The Steel Guitar Forum

George Piburn wrote:I am selling off my personal Treasure Chest of Steel Guitars.

Looking in a closet I found this Lap Steel Guitar and 2 more Double neck consoles from my personal Museum.

I haven't thought about these particular instruments for over 5 years.

This lap is from my very first batch, when I was making these in my back yard with all hand held tools - power and manual.
I had a MDF pattern and got about 10 before it got too worn out.

This is #006 of all 500 + guitars I have made over the past 26 years.

Thick booked slabs of super figured Walnut on top of a 1 piece Maple lower body.

The strings are just to temporary hold the nut and bridge pins.

George, sorry to hear that you are selling off your
Treasure Chest of steels. So far, I have not sold any
of my steels. May be making a mistake because my
wife has said on several occasions during conversations
with family members-"If you go first, I probably will
sell off your steel guitar collection at a yard sale
for $5.00/ea. as wall hangers." I sure hope she is
joking.

The GeorgeBoards #006 looks to be a very fine steel.
All of your steels I have seen or heard I would consider
very fine instruments. I recommend that Forum members
take time to look at your website. It is excellent.

Thanks again, friend, for naming this thread "TREASURE CHEST".
I don't think a better name could have been selected for the
many favorite steels shown in photos and discussed by members.

Friend to all,

C. E. Jackson

Joe A. Roberts wrote:

George Piburn wrote:I am selling off my personal Treasure Chest of Steel Guitars.

Looking in a closet I found this Lap Steel Guitar and 2 more Double neck consoles from my personal Museum.

I haven't thought about these particular instruments for over 5 years.

This lap is from my very first batch, when I was making these in my back yard with all hand held tools - power and manual.
I had a MDF pattern and got about 10 before it got too worn out.

This is #006 of all 500 + guitars I have made over the past 26 years.

I was just looking at #009 on Reverb yesterday! Owned by George Benson... wow. Is 1979 right?
I wonder what he played on it.

https://reverb.com/item/35743932-george ... 79-natural

George Piburn wrote:Hello from GeorgeBoards

Joe: That George Benson lap is for real, Not a 1979 though. It is #009 of that same backyard run described above.
If you look closely at the fretboard on the reverb guitar that was so far back, I was going to Kinko's and making clear acetate unlays and hand making the plexi cover.
When I developed the Console I also figured out the Etched Plexi with the Hula Dancers.

My Hawaiian friend Henry Allen Hawaii's most well known jazz guitarist and last of the Hollywood Hawaiian's were neighbors.
I brought over that lap to play on holiday - we played out at a golf resort restaurant George was there , and a few other well known performers.

George just had to have it so.....

To continue the saga, at the time 1995-97-ish, I was only into making Laps and Henry was wanting me to make a more Hawaiian Console.
I told them I would match their 3000 little solutions to design and develop a CNC Console.
I did and Benson Sponsored and got my 1st D8 GeorgeBoards Console, delivered to Maui in of course a Pelican Case.

Thanks to Joe and George for continuing the conversation
regarding steels made by George.


Friend to all,

C. E. Jackson

It has to be my e9 10 string







[
[

Donald Wade wrote:Here is the 7 string Dobro lap with amp. Very under-rated and sounds wonderful. My 48' Fender triple 8's table models are also some of my fave but I got too small a lap, also TV trays work just fine. Thanks to all.

Donald that's a beauty. That split blade humbucker is so smooth and yet clear. The design of the National and Dobro castings are so unique and artistic. They are keepers. Keep a 6 string in G taro patch where the tone really fits traditional Hawaiian music.

Ivo Garza wrote:

Donald Wade wrote:Here is the 7 string Dobro lap with amp. Very under-rated and sounds wonderful. My 48' Fender triple 8's table models are also some of my fave but I got too small a lap, also TV trays work just fine. Thanks to all.

Donald that's a beauty. That split blade humbucker is so smooth and yet clear. The design of the National and Dobro castings are so unique and artistic. They are keepers. Keep a 6 string in G taro patch where the tone really fits traditional Hawaiian music.

Ivo, thanks for your post.

