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Topic: Reso newbie with a tricone...help! |
Nic Neufeld
From:
Kansas City, Missouri
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Posted 27 Jun 2018 1:37 pm |
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OK, just got my first reso, a brass squareneck Republic Tricone. Arrived maybe an hour ago. I tinkered a bit with the open tuning they had on it, mostly detuned, but as I had planned from the getgo, I intended to get this into C6 post haste. I had researched what other people use for that, and had a set of medium d'addario semi-flats ready (using the 5th/A string on up for low C, with an extra plain steel 22 stuck in there for the 3rd string/A).
I got it up to C, and I wonder if its a string tension problem, but it sounded like it was "distorting". I cranked it back down to Bb6 and it seems to behave a bit better. But is there some reading on tricone setup I should pay attention to? Is there a tensioning screw like on the single cone ones (I gather?). Like I said, brand new to resos, but I'm liking it!
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Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Former Member
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Posted 27 Jun 2018 2:31 pm
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I play tricones in C6th most of the time, and buy acoustic single strings usually some nickel/bronze for the wound, and plain steel for the light gauges.
Chromes and flats don’t bring out as much tone to my ears. (They could have a stronger “pullâ€, I don’t know)
E- .014–.015
C- .018
A- .022
G- .024 W or P
E- .030
C- .036
I try the get the heaviest strings that don’t break.
On my NRP’s, I’m not aware of any screw that helps tension...
Does it feel like the tuners are straining to get to the note?
Anything loose will cause a buzz or distortion, and I’ve had trouble with the string slots on the wooden bridge pieces if they’re not properly “V†cut, could pinch the string and kill the sound.
Hang in there, it can take a little trial and error to dial in. |
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David Ball
From:
North Carolina High Country
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Posted 27 Jun 2018 3:57 pm
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Another possible problem is if that after a reso, and especially a tricone, has had the tension taken off the strings (and especially if you remove all of the strings at once to re-string), the seating of the T-bridge on the cones and the cones on the plate that they sit on can cause buzzes/distortion. Sometimes just grabbing the T-bridge and lightly wiggling it back and forth a bit can help situate all of the cones and the bridge to cone connection to get rid of the distortion.
Dave |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 27 Jun 2018 5:20 pm
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Thanks guys!
I knew -just enough- to not pull all the strings off at once, did them one at a time...
I've only had it for a few hours, so I'll tinker! My bass strings may be a bit heavy, too. Bb6 working ok for now...fun stuff. I had the original strings tuned for C#m7 / E6, which is authentic for a lot of the music I want to play, but those intervals, not ready for the change-up yet!
_________________
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Charles Stange
From:
San Francisco, California
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Posted 30 Jun 2018 9:11 am
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I've been using these gauges on my 1927 tricone as recommended by Rick Aiello in 2013:
"I use it on my 1927 Style 1 square neck I bought from Paul Warnick 12 years ago ...
E ... .016
C ... .018
A ... .020p
G ... 022p
E ... .030 flat
C# ... .036 flat
Sounds great ... No stress on the unit" ...
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Charles 'Skip' Stange |
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Jim Sliff
From:
Lawndale California, USA
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Posted 4 Jul 2018 6:15 pm
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"Distortion" is usually cone buzzes and rattles.
It really should be set up by a tech. Tricones are tricky. Here's the short version (please, no debates - this is a general outline of the method a resonator tech could use. There are variations.
The rim under each cone needs to be clean and dead flat for proper cone seating.
if the cones are tacked or glued in that a *bad* thing. If there's any way you can remove the tacks without damage, then use hot water and dental tools to soften and scrape away the glue without bending the cones.
Like I said - you may need a tech.
OK, back to the rims - once they are dead flat and smooth, each cone needs to be tweaked very slightly so it fits its rim flush with NO wobbling or gaps. This is a long, involved process.
One that's done the aluminum bridge needs to be leveled along each axis so it sits evenly on each cone, the cones sit on the rims, and thew saddle is level with the fretboard.
The last part - a matter of personal preference - is notching of saddle and nut depth. Some players - I'm one - prefer that the bar is able to lay across the strings with absolutely even contact on all strings. This allows you to use less left-hand pressure on the bar, making the instrument easier to play without buzzing.
Others are not so particular and just want all strings sort of "averaged" as far as notch depth at both ends. IMO this just makes the instrument harder to play, especially for a beginner who deals with buzzes and rattles on a perfectly set up instrument.
And changing of string gages will require minor modifications in the setup.
I hope that helps
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
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