this is Cleo but my favorite guitar that I use in gigs is this 1961 National New Yorker

Bill Mize wrote:a couple of glamour shots of pure sweetness. 1950 Oahu

Bill, I agree that those old Oahus are beautiful, have great tones, and are good players.
Thanks for the comment and photos.

I have 2 Oahus I enjoy playing. The Diana has a 25" scale.





C. E. Jackson

Andy DePaule wrote:So many beauties on this thread!
My most expensive would have to be my T8 Clinesmith but it's not the most valued to me as a playing steel. Nothing at all wrong with the steel or it's tone.
Just that as I'm getting older and the essential tremors I have is affecting my right hand to the point it's very difficult to play steels with string spacing too close for me now.
The steel has fairly standard spacing so it's a problem only I have.

I also have two of Todd Clinesmith's all cast aluminum lap steels and they are the most valued lap steels I have even thought they cost less. The string spacing is wider and for me that makes a world of difference. The first one I got is the short scale (A6th) and the other a long scale (E6/9). I seem to play the oldest one more than the other, but really love both.
Also the tone of all three are wonderful, but I find the sustain and timbre of the two lap steels to be fantastic. They are also readily available to order from Todd though he usually has a waiting period. Good things are well worth waiting for.

The only lap steel I'd like to have for the tone is a 7 string Rickenbacker Bakelite with chrome or the Panda model. They also have terrific tone. Just that they go for quite a high price these days, so for now I don't have one.



I am planning to build a nice deco style stand to hold both lap steels so that I will play both more often. For now the A6th short scale sits at the end of my desk ready to be played any time I get the urge. Thats a few times a day.

Andy, thanks for the comments and photos. Those Clinesmith steels are great looking, well built,
and have great tones. I prefer short scales and more space between strings at my age.
Also, my favorite tuning is A6.


C. E. Jackson

Andrea Tazzini wrote:
this is Cleo but my favorite guitar that I use in gigs is this 1961 National New Yorker

Andrea, thanks for the comment and photos. I also love the looks and fretboard colors on those old
National New Yorkers. Your cat looks really happy.

My favorite National New Yorker is a NATIONAL NEW YORKER: c. 1947.



C. E. Jackson

Jeremy Moyers wrote:While I have quite a large lap steel collection, this one has to be my most valuable.

This is my pre-fender, pre-k&f, radio shop lap steel from 1944-1945. This was one of the first instruments ever built by Leo Fender and uses the pickup that he and Doc Kauffman developed together back in 1943. This guitar was also featured on page 177 of John Sprung's "Fender Amp Book". This IS where everything started for Fender. Everything that we know today from Fender started right here! Pretty incredible piece of history!

Jeremy, thanks for the comment and photo. A great piece of steel guitar history.
You are lucky to have this great steel.


C. E. Jackson

Jeremy Moyers wrote:Here are a few of my other lap steels. I should get them all together for a “family photo” soon!

Jeremy, certainly a great group of vintage steels.

C. E. Jackson

Jeremy Moyers wrote:Here are a few of my other lap steels. I should get them all together for a “family photo” soon!

Looking forward to a "family photo".

C. E. Jackson

While opening up boxes from our relocation move a year and a half ago, I found several Exotic Lap Steel Guitars that I had Forgotten About !!!

What Better place to unveil them that CE's Treasure Chest.

FeatherLite # 001 Quick Video Demo <<Click<<



FeatherLite #002



Super Flames Walnut on Walnut Quick Video Demo << Click<<



Super Flames Walnut on Poplar Quick Video Demo << Click<<

George Piburn wrote:While opening up boxes from our relocation move a year and a half ago, I found several Exotic Lap Steel Guitars that I had Forgotten About !!!

What Better place to unveil them that CE's Treasure Chest.

FeatherLite # 001 Quick Video Demo <<Click<<



FeatherLite #002



Super Flames Walnut on Walnut Quick Video Demo << Click<<



Super Flames Walnut on Poplar Quick Video Demo << Click<<

Thanks George, for the kind comment, regarding the Treasure Chest, and photos. The Treasure Chest is only possible
as a result of many Forum Members posting comments and photos of their favorite and most valuable steels.

I have viewed the Quick Video Demo for each steel you have posted. The videos are excellent. I like the headstock, nut,
bridge, and anchorage thru the body design of these steels. Also, the wood grain of all steels is very attractive. As I
have stated in the past, I recommend all Forum Members look at your company web pages when they have time. Your
sites have lots of interesting information.