Friend to all,

C. E. Jackson

Brian Henry wrote:It has to be my e9 10 string







[
[

Brian, this is truly a beautiful instrument, unique,
and looks well made. Thanks for posting photos.

My favorite 10 string steel is:
Gibson EH-185 (v.1a) 10 String C.C. pu: c. 1940



Everything about the construction of this
steel makes it a pleasure to play.

Friend to all,

C. E. Jackson

Wow, that JB steel must be amazing.

My most valuable guitar is my Clinesmith Frypan, not only because it's a perfect instrument for me which gives me all the sound I was after. The special thing is that it's serial number is 001 (for 8-string short scale model). Thank you so much, Todd, I will never give it away and it will be on our upcoming album by the end of the year.

Just to be clear, I make no claim that my guitar ever belonged to JB..im reasonably certain it did not. Yes, I also have a ss8 string clinesmith pan on order, and am really looking forward to it..YAY

Mr. Widgren, your Trotmore is truly awesome! Thanks for sharing.

On a related note, can anyone say when Mr. Byrd recorded with his Trotmore, and what (if any) recordings would be available on YouTube? Did he play the Trotmore during the Cincinnati era, the Nashville era, or both (or neither)?

And yes, I do love how it sounds and plays. Its no museum piece, I use it almost every day.

john widgren wrote:

John, thanks for photos and comments regarding
your Trotmore steel. I was always interested in
information on the Trotmore steels, and thought
about purchasing one, but never did. These steels
look to be very fine instruments and rare. Keepers.

Thanks to Jack Hanson for his comment.

Friend to all,

C. E. Jackson

Steffen Gunter wrote:Wow, that JB steel must be amazing.

My most valuable guitar is my Clinesmith Frypan, not only because it's a perfect instrument for me which gives me all the sound I was after. The special thing is that it's serial number is 001 (for 8-string short scale model). Thank you so much, Todd, I will never give it away and it will be on our upcoming album by the end of the year.

Steffen, thanks for posting your Clinesmith Frypan
as your most valuable steel. Certainly a great
steel and a keeper.

Friend to all,

C. E. Jackson

Thanks again to George Piburn for naming this
topic a TREASURE CHEST. Hopefully, others will
continue to add their most valuable and favorite
steel to this topic in the future.

Tom Wolverton wrote:

Tom, a great photo of you and your baby. From
what I can see, that steel should be a keeper.
Thanks for the photo.

Hopefully others will continue to post photos
and comments on their favorite steels.

Friend to all,

C. E. Jackson

With the recent addition of a 7-string Clinesmith Frypan, my most valuable is one of these 4 guys. All are 7 strings…

Allan Revich wrote:With the recent addition of a 7-string Clinesmith Frypan, my most valuable is one of these 4 guys. All are 7 strings…

Allan, thanks for the great photo of 7 string steels. I have a RICK and GIBSON like
yours. My favorite 7 string steel is a 7 string GIBSON EH-185 (v.1a) C.C. pu: c.1939.

Friend to all,

C. E. Jackson

Well...the Ben Bonham Twins certainly qualify...the Resoborn and the CooderNator ...more info at https://bb.steelguitarforum.com/viewtopic.php?t=374470

Steve Lipsey wrote:Well...the Ben Bonham Twins certainly qualify...the CooderNator and the Resoborn...more info at https://bb.steelguitarforum.com/viewtopic.php?t=374470

Steve, thanks for the great photo of the Ben Bonham
Twins...the CooderNator and the Resoborn.

The additional details and STORY are very interesting. I can
certainly understand why these are keepers for you.


