Tre Mistiche by Sally Van Meter – CD Review by Paul Koptak

 

TRE MISTICHE RELEASE COVER

Sally Van Meter, Tre Mistiche: A Small Congress of Ballad, Weissenborn, and Waltz (Live Oak Records, 2015). Available from artist on her Facebook page.

It’s very likely that Sally Van Meter was the first female instrumentalist to win a Grammy for her work on The Great Dobro Sessions (that comes from the Shubb artist page, along with the story of the tone bar she designed for them). Long-time member of the Good Ol’ Persons band, Van Meter has also released a solo dobro album (All in Good Time) , recorded with 60’s icons Chris Hillman and Jorma Kaukonen, and found time to pursue her interests in film production and photography.

SALLY PROMO FOR MEDIA RELEASE

photo by Jeremy Rosenshine

The EP’s liner notes describe this collection as  “small gatherings—a fine musical cohort, me, and a very old Weissenborn feels just right. “ The seven duets of mostly traditional tunes feature four guitarists, each bringing a different complement to Van Meter’s singing melody lines.
Hard Times (Come Again No More) with Led Kaapana matches the slack key master’s echoed guitar with Van Meter’s simple statement of the tune, the guitar adding lines until it creates a kind of counterpoint.
Irish singer-songwriter Gerry O’Beirne plays guitar and ukulele arpeggios on the gentle Margaret’s Waltz. The sync between rubato weisenborn and guitar lends a dark beauty to the modal melody of My Lagan Love. Their final duet, Na Geadna Fiadaine (The Wild Geese), again departs from regular rhythm to conjure images of watching a sunset in fall.
Northumberland blues guitarist Johnny Dickinson contributes some additional bottleneck slide guitar on two of his own tunes. Listeners might think of Leo Kottke in the B part of Little Mischief, but it is here surrounded with a playful dance instead of a Vaseline machine gun. Their second pairing, Feathers of Fen Rother, first sounds celtic, then upbeat country.
The set closes with old-time hero Bruce Molsky’s fingerpicked guitar and rugged vocal on Little Satchel, an invitation to marry and go to “Californie”– whether or not the bride’s father gives his blessing.
This collection becomes more appealing with each hearing. Because it was recorded in various live and studio settings, the sound of the weissenborn is a bit different from song to song; the magnetic pickup on Feathers gives a new sound to the slides, hammers, and pull-offs. For me, the variations make the listening a bit like a journey with unexpected discoveries and pleasures around each bend. Every tune highlights Van Meter’s spare melody and backup lines, some of the most expressive and musical I know. The duet format worked very well; here’s hoping for another will that includes Van Meter’s talents on dobro and lap steel as well.

 

Paul Koptak is a Professor of Theology at North Park Theological Seminary in Chicago as well as a lifelong fan of resonator, Weissenborn and lap steel guitars. When he’s not busy with his day gig Paul can be found playing his dobro with his band – The Lonesome Theologians.

A Conversation with Ken Emerson by Sebastian Mueller

KE promo photo

Ken Emerson

 

Ken Emerson is one of the world’s most highly regarded traditional Hawaiian steel guitarists. His unique playing style reflects the Hawaiian guitar’s grassroots origins of over a century ago & towards present day. He is the only steel guitarist who is also a virtuoso in slack key guitar, he combines both styles in what he calls ‚slack/steel‘ a self-accompanying style that was popular in the very early days of hawaiian steel guitar.

But he is not focusing on Hawaiian music alone. His great musician ship and versatility lead to recording and touring the world with artists like Todd Rundgren, Tah Mahal, Jackson Brown, Donald Fagen and Charly Musselwhite, just to name a few.

He has a 4 albums available at Cord International, the latest is called ‚Sacred Slack & Steel Guitar‘ 14 recordings of old spiritual songs and features the distinct sounds of his vintage National Resophonic guitars.

SM: How did you get started playing steel guitar?
KE: I started playing ukulele at 7 and guitar at 9. I had lessons on cornet and accordion.