Thanks again,

C. E. Jackson

This may not be valuable to Joe public but its' valuable to me. I put it together about 10 years ago. The Lyre top is a tribute to Dobro. 1/4" figured maple caps a thick piece of hard maple stained darker. The top of the base is scalloped on both sides to give more of 3D look. It's hollow under the neck and top which makes it lighter, however, I had to stuff it with foam to kill a 600hz resonance I wasn't liking. Sounds great now. 22.5" scale.
Someday I'll add a volume knob and a three position switch for the different tonalities the dual coil humbucker can provide.

Jim, that is a beautiful lap steel you built.........I love the look of the contrasting woods. Very nicely done!!!

Thanks Bill.
It's funny, by the time I finished that I wasn't in a band that called for it anymore and dedicated myself to PSG and Dobro so I play it out rarely.
I've owned a Supro Commet that I really liked a lot but got stollen then an "Electro" that I gave away to a very attractive fan that was interested in learning. I played both in a modern country band until I couldn't tolerate the material anymore.

Jim Pitman wrote:This may not be valuable to Joe public but its' valuable to me. I put it together about 10 years ago. The Lyre top is a tribute to Dobro. 1/4" figured maple caps a thick piece of hard maple stained darker. The top of the base is scalloped on both sides to give more of 3D look. It's hollow under the neck and top which makes it lighter, however, I had to stuff it with foam to kill a 600hz resonance I wasn't liking. Sounds great now. 22.5" scale.
Someday I'll add a volume knob and a three position switch for the different tonalities the dual coil humbucker can provide.

Jim Pitman wrote:Thanks Bill.
It's funny, by the time I finished that I wasn't in a band that called for it anymore and dedicated myself to PSG and Dobro so I play it out rarely.
I've owned a Supro Commet that I really liked a lot but got stollen then an "Electro" that I gave away to a very attractive fan that was interested in learning. I played both in a modern country band until I couldn't tolerate the material anymore.

Jim, thanks for the photo and comments. I agree that our most valuable instruments, and other things, are not always in
monetary value. Many times our most valuable items are due to sentiment and memories. I have many items which are
not worth much money, but are very valuable to me for other reasons.

This steel is certainly a beautiful instrument that you should be very proud to own. I think the choice of woods and contrast
of colors is excellent. Future improvements you plan should only add to your enjoyment when playing this steel. Hopefully,
you have a child or close friend who will inherit this steel.

I agree with Bill Groner that it is very nicely done.


C. E. Jackson

C. E. Jackson wrote:

Jim Pitman wrote:This may not be valuable to Joe public but its' valuable to me. I put it together about 10 years ago. The Lyre top is a tribute to Dobro. 1/4" figured maple caps a thick piece of hard maple stained darker. The top of the base is scalloped on both sides to give more of 3D look. It's hollow under the neck and top which makes it lighter, however, I had to stuff it with foam to kill a 600hz resonance I wasn't liking. Sounds great now. 22.5" scale.
Someday I'll add a volume knob and a three position switch for the different tonalities the dual coil humbucker can provide.

Jim Pitman wrote:Thanks Bill.
It's funny, by the time I finished that I wasn't in a band that called for it anymore and dedicated myself to PSG and Dobro so I play it out rarely.
I've owned a Supro Commet that I really liked a lot but got stollen then an "Electro" that I gave away to a very attractive fan that was interested in learning. I played both in a modern country band until I couldn't tolerate the material anymore.

Jim, thanks for the photo and comments. I agree that our most valuable instruments, and other things, are not always in
monetary value. Many times our most valuable items are due to sentiment and memories. I have many items which are
not worth much money, but are very valuable to me for other reasons.

This steel is certainly a beautiful instrument that you should be very proud to own. I think the choice of woods and contrast
of colors is excellent. Future improvements you plan should only add to your enjoyment when playing this steel. Hopefully,
you have a child or close friend who will inherit this steel.

I agree with Bill Groner that it is very nicely done.


C. E. Jackson

C.E. I need to change my post after drooling over the picture.........it is an exceptionally, great looking, well built lap steel........

My father would have been 104 today. He was like an older brother, as he was only 20 years older than me.
I went to Nashville with him when he purchased his last steel, a Sho-Bud 2-Neck with 10 strings on each neck
with floor and knee pedals. However, I have never used any of the pedals and only play 1 neck in A6 tuning.
This is a song written by my brother, and I am playing the Sho-Bud, without pedals.

Although it is not my most valuable, I certainly cherish and have great fondness for this steel. It is a keeper.