Friend to all,

C. E. Jackson

Gotta tell the story ...it'll only hurt for a little while (thanks D.A.C.): I worked (brain-storming) with George Piburn during the early years of his Georgeboard steel guitars; What a joy that was. George is an absolute Artist, keen dedication to details and perfection, and a confident visionary ...as his Georgeboard steel guitars attest. George's first steels were EH (Electric Hawaiian) styled and most of them made from exotic woods, primarily Koa; His garage on Maui had heart-thumping large rough milled stacks of Koa timber. I wanted one of those EH styled steels from the beginning, but alas could not put away enough money to buy one; Life's expenses competed ...and won. About that time I had to medically retire from my major income job. Then George's consoles came along, and I was in real deep kim-chee ...no chance of setting aside enough money for both EH and console models. But a voice inside my soul kept saying things like "be patient", "have faith", "picture and keep the wishes in your mind", "the right time will come", etc. ~~~~~ From the very beginning George always had in mind to create some model(s) that most people could afford, ...and from the beginning some that he and Henry Allen could give away to deserving kids / students of Henry's teaching steel guitar. George is a GOOD man. During a later period that George was building an affordable console shaped model, ...George sent me one in kit form (he knew I would want to build-in a few of my ideas). It sat stored away in my home guitar shop, waiting it's turn while my work had to keep up with the bills. Soon thereafter my age and health and Murphy's Law started catching up with my robust take on Life. I fought and beat cancer 2017-2019. So that GB "kit" still sits stored away in my shop that's been "temporarily" closed for 6 years ...off and on for 10 years. But that voice in my soul kept saying "hold on", "have faith", "be patient", ...but those hopes were waning. Then 10 days before Christmas 2020, well into the COVID pandemonium, ...I was looking for some item on ebay and literally stumbled upon a Georgeboard console 8 with every hardware / mechanical feature I preferred on GB steels, except the hula girls fretboard, ...at such a ridiculously low price my brain & soul went into some shaky hands / apprehension / anxiety frenzy mode, ...I couldn't click on 'Buy It Now' fast enough, and had some difficulty making my mouse-cursor behave it's dancing around, ...imagining that someone else surely must be racing me to the 'Buy It Now' button. The 'Pay Now' links that popped up made my apprehension give way to remembering some of the many life threatening close calls I've escaped by the skin of my teeth. The voice in my brain & soul said "calm down, ...see there ...I told you so":























=================================================================

........................................................Very Happy Camper

...................................................
(Thank goodness my old git-tar's neck got so bent up'ards I had'a start playin' it with mah pawket knife)......

Greg Forsyth wrote: Now, I'm curious about something. Since this guitar (Gibson-made Recording King Roy Smeck) 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

=============================

REPLY:

Greg,

Gibson electric Hawaiian Guitars (EH) (today aka Steel Guitars) and their Recording King likenesses, (from 1935-1939), had body backs that either screwed on & off, ...while other same & similar versions had backs that were glued on. The backs that glued on DO NOT HAVE TO HAVE THE BACK REMOVED to gain access to the electronics. Here's why: The ones that required their backs to be un-screwed and removed to access the electronics, HAD 2 RATHER LARGE BAR MAGNETS ATTACHED SECURE TO THE UNDERSIDE OF THE BODY TOP AND UNDERSIDE OF THE PICKUP ...the magnets too large to come out through the pickup hole in the body top, ...so the back had to be unscrewed & removed to access the electronics. ..... However, leading up to 1935 Gibson was also experimenting with the same pickup attached to 2 SMALLER BAR MAGNETS to put in their Electric Spanish (ES) guitars, ...and that pickup's assembly with those smaller bar magnets WOULD fit through an ES pickup hole in the body top, ...and would therefore fit through the pickup body-top hole of their EH guitars. In 1935 Gibson installed the pickup into the ES-150 production which quickly made Charlie Christian famous via recordings and him taking electrified solos in live orchestra performances (said to be the very first for Spanish Guitar). ..... But at least through 1938 (I have a 1938 RK with screw-on back), Gibson kept the large bar magnets in their Hawaiian Guitars because the larger bar magnets could drive more "sound" (voltage) from the pickup, ...and Hawaiian Music and the Hawaiian Guitar was THE most popular music genre and instrument of that time, with Hawaiian Music and Hawaiian Guitars (from beginners to Professionals) selling like hot cakes. Gibson apparently did not want to risk upsetting that apple cart until their Beta Testing proved the "Charlie Christian pickup" to be OK in Hawaiian Guitars. Around 1938 Gibson was satisfied with the smaller magnets CC pickup and put them in their EH guitars and no longer needed a screw-on back, because the CC pickup version could be installed and removed through the pickup hole in the body top; Voila their EH guitars backs became glued on. Worthy of mention at this particular time, is that the process steps in fishing the CC pickup versions out through the body top pickup hole, ...is a quite tricky process of steps;

So over the last week or-so I've been working on some comprehensive info, history and photos to add to this discussion so that Folks desiring to see inside those guitars, especially to fish out and re-install a CC assembly, can see what's inside and have a good idea of the process steps to do so. Stay tuned for a few days while I finish that work.