SM: Did you played any instruments before ?
KE: I started on mother’s ukulele. Then played guitar when my hands got bigger- lol.

SM: Did you had any teachers or are you basically self-taught ?
KE: I was self-taught for most of my playing styles. I developed a good ear for listening & learning. Later for some of the slack key & steel guitar I would watch and listen to the masters play. Just watch, and listen. Much of what I learned in the old acoustic style I learned from old 78 rpm recordings, because no one was playing that way anymore.

SM:Which steel guitar players influenced you the most ?
KE: When my brother and I started collecting 78 rpm records we discovered some really great Hawaiian style blues and jazz. Sol Ho’opi’i of course was probably the biggest influence, along with Sol K. Bright, Benny Nawahi and some of the others from that era. Why Sol Ho’opi’i was such a big influence was the fact that you could hear the extreme talent he had, as well as the great arrangements and what I like to call ‘humor in music’.. He had that for sure, personality, and I have tried to do that in my own playing, sort of carry on a tradition.

Ken Emerson with Johnny Winter

with Johnny Winter

SM: Please tell us about your steel guitars. Which instruments do you use the most ?
KE: I use mainly a 1928 National Tri-cone Style 1 for my acoustic steel playing. You can tell when they have never been taken apart, they are all tone and volume. I also use a 1930 National Style ‘0’, it’s another exceptional guitar. I like to use a 1937 Gibson EH-150 for my electric playing. I have an old Rickenbacker BD-6 that sounds great, but I am more comfortable playing the Gibson. I also have some Vegas, and other lap steels I use. But the EH-150 is a main axe.

SM: What was your first steel guitar ?
KE: My first acoustic steel was a mid/late 30’s National steel bodied single resonator, with the fake wood finish and bakelite headstock with national engraved. I have not ever heard a louder guitar in my life..lol.

SM: I read that you are using G-LowBass a lot. Any other tunings that you like to use ?
KE: I will use low bass tunings for acoustics & high bass tuning for electric lap steel, and play with variations of G tuning. Sometimes from GBDGBD i will raise the middle D string to E, and create a G6th tuning. Sometimes i will flatten the middle G to F# , sometimes both G strings to F#. I have experimented with other tunings as well, but basically I stay in G for the older style. I have played a bit in C6 and E9 but I keep G tuning as my base.

SM: You lived quite some time on Hawaii. Did you had the chance to meet some of the old heroes ? Any stories you can share ?
KE: Yes, many that were still living. George Kainapau, Sol K Bright, Alvin Issacs, Alice Namakelua, Genoa Keawe, and other classic musicians.
Uncle Sol was a real character. We talked about the old days in Hollywood. I told him I found a union book from 1930, and most of the Hawaiians were at the same address, a hotel. He had a good laugh about that. He said there was great tropical themed clubs back then, in the 20’s and early 30’s in L.A.. We talked about Sol Ho’opi’i and all the recording they did together back then. A few years later he said he was playing the “Hawaiian Cowboy” at a restaurant/club in Petaluma, in the middle of the great depression, in the early 1930’s. He said he hadn’t  finished the song, and a lady at the bar kept on him to play it, so he was making up verses as she was tipping him. It turned out later they were hundred dollar bills! We were doing a gig once at the Waikiki aquarium. Right in the middle of the song, Anapau, as it was my solo on steel, he started talking to me. He would ask, “Hey Ken, you married”? Without messing up the solo I’d hesitate and then say, “No”.. He would smile a big smile and say “enjoy life”..  I think he did that just to have fun and maybe try to throw me off a little, and when I didn’t flinch, I think he really liked that. He also occasionally would reach back to where he had a small pint of whiskey tucked into the back of his amp, and we’d nip at it slyly between songs. We played quite a bit together in the late 70’s/early 80’s. He was a big man in my eyes and I’ll never forget him.