SOMEWHERE THE ANGELS SING A SONG FOR ME

I hope all will enjoy this song.

Friend of all,

C. E. Jackson

Great tune. One listen and I'm hooked.
C.E. Jackson, you and your father are an American treasure. Thanks for posting.

Jim Pitman wrote:Great tune. One listen and I'm hooked.
C.E. Jackson, you and your father are an American treasure. Thanks for posting.

Jim, your kind remarks are greatly appreciated. Thanks.



I have just spent time going through all 9 pages of posts on this topic. There are some truly amazing
steels and notes recorded. Hopefully, I can review this periodically for several more years.

I think GEORGE PIBURN best described all the steels on this post as a TREASURE CHEST in his post.
Thanks George, for the kind comment regarding the TREASURE CHEST, AND PHOTOS. The TREASURE
CHEST is only possible as a result of many Forum Members posting photos and comments of their
favorite and most valuable steels.

Hopefully, other Members will continue to post on future dates.

Thanks again to all members who have posted photos and comments.

Friend to all,

C. E. Jackson

Friends, I have just spent time going through all posts on this thread again. I can truly say the steel photos, sentimental remarks, and stories are excellent. I certainly agree with George Piburn's description of a "Treasure Chest". I believe this is the best collection of sentimental comments and photos of favorite steels I have ever seen.

I have learned that earlier decisions often have effects on my later decisions and actions in life. I was 12 years old in 1949 with younger siblings. I had always wanted a shotgun from about 8 years of age, but my parents said no, too many younger siblings. For Christmas 1949, they said that I could have a shotgun, and my Father said that I could have a choice between a shotgun or steel guitar (we were poor and I could not have both).

After considerable agony, I decided on the steel, because I loved to hear my Dad play his steel. This was probably one of the best decisions of my life. Although high school, early marriage, college, 5 boys, and a career caused my interest in steel to be somewhat diminished for a while, it was renewed in 1972 when I purchased my new triple neck Fender. After the Fender came my passion to collect vintage steels. Had I decided on the shotgun in 1949, there is a good possibility I would not have learned to play or have the desire to collect steels.

As I said earlier, my earlier decisions have often had effects on later decisions in my life.

Thanks again to all for the photos and comments.

Friend to all,

C. E. Jackson

Hello C.E. & all,
What an awesome posting. Thanks to all for sharing all the great photos & stories about the steel guitars in your lives.

C.E. was looking for a Recording King Roy Smeck and here one is. It's a wonderful steel, with the Charlie Christian PU, beautiful figured maple and tobacco sunburt finish.
These guitars are semi-hollow body and built by Gibson for Montgomery Wards. I think they are the same guitar as the EH-150 of that year.
Now, I'm curious about something. Since this guitar is semi-hollow, and no pick guard or removeable back panel to access the interior,
a luthier would have to remove the back of the guitar to fix the electronics, etc. Now I've noticed other RK's and Gibson's made in this style having screws holding the backs on, but mine doesn't.
Are the screwed on backs the result of someone having the malice of forethought about what damage they are doing - or - did some of these steels come from the factory with removeable backs?









Thanks,

Greg

Greg - Can you access the controls through the pickup hole? That is how you get to them on many lap steels, notably the old Rickenbackers.

Tim,

I'm not sure if you can access through the PU hole. I found photos of a 1936 Gibson EH-150 that will help clarify what I'm talking about.









The top edge of the sides doesn't appear to have been glued to the back on this guitar so I think it came from the factory with the back screwed on.
Photos of other guitars with screwed on backs have a visible glue line ( with backs off) on the top edge of the sides so I think they may have been glued on at some point.

Greg Forsyth wrote:Hello C.E. & all,
What an awesome posting. Thanks to all for sharing all the great photos & stories about the steel guitars in your lives.

C.E. was looking for a Recording King Roy Smeck and here one is. It's a wonderful steel, with the Charlie Christian PU, beautiful figured maple and tobacco sunburt finish.
These guitars are semi-hollow body and built by Gibson for Montgomery Wards. I think they are the same guitar as the EH-150 of that year.
Now, I'm curious about something. Since this guitar is semi-hollow, and no pick guard or removeable back panel to access the interior,
a luthier would have to remove the back of the guitar to fix the electronics, etc. Now I've noticed other RK's and Gibson's made in this style having screws holding the backs on, but mine doesn't.
Are the screwed on backs the result of someone having the malice of forethought about what damage they are doing - or - did some of these steels come from the factory with removeable backs?