-----------------------------

EDITED TO ADD: Folks,... I have been working many long hours very often trying to finish up an Article to post on the SGF about Gibson's development of their first Electric Hawaiian (EH) guitars (aka lap steels), from 1935 to 1939, ...which necessitates adding information on what quickly became known publicly as the Charlie Christian pickup that Gibson was trying to perfect in their Electric Spanish (ES) guitars. During that period Gibson spun-off EH guitars for Montgomery Ward's Recording King branded EHs. BUT the article is stout due to the amount of information my research found; So stout that I ran into some gliches in completing and posting the Article. When bOb and staff finish helping me find the causes of the gliches, it shouldn't take me more than a few hours of final editing and then posting the Article on the SGF. Sorry for the delay, but I have the fullest confidence that bOb and staff will know or figure out what's causing the gliches and I can get it done.

Very Best Wishes

Aloha, I thought Denny and CE might want a few details to sweeten his description of his GB Princess.

We are dating back to the 90's with these. This is a series 1 Console, made on a Motion Master CNC in Vista California.

The main Body is AAAAA Poplar, Inlay bands on front and back, similar to what ShoBud did on their pedal steel necks.

The Nut and bridge holder / string receiver is Bubinga, milled of course , with a 3/8" Brass pin CNC Lathed to my Fast Speed Spacing scheme,
later I went to the more popular 3/8 spacing.
These pin rollers in wooden trays are my most "Hawaiian" sounding to my ears.

With this set up there is only a .020 difference in spread from nut to bridge making for amazing accuracy of Angle Bar Slants.
As well ease of playing in general. I use this set up today.

The fretboard , again CNC milled Maple with Bubinga edging, Black White Black perfeling strips as fret lines,
these make the eye focus on the true in-tune point.

Pearl shell dots add to the visual, and as usual, graduating sizes as the frets narrow.

That is an original VintageSpec Single Coil GB pickup wound and designed by Lindy Fralin.
Alnico5 magnets with a winding formula, if I were to reveal would prompt a Black-Ops midnight visit.

In conclusion Denny Got a Good One in pristine condition. He deserves it , as a person - personal friend - steel guitar super enthusiast, and for his massive input to the design- engineering of the GB's.

I am retired from sanding and painting so I will never make any more of these now Truly Collectible Instruments.

Just got a Fender Dual 6,Stringmaster style,love it its my Fav.


Carl

Denny Turner wrote:Gotta tell the story ...it'll only hurt for a little while (thanks D.A.C.): I worked (brain-storming) with George Piburn during the early years of his Georgeboard steel guitars; What a joy that was. George is an absolute Artist, keen dedication to details and perfection, and a confident visionary ...as his Georgeboard steel guitars attest. George's first steels were EH (Electric Hawaiian) styled and most of them made from exotic woods, primarily Koa; His garage on Maui had heart-thumping large rough milled stacks of Koa timber. I wanted one of those EH styled steels from the beginning, but alas could not put away enough money to buy one; Life's expenses competed ...and won. About that time I had to medically retire from my major income job. Then George's consoles came along, and I was in real deep kim-chee ...no chance of setting aside enough money for both EH and console models. But a voice inside my soul kept saying things like "be patient", "have faith", "picture and keep the wishes in your mind", "the right time will come", etc. ~~~~~ From the very beginning George always had in mind to create some model(s) that most people could afford, ...and from the beginning some that he and Henry Allen could give away to deserving kids / students of Henry's teaching steel guitar. George is a GOOD man. During a later period that George was building an affordable console shaped model, ...George sent me one in kit form (he knew I would want to build-in a few of my ideas). It sat stored away in my home guitar shop, waiting it's turn while my work had to keep up with the bills. Soon thereafter my age and health and Murphy's Law started catching up with my robust take on Life. I fought and beat cancer 2017-2019. So that GB "kit" still sits stored away in my shop that's been "temporarily" closed for 6 years ...off and on for 10 years. But that voice in my soul kept saying "hold on", "have faith", "be patient", ...but those hopes were waning. Then 10 days before Christmas 2020, well into the COVID pandemonium, ...I was looking for some item on ebay and literally stumbled upon a Georgeboard console 8 with every hardware / mechanical feature I preferred on GB steels, except the hula girls fretboard, ...at such a ridiculously low price my brain & soul went into some shaky hands / apprehension / anxiety frenzy mode, ...I couldn't click on 'Buy It Now' fast enough, and had some difficulty making my mouse-cursor behave it's dancing around, ...imagining that someone else surely must be racing me to the 'Buy It Now' button. The 'Pay Now' links that popped up made my apprehension give way to remembering some of the many life threatening close calls I've escaped by the skin of my teeth. The voice in my brain & soul said "calm down, ...see there ...I told you so":