SM: How old were you when you started to play steel guitar ?
KE: I started sliding on guitar around the age of 13, sliding a harmonica on the neck of an acoustic and mimic steel guitar and blues riffs. Later I got more serious about it and got a proper bottle neck slide. My dad had a great record collection and I would mimic the Hawaiian steel. Later on someone gave me a steel found in a basement, no one knew how it got there. I said I played so they gave it to me and away I went. It was a Gibson student model from early 1950’s, with a single coil pickup. I played high bass G tuning and along the way discovered the G6th, which i still use. I discovered resonator guitars and that was one of the Emerson Brothers big contributions to the Hawaiian music scene in the 1970’s, as acoustic steel was a dead art at that point.

SM: Which slide and picks do you use ?
KE: Well, I used Dunlops, because they were easy to find. I use the metal fingerpicks, because they are adjustable, and don’t feel thick and cumbersome like plastic one’s do. Oddly enough, my girlfriend is a neighbor of Jim Dunlop, so I still use them,  I just don’t buy them anymore.. lol. Sometimes Jim and I jam on the Nationals for fun.

SM: How do you amplify your acoustic steel when you play live ?
KE: I still don’t have pickups in the old Nationals. I have never found the right sound compared to the natural sound, so I mic them still. And maybe it’s a bit like bluegrass players, nothing beats the natural sound. I do have a modern electric Dobro I play in concerts.

SM: Do you have a favorite amp for electric steel guitar?
KE: I use a 1965 Fender Deluxe reverb. My favorite amp so far.

Ken Emerson with Jim Dunlop

with Jim Dunlop

SM: You are one of the few players who plays steel as well as slackkey guitar. Do
you play also the self accompanying style on the steel guitar ? I couldn’t find too many recordings in that style, Kanui and Lula and Charles Diamond come to mind. Alan Akaka told me that he was able to listen to some wax cylinder recordings of Joseph Kekuku, and he said it was also in that self accompanying style. Any more players you know of who played in that style ?
KE: I have some of those recordings, and they are interesting. I do play slack key, so I have developed my own way of playing solo steel. The right hand basically plays like a slack key guitarist, syncopating the bass strings. As for the left bar hand you have to do a lot of pulling up the back end of the bar, to free the bass strings to sound. So the bullet end gets a lot of use during single and double string runs (while the bass strings also being played) and then at times the steel is used as regular  steel all across the strings, while the bass strings are constantly being plucked in a steady rhythm. A challenge is doing forward and reverse slants while keeping the bass going, as well as harmonics. It’s a nice style. I recorded a song called “Ka Loke De Mi Corezon” featuring that style. Also on my “Slack & Steel” album from 1996 I played an old chant “uUa No Weo” in a minor tuning in that style, solo guitar. Unusual for the time. Well, even now. I’m pretty much alone in playing this way here in the islands.

SM:So you are using a Dunlop bullet steel ? Do you know which size ?
KE: Yes, it’s a medium size, I don’t use real thick bars.

SM:I love the story about Sol K. Did he still play steel when you played with him ?
KE: No, he hadn’t played steel in a long time. He was playing a great doghouse style upright bass though.. And sang a lot. old hulas, It was a blast. He liked the fact I was on a National.

SM: Talking about Sol K playing with Sol Hoopii,  I always wondered how a studio session
looked like in the 20s and 30s, did Sol talked about that ? Only one mic I guess .
KE: Yeah, i guess electrical recording was new then, so it was a big improvement. They did a fair amount of jamming/rehearsing before the sessions because, they didn’t get a lot of chances at multiple takes. And he said Ho’o’pi’i was so confident on his solos, he never stuck to a real worked out thing, as a real jazzman would do.

SM: Do you have a preferred microphone for micing the acoustic steel (live and/or studio) ? How do you place the mics ?
KE: I liked the older Sennheiser mics, the long square one. It was real multi-directional and seemed to really pick up the sound of the Tri-cone.

SM: How important is musical theory to you ?
KE: It’s important to know how to tie things together, and basic stuff like the circle of fifths, minor, diminished, octaves and partial chording. Also playing a chord while leaving open strings to sound.

