SECOND MIND – Reso Guitar Tone

[robn]

Hi Michael,

Just a quick question – What guitar are you using on the “hidden” track 13 (Locomotive Skin acoustic version) from the Second Mind album? Is it your Koa Fine Resophonic single cone? I just love the tone from that track – there’s a real warm “growl” from the guitar, a sort acoustic version of a valve amp sound. It is definitely a tonality that I don’t get from my Quarterman equipped Korean wood-bodied single cone. But I suppose that is the £2k price difference!

If it is your Fine Resophonic, could you let me know what the bridge saddle is made of? Just a thought, but the ebony capped bridge on my guitar may not be helping matters – I could do with less treble and a “darker” overall sound. I know my guitar will never sound like a classic – but any improvement in the tone stakes would be a bonus. The guitar has too much presence and the cone seems to be picking up too much background noise and too many overtones, if you understand my meaning?

Anyone else have any thoughts on the tonal qualities of bridge saddle materials?

Thanks

Robn

[Michael Messer]

Hi Robn,

Yes, well spotted! It is my Koa Fine Resophonic single-cone guitar. This guitar is just getting better & better and has a unique tone & character. Second Mind was recorded onto 1 inch 24 track tape through a totally analogue set-up. This also adds something to that growl and warmth that you mention in your post.

I would recommend you use a piece of maple or boxwood for the bridge saddle. Ebony capping will bring out treble and make a thinner more brittle sound than softer woods.

Without actually seeing your guitar it is hard to comment about the tone and what could be acheived by making changes. Is your guitar a spider-bridge dobro style, or a biscuit-bridge National style guitar? If it is a National biscuit-bridge single-cone, I recommend you change the Quaterman for a National Reso-Phonic cone. But if it is a Dobro single-cone the Quaterman is the right thing to have.

Shine On,
Michael.

[robn]

Thanks Michael,

My guitar is a biscuit bridge fitted with a quarterman cone, so I might try a NRP cone plus a maple or boxwood bridge. I’m aware that the NRP cones are slightly higher than the quartermans, but I should be able to sort that when I shape a new bridge.

I had a play with the coverplate last night. I’ve not seen any information anywhere on the effect of the coverplate on tone. The coverplate on my guitar is a cheap plated steel affair, which would ring like a bell when hit. I’ve put aluminium self-adhesive tape on the inner surface (the stuff they use as a quick repair for bullet holes in fighter aircraft!), which has deadened the ringing and seems to have deepened the tone – but I think a cone and bridge change are in order! (or just save up for a Fine Resophonic ! ! !)

Thanks again for your advice

Robn

[Michael Messer]

Hi Robn,

Yes I would definitely recommend a new NatRes cone, I am sure it will have a better tone than the Quaterman. Regarding your coverplate question - Everything affects the tone of a guitar, but how much is debatable. The best tone comes from resophonic guitars that have no tape gasgets between surfaces - coverplate to body, tailpiece to body - should all be without gasgets. In the 1920s & 30s, they occasionally used thin card or newspaper under coverplates, but this was usually on tricones. A single cone guitar like yours should be okay with no gasgets.

Take care,
Shine On,
Michael.

[LouisianaGrey]

I think a National cone has a slightly richer tone than a Quarterman but, as Michael said, the main source of your treble tone is likely to be the ebony capped bridge. I think of them as being like the "presence" knob on an amp - they make the sound a bit more in-yer-face and help you to cut through, but that's not necessarily what you want all the time (unless like the bluegrassers you're competing to be heard with banjos. Bill Monroe apparently never talked about playing "with" other instruments, he always said playing "against" them.)

[robn]

Thank you both for the advice,

I'll try the bridge saddle change before I decide about swapping cones. Any ideas where I can get a maple saddle blank?

I didn't explain the coverplate mod that I'm trying very well. I've not used the aluminum tape as a gasket. I've applied strips to the underside of the coverplate on the areas between the sieve holes to add a little mass (but keep the reflective nature of the surface) to reduce its tin can type ringing. I think that many good quality coverplates are plated brass which would have different tonal qualities to cheap pressed steel. I've not really had enough time to fully assess this easy (and totally reversible) mod but my first impressions are that it has taken away many of the unwanted tinny overtones and "background noise" I was getting.

Phew - all that work just because I happened to hear a some great guitar playing on a great sounding guitar on one of your albums Michael. ;D

Thanks again

Robn