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Post by bryanbradfield on Jun 19, 2023 23:51:59 GMT
Pete - All I can say is wow. Your patience in drilling and then inserting the screw must have been incredible. After a bit of fumbling, did you leave the screw somewhat loosened, with the driver still in the screw head, as you applied the epoxy?
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Post by bryanbradfield on Oct 1, 2022 20:22:27 GMT
I recall seeing offset spider bridges recently available (the last 20 years or so?) suggesting these were intended to be used with modern non-lugged cones. This thread shows the short spider for lugged cones. I wonder whether there were offset spiders for non-lugged vintage cones?
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Post by bryanbradfield on Aug 29, 2022 20:24:21 GMT
I see a broad spectrum of preferences and experiences from you folks. I agree with Michael that an audience will wait for tuning or re-tuning. However, like pete1951, I was retuning with old strings in the 1960s, and cussing at broken strings that resulted. So, like snakehips I began carrying multiple instruments to gigs, but I tired of that quickly. More recently I retuned my dobro to a 6th tuning for performances of western swing material, but broke that raised string during retuning more than once.. I am approaching the time when I believe I will slow down gigging. So, like slide496, I will be reaching for different guitars from my collection, possibly in different tunings, but probably not. At this point all of my arm-pit guitars are in standard, and my lap guitars are all in high bass G. But it is interesting reading these different approaches and perspectives. Thanks to all of you.
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Post by bryanbradfield on Aug 24, 2022 21:34:52 GMT
I've just started a new thread entitled "One tuning is sufficient", as I believe that this topic might be controversial, and I do not want to clutter up Kim's thread with slightly sideways commentary.
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Post by bryanbradfield on Aug 24, 2022 21:33:55 GMT
I've avoided cluttering up Kim's August 22 posting "Songs in open G only" as I am not currently a bottle-neck player. I realize that there is a tendency to follow the guidelines of some key performers of the past when playing bottle-neck style. I did play bottle-neck style 50 or so years ago, and did a recording session on bottleneck a few short years ago. I've been a teacher of dobro for many years, while simultaneously performing in a variety of genres. Michel Messer said in the above-mentioned thread " You should be learning the songs that you love, not the songs that someone else plays." I really, REALLY like that sentence. I've found that I can arrange most of the tunes I want to perform (I don't sing) while using plain old high bass G tuning (GBDGBD). Coincidentally, I arrange those songs myself, and am often transposing from pianists or spanish style guitarists, in standard as well as open tunings. I play in as close a presentation of finger-picking as I can manage. I also am not tied to the key of G (the tuning of the dobro). I did a festival workshop on Saturday past where a former student said he was using C6 now. My response was that it was a good tuning for some specific styles, but I avoided it as it has an inherent Hawaaian, or western swing flavour to it which would tend to limit my versatility. He agreed completely. My experience in performing is that I do not want to be fussing with re-tuning (I've done that); I do not want to be taking a chance with string breakage (I've done that). So, what I have settled on is one vanilla flavoured tuning, which I will work around to fit my needs.
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Post by bryanbradfield on Jun 15, 2022 0:46:21 GMT
The tail-piece is very much like one I had on a 1930s Regal resophonic. The hole in the middle of the cover plate strap, and the split saddle with the screw in the middle suggests a spider-type cone. It appears to be a small spider type resonator, and the only small cone unit I ever had hands on had a 4-legged spider sitting on the cone.
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Post by bryanbradfield on Apr 6, 2022 21:36:32 GMT
Some resos are built from solid woods, some from laminates. Different tones and volumes. Horses for courses.
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Post by bryanbradfield on Sept 24, 2021 20:36:26 GMT
The late Mike Auldridge was the undisputed master of tone and taste in the spider bridge dobro world. His signature Beard guitar, which was a few years in design and development by Mike and Paul Beard, was made of plywood. It was, I believe, the most expensive dobro in the Beard line at the time.
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Post by bryanbradfield on Sept 24, 2021 2:22:57 GMT
I saw John Mayall on Friday April 2, 1971, at the Pacific Coliseum in Vancouver, British Columbia, Canada. $4.50 well spent.
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Post by bryanbradfield on Aug 10, 2021 2:57:04 GMT
The Memphis Swamp Jam tunes are all included in the Mississippi Delta Blues Jam In Memphis Volume 1 and Volume 2 with the following additional tunes added to the Mississippi Delta Blues Jam albums: Bukka White - Stuttgart, Ark. Bukka White - Mixed Water Sleepy John Estes - Little Laura Sleepy John Estes - Rats Furry Lewis - Furry Lewis’ Blues
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Post by bryanbradfield on Aug 10, 2021 2:19:17 GMT
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Post by bryanbradfield on Aug 10, 2021 1:53:59 GMT
There is a wonderful double LP that was issued at the time of the festival in 1969 and included performers from the 1969 festival. The surprise for me was the 3 tunes at the end by R.L. Watson & Josiah Jones. I found out many years later that they were actually Bill Barth & John Fahey. Here is the discogs listing for that album: www.discogs.com/Various-Memphis-Swamp-Jam/master/813115Two tunes from the album are available on youtube:
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Post by bryanbradfield on Aug 1, 2021 2:43:35 GMT
I'm in agreement with ken1953clark. I use prescription diclo for finger osteoarthritis pain and finger tendon knots. Also Tylenol arthritis pills. Works for me.
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Post by bryanbradfield on May 4, 2021 0:43:03 GMT
When I saw the script and the name (Michigan) on the head stock, I immediately thought of B & J (Buegeleisen and Jacobson), a musical instrument distributor based in New York. I theorize that Regal made the instrument and labelled it for B & J.
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Post by bryanbradfield on Apr 16, 2021 19:19:56 GMT
Ted (Charles Edward) Brasher used a heavy iron pre-heated by an external source to solder the tops, sides, and backs of his metal guitars.
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