SM: Are you mostly a feel person or do you know always exactly what you are doing when you play ?
KE: I am a real feel type player I think. I do hear things arranged in my head, and I have certain patterns on the neck I mentally project to. It is great because you can really cut loose when you tie the patterns together, for the changes the music is going through. So certain patterns you can do chords, or single/double/triple notes on. When you tie in the triplet techniques, you can really color the sound.

SM: Slackkey vs Steel Guitar: Right now slackkey is much more popular on the Hawaiian Islands compared to steel guitar. From the 30s until the 50s it was the other way around. Steel guitar was considered a very hip instrument. Why do you think that changed ?
KE: Yes, oddly enough at one time steel was king. Well, for one thing steel is a ‘feel’ instrument, as there are no frets to keep the notes true. Only where you hold the steel above the frets. So it is a more difficult instrument.In that regard. Slack key is fretted, so right away it is an easier instrument to learn.

SM: Which advise would you give to a players who just started out to play the steel
guitar ?
KE: Start with a 6 string acoustic, and work your way up to an electric steel if you desire, and go on to other versions with extra strings, or even into pedal steel if that’s your thing. But starting with a 6 string acoustic is basic, it’s easier, and not expensive. You literally only need a nut to raise the strings.

SM: What kind of muting do you use the most ? Left hand or palm blocking ?
KE: I use both, and after playing so long i don’t even think about it, or even realize I am doing it sometimes.. It becomes a part of your style.

SM: When you started out in the late 70s you said there was nobody around who played
acoustic Hawaiian steel. Today the situation looks a bit better, at least there’s a handful of instructional material around (Stacy Phillips: The Art of Hawaiian Steel Guitar Vol1+2 and Bob Brozman: Traditional Hawaiian Steel Guitar). In addition it’s not too hard to get a hold of the old 78s via iTunes, etc. But still it seems it’s only a small bunch of people worldwide playing in that old style. You play all over the world, do you think the old acoustic style gained popularity ?
KE: It was starting to perk in the early 70’s. When I played in the mid-later 60’s there was rarely anything on Hawaiian, just maybe some Dobro stuff, as bluegrass was, (and still is) popular back then. For Hawaiian, there wasn’t really much of anything. Brozman and I met in Santa Cruz when he first got there, we were in our early 20’s and did a similar thing. We stayed in touch over the years and played gigs like the Dobro Festival in Slovakia. He was perpetuating it on the mainland, and i returned to play Nationals in Hawaii in 1978, and eventually we both played all over the world. There are younger players now like the ‘Sweet Hollywaiians’ from Japan and other players like Pascal Mesnier) in places like France. So hopefully players like Brozman, Robert Armstrong and myself were there at the right time to help keep the ball rolling on period Hawaiian acoustic steel guitar. Robert Armstrong and I recorded an album
called “Escape to Jazz Island'” on the grass skirt label in England, and I have many recordings on the Hanaola /Cord international label – if people are interested in hearing more of this unique style of playing.

Aloha pumehana kakou, k.e.

Sebastian Mueller is a musician, producer and sound designer located in Berlin/Germany.

After focusing mainly on electronic music for the last decade he discovered Hawaiian Steel guitar music during his frequent travels
to the Hawaiian Islands. Since then he is affected with the steel guitar virus, focusing mainly on the early style from the 20s and 30s.
He performs with the only Hawaiian Band in Berlin called ‚Hula Hut & The Seven Seas‘ www.hulahut.net

Practice vs Performance 

Practice is the hallway that leads to the ballroom where we perform our music for others.
We need to spend just enough time in the hallway before stepping into the ballroom, but no more. If we don’t spend enough time in the hallway we risk the temporary embarrassment of stepping into the ballroom unprepared but that is all. If we spend too much time in the hallway we risk becoming immobilized by irrational beliefs about our own perfection or the fear of not being good enough.

Music demands that we balance creativity with discipline. We can’t go from zero talent to having it in the refined form without going through this process of practicing and performing.
There comes a time to put away the instructional materials and fly by the seat of your pants. Don’t get stuck in the hallway! If you’ve never stepped out of the hallway I encourage you to look for opportunities to perform your music in front of an audience and/or jam with other musicians.