Thanks,

Greg

Greg,

Thanks for the post and comment. That steel is a great find. It is beautiful. I believe that the front is book-matched maple,
and that the back is fiddleback-matched maple. Maybe George Piburn will view your post and comment. He is an expert on
various woods and match types.

I have a 1938 Roy Smeck AB 104 by Gibson, but the front and back are not matched, as on your instrument. The back on
mine is screwed on, rather than glued on. As I said, your steel is a great find, and would be a keeper if it were mine.


Friend to all,

C. E. Jackson

Thanks C.E.,
My RK Roy is one to keep and cherish. I've had a lot of time to think about the whole Back thing. My RK has one of those annoying hums, and I've been able to tame it a bit by setting the guitar volume low and running it though a preamp. To get inside to update the electronics I will have to take off the back. I'm assuming it's glued on with hide glue, and think I can use a hot flat blade (putty knife) to melt/cut through the glue to remove the back. Or use a Japonese flush cut pull saw to cut it off. What I find inside and what to do w/ the elctronics will different matter. Not something I need to do now but maybe a good winter project.

I intent to also reply with a response about my most valuable/favorite lap steels, and of course stories about them.

Greg

Most valuable and valued would be my Rick B7. Most played would be its 7 string younger brother, my new Fouke Industrial.


And for good measure... there is my whole lap steel family.

Terry, nice National dynamic collection!
I had a chance to play one a few months ago. A guitar player friend of mine brought by a 51 National Dynamic left to him by his father. I replaced the tuner buttons on it. I grew up around lap steels and have owned or played most brands except for that model.
I noticed that the fretboard markers were raised on the '51 and painted had no clear plexi-style fret board cover.
It did have a really nice sound with what I understand was a patented, ”Vista Tone” P/U. Also, you've got to love the "art deco" fretboard design on all the early Nationals.
Anyway, after about a six month wait (these don’t seem to come up for sale often), I got a ’57 with a nice clear
plexi-cover, road worn bar room patina, and a Vista Tone P/U. So that’s my favorite for now!

Two Georgeboards set up as a D8. A13 on near neck and Leon E13 on far neck.

Greg Forsyth wrote:Thanks C.E.,
My RK Roy is one to keep and cherish. I've had a lot of time to think about the whole Back thing. My RK has one of those annoying hums, and I've been able to tame it a bit by setting the guitar volume low and running it though a preamp. To get inside to update the electronics I will have to take off the back. I'm assuming it's glued on with hide glue, and think I can use a hot flat blade (putty knife) to melt/cut through the glue to remove the back. Or use a Japonese flush cut pull saw to cut it off. What I find inside and what to do w/ the elctronics will different matter. Not something I need to do now but maybe a good winter project.

I intent to also reply with a response about my most valuable/favorite lap steels, and of course stories about them.

Greg

Greg,
Looking forward to your post regarding your most valuable/favorite lap steels, and of course stories about them.

Friend to all,

C. E. Jackson

Allan Revich wrote:
Most valuable and valued would be my Rick B7. Most played would be its 7 string younger brother, my new Fouke Industrial.


And for good measure... there is my whole lap steel family.

Allan,
A very nice collection. I have a Rick Bakelite 7 string
which I enjoy very much. The sounds of these Bakelites are great.

RICKENBACHER MODEL B (white plates) 7 STRING: c. 1946




Friend to all,

C. E. Jackson

Gary S. Lynch wrote:Terry, nice National dynamic collection!
I had a chance to play one a few months ago. A guitar player friend of mine brought by a 51 National Dynamic left to him by his father. I replaced the tuner buttons on it. I grew up around lap steels and have owned or played most brands except for that model.
I noticed that the fretboard markers were raised on the '51 and painted had no clear plexi-style fret board cover.
It did have a really nice sound with what I understand was a patented, ”Vista Tone” P/U. Also, you've got to love the "art deco" fretboard design on all the early Nationals.
Anyway, after about a six month wait (these don’t seem to come up for sale often), I got a ’57 with a nice clear
plexi-cover, road worn bar room patina, and a Vista Tone P/U. So that’s my favorite for now!

Gary,
I think the colors of these steels are great. I only saw one during my time of collection at Norris Family Music. I really made a mistake not purchasing it at the time.


Friend to all,

C. E. Jackson

Bo Parker wrote:Two Georgeboards set up as a D8. A13 on near neck and Leon E13 on far neck.

Bo,
A very attractive arrangement. Although I have never played a Georgeboards, I have listened to several being played and like the sound of these steels very much.

Friend to all,

C. E. Jackson