The Steel Guitar Forum

I realize this is pretty subjective, but with few weissenborn types in shops to try, one is often forced to buy sight unseen. So far there have been few disappoints in any lap steel purchases.
(Knock on wood!)

I’m thinking of rounding out my ‘stable’ with a higher end Weiss. $2-3k. Have a vintage Knutsen that I will either sell or trade to even accounts.

Can any players compare (tone, volume etc) Michael Dunn’s work to Bear Creek or Iseman? I’ve always been a mahogany guy, but I’m open to Kona or....

Thanks!
Mark in Mafison, Wi

I had an Iseman. It was okay but nothing I'd write home about. I sold it a few weeks after getting it.

Bear Creek will probably be my next upgrade

i would look into Asher. He builds very accurate weissenborn guitars.

Hi Mark,
Just to let you know that Burgin Guitars, whose weissenborns are played by David Lindley and Henry Kaiser, among many many others, have an instrument in stock that may be of interest. It's our style two weiss in sapele mahogany with rope binding. It's priced at US $2750 including case and shipping to your door. I'm happy to answer any questions about it. We have been in the business for more than twenty years and Mr Lindley has been touring with his two Burgins since he bought them in 2005.
Regards Paddy Burgin paddyburgin@gmail.com
www.burginguitars.co.nz

When you're talking about master-level builders ... Dunn, Hardin, Asher, Francis, Burgin ... fine woods and an expert build are pretty much a given.

So then, you're down to things like aesthetics - visually and tonally.

What finish? ... lacquer, gloss/non-gloss, binding - rope or otherwise, etc?

How do they sound? Guitars from even the same builder will sound different due to many factors including .... tone woods used, time to open up from playing, bracing patterns, relative humidity when played, string brand, etc. If trying to compare recorded examples, what mics were used? Was the recording EQ'd?

So, making broad pronouncements in comparing various builders work is completely subjective and really, inherently an apples and oranges game. All of these builders make exceptional instruments. Playing individual guitars side-by-side in the same physical environment is your best chance of a fair comparison. You can discuss with a builder your ideas for the kind of sound you want and they will always be willing to work toward getting you a guitar that's in the ballpark of your sonic vision.

Here are some general guidelines regarding differences in tone woods but all the above factors also contribute:

https://www.soundunlimited.co.uk/blogs/ ... tone_woods

I really appreciate all the perspectives on build and tone. I understand it’s easy a to get too general... but getting personal opinions and a perspective on ones own chosen instrument is helpful.

Those Burgins look beautiful.

Thanks to all

Mark

You might want to chat with Ben Bonham, (541) 490-5447‬, who made my Weissenborn (and my Myrtle Tricone), he is great just to chat with, whether or not you buy anything from him. And he usually says that if you don't like what he built, just give it back...(at least that is what he said to me). I met him a while ago when I went to hear his band and asked about all the interesting instruments he was playing.

Mine is an exact copy of the late-20's one he was restoring, except made from Black Acacia with a 1,200 year-old douglas fir top and handmade binding...and it sounds wonderful.

Ben is not very well known (yet!) but has been building for a long time, in a low-key way, in Hood River OR. His prices are quite a bit lower (but going up) for what you get, than from other builders...

Ok, if you want personal opinions, here are a few impressions. I own an curly maple Asher Deep body Hawaiian and a Bear Creek Koa.

I've owned the BC since 1997. It was the first BC with wood binding (I asked Bill to do Rosewood) and it is sort of a hybrid model between his MK and more expensive models. I asked for a nicer top and for style-4 inlays. The binding is Rosewood with a lighter wood pinstripe. Great-sounding axe; lots of overtone and rich mids. It does not have the glassy, otherworldly sound I've heard in some original Weissenborns but I'm very happy with the tone it does have which works for a wide variety of music and tunings.

The Asher is altogether a different animal. It was made from a set of cello woods. I played it in a guitar store and had to have it. It has a very deep, full sound - very even in response with less harmonics and more fundamental. It's almost shockingly beautiful and I take my heart in my mouth whenever I take pickups in and out. I've played a few other Ashers that were beautiful but really needed playing to open up as they sounded slightly constrained. All acoustic instruments really need playing time to show their full potential. Both of my guitars sound amazing and I'm lucky to have them.

I played a Dunn only once and don't really recall my impression. I've played three Burgins - all great but different from one another. The right pickup and amp can make even lower-end Weissenborns sound huge. A fine-quality one can sound positively majestic.

ASHER:


BEAR CREEK:

Mark - I sent you a PM regarding Knutsen instruments.

my bear creek weiss melts my heart.

just slightly off-topic: i also have a bear creek "rocket kona"(23" scale) which i keep at C6, and it can sing like callas.

Kirk Francis wrote: and it can sing like callas.

Charlie or Maria?

Thanks to all for guidance
I fell into a 2006 Koa Michael Dunn.
Remarkably resonant!
The Knutson is still seeking a new home