What do you think? Please share your comments about practice vs performing.

 

Rob Anderlik Web Photo

Mike Witcher

Mike_Witcher_italy_2014

Mike Witcher

 

 

You come from a musical family, but I’m not sure your story is well-known among your fans. How did your family get started playing music, how did you get started playing the dobro and how has coming from a musical family shaped your perspective on the world?

Well, there are some great musicians on both sides of my family. 

We got into Bluegrass after someone gave my dad a mandolin in the early 80’s. He and my Mom went to a couple of festivals and they liked the family environment. When I was about 3 years old my older brother Gabe started playing the fiddle. I remember dancing around while he and my dad and a few family friends would pick and sing. Whether it was live or on the stereo, there was always music playing in the house.

After giving the fiddle a try and a few years of piano lessons, my dad suggested I try the dobro. My twin brother Loren had taken up the bass and everyone but me seemed to be having fun picking and singing. I just wanted to have something to play so I could join in. The dobro was the only instrument left at that point.



So everyone already had an instrument picked out? 



Yes, and banjo wasn’t allowed. So the dobro was it. My Dad taught me my first few tunes; Cripple Creek, Fireball Mail and Steel Guitar Rag. I didn’t have my own instrument for the first 8 or 9 months. So I took my brother’s guitar – he had a mini guitar from when he was younger – and we raised the nut to set it up as a lap slide guitar. I mowed lawns to work up the $15 to buy a Steven’s steel (laughs). They eventually signed me up for lessons with Mark Switzer. He was the only guy in LA giving dobro lessons then and I think he still is the only guy in town now.

As soon as I got home from my first lesson, i dug out this compilation video that Mark had put together for my dad of The Seldom Scene with Mike Auldridge playing Walk Don’t Run/House Of The Rising Sun and Jerry Douglas playing a couple of solo pieces including A New Day Medley. The last part of it was Strength in Numbers on Austin City Limits. As soon as I watched that video it was over. I was hooked. I’m sure I watched it every day for a year.

Mike Witcher practices and fine tunes his guitar before performing Thursday at the Chuck Jones Center for Creativity in Costa Mesa Thursday June 27 2013.  /// ADDITIONAL INFORMATION: 6/27/13 - cu.chuckjonesbenefit.0701 - STUART PALLEY, ORANGE COUNTY REGISTER -  Folk music artists perform at the Chuck Jones Center for Creativity on Thursday June 27, 2013 in Costa Mesa.

Clinesmith Koa Resonator Guitar

Take us back to when you were new to the instrument. What were some of the hurdles you faced when you were learning to play? 



Well, I didn’t know much about music and I wasn’t interested in learning music theory. My ear was pretty good, so I thought I could just rely on that. I just wanted to learn to play licks and solos. It took a long time before I got past that mind set.

My siblings had been playing for years and had already developed into great musicians. I felt like I had a lot of catching up to do.



Nothing like that to give you motivation!

Exactly! I was more disciplined at practicing that first year than I’ve ever been. I would rush home from school and give myself 30 minutes to eat something and practice until dinner time, which gave me 3 to 3 ½ hours. If I could, I would practice some more until my parents went to bed. That was rare because I’d have to do some of my homework. That was everyday for at least 3 hours and up to 8 hours on the weekends.

Fr Kristen Bearfield 558574_3868877086170_1405860011_3597761_609632472_n

with Noam Pikelny, Chris Thile, Casey Dreissen, Josh Williams and Mark Schatz



I could be wrong, but I’m willing to bet you didn’t learn to play by using tabs. 



Well, it was a combination of things. We had the Cindy Cashdollar DVD – her first dobro DVD – so I learned some things from that. My teacher Mark would tab out just about any solos that I wanted to learn. I would try to work them out by ear and refer to the tab when I got stuck. Eventually I didn’t need the tab.