=================================================================

........................................................Very Happy Camper

...................................................
(Thank goodness my old git-tar's neck got so bent up'ards I had'a start playin' it with mah pawket knife)......

Denny, thanks for the great history. George Piburn can certainly be ranked
among the greatest designers and makers of steels. I always like to read more
history like this.

Your George Boards steel is a very valuable steel and would certainly be a
keeper. Thanks for the excellent photos, including the cowboy guitar.


Friend to all,

C. E. Jackson

Denny Turner wrote:

Greg Forsyth wrote: Now, I'm curious about something. Since this guitar (Gibson-made Recording King Roy Smeck) 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

=============================

REPLY:

Greg,

Gibson electric Hawaiian Guitars (EH) (today aka Steel Guitars) and their Recording King likenesses, (from 1935-1939), had body backs that either screwed on & off, ...while other same & similar versions had backs that were glued on. The backs that glued on DO NOT HAVE TO HAVE THE BACK REMOVED to gain access to the electronics. Here's why: The ones that required their backs to be un-screwed and removed to access the electronics, HAD 2 RATHER LARGE BAR MAGNETS ATTACHED SECURE TO THE UNDERSIDE OF THE BODY TOP AND UNDERSIDE OF THE PICKUP ...the magnets too large to come out through the pickup hole in the body top, ...so the back had to be unscrewed & removed to access the electronics. ..... However, leading up to 1935 Gibson was also experimenting with the same pickup attached to 2 SMALLER BAR MAGNETS to put in their Electric Spanish (ES) guitars, ...and that pickup's assembly with those smaller bar magnets WOULD fit through an ES pickup hole in the body top. In 1935 Gibson installed the pickup into the ES-150 production which quickly made Charlie Christian famous via recordings and him taking electrified solos in live orchestra performances (a very first for Spanish Guitar). ..... But at least through 1938 (I have a 1938 RK with screw-on back), Gibson kept the large bar magnets in their Hawaiian Guitars because the larger bar magnets could drive more "sound" (voltage) from the pickup, ...and Hawaiian Music and the Hawaiian Guitar was THE most popular music genre and instrument of that time, with Hawaiian Music and Hawaiian Guitars (from beginners to Professionals) selling like hot cakes. Gibson apparently did not want to risk upsetting that apple cart until their Beta Testing proved the "Charlie Christian pickup" to be OK in Hawaiian Guitars. Around 1938 Gibson was satisfied with the smaller magnets CC pickup and put them in their EH guitars and no longer needed a screw-on back, because the CC pickup version could be installed and removed through the pickup hole in the body top; Voila their EH guitars backs became glued on. Worthy of mention at this particular time, is that the process steps in fishing the CC verions pickup out through the body top pickup hole, ...is a quite tricky process of steps;

So over the last week or-so I've been working on some comprehensive info, history and photos to add to this discussion so that Folks desiring to see inside those guitars, especially to fish out and re-install a CC assembly, can see what's inside and have a good idea of the process steps to do so. Stay tuned for a few days while I finish that work.

Very Best Wishes

Thanks for the additional comments.

Friend to all,

C. E. Jackson