So, were you setting goals for yourself along the way? Seems like you were highly motivated…



Yes. I had all sorts of goals. Daily, weekly, monthly and yearly goals. I didn’t always reach them with in time frame I gave myself, but I kept working towards them anyway. I felt like I had a long way to go to catch up to my brothers.



I’ve always been a big advocate of encouraging students to find people to play with but that it’s not easy. It’s like trying to find the right spouse. There’s a girl around every corner but I’m not sure I want to get married to her. On the other hand you really advance a lot quicker if you learn by playing with others, especially good musicians. 



Totally! That was huge for me. I was pretty terrified of making mistakes. At the beginning I refused to take a solo. Even if we sat there for five minutes just playing the chords, they’d be telling me “take a solo” and wouldn’t stop until I played one. So right off the bat, I was learning by playing with other people. After a few months no one would play with me because I wanted to play all the time. (laughs)

Mike_and_Little_Jimmy_Dickens

With Little Jimmy Dickens

 

So you started when you were 14 years old. How long was it before you started doing gigs with the Witcher Brothers? 



9 months

9 months?

That’s when I started sitting in with my Dad’s band at their weekly pizza parlor gig in Simi Valley. After I sat in a few times I ended up filling in for my brother Gabe on a few shows. Around that same time I got my first call for a session. I didn’t know what the heck i was doing! (laughs) but I could fake my way around I-IV-V chords.

So all of that happened really fast. 

I guess we all go through this process of becoming your own man (or woman) on the instrument. You start out wanting to sound like your hero but you get to the point where you realize as hard as I might try I can’t be someone else and start learning to trust your own instincts. You must have gone through the process quicker than most.

TUT_Recording_Session

Tut Taylor recording sessions with Ronnie McCoury, Jerry Douglas, Russ Barenberg, Barry Bales & Fred Carpenter

I’m still going through that process! (laughs)

When did you get to the point where you felt like “those are my licks” This is my stuff

?

It’s been a number of years. But, I still feel like I’m just getting there right now. I’m getting more comfortable playing something the way I want it to sound instead of trying to recreate something I heard on a record. There’s still a lot I want to be able to do on this instrument that I haven’t quite figured out yet.



That’s such a valuable lesson. My wife is an actress so I wind up thinking about the similarities between acting and playing music. Anyway, I guess by analogy the dynamic would be like an actor trying to recreate the impact of someone else’s lines – trying to recreate someone else’s magic; but in a different time and place. No matter how much you study you can’t completely duplicate the internal process that led them to express themselves in their own unique way. “I could have been a contender” (quotes Marlo Brandon from the movie On The Waterfront).

Anyway, tell me more about that: getting into someone else’s head, their approach, etc 



I really admire Jerry Douglas’ musicianship. I think the reason he is able to move between multiple genres and make it work is because of the level of musicianship he brings to the table.

I’ve always been interested in understanding a musician’s approach and how they think on their feet. I realized early on that there are a couple of different ways of approaching building a solo. One common approach is lick based improvising. You learn a bunch of licks and piece them together and play over chord progressions. That’s how I started. That’s not always the best way to serve the song. Instead, you could start with the melody; work the phrasing and add a few embellishments, maybe a lick or two. It seems like my favorite musicians utilize this approach. 

At this point, all I want to do is play the melody in the most beautiful way i possible can. It can be really challenging.

Sam_Bush_Mike_Witcher

with Sam Bush

 

 

There’s a jazz saxophone player named Brian Kane with a website called www.jazzpath.com that I really like with applications for this. The short version is that after seeing scores of student’s complete programs in jazz studies he noticed that out of a graduating class maybe one or two students could improvise well. So he poses the obvious question: why is that? Why can’t most or all of the students improvise? Any his belief – and I think he’s right – is that the school of licks approach can work but it’s a really slow, tedious way to learn because it involves a lot of memorization and it takes most of us years and years to be able to digest that much information, synthesize it and generate our own ideas. Anyway, his approach is to get away from the school of licks approach and approach improvising with creative Intent and the use of stylistic inflections. For example one of the ways he does this is through an intervallic repetition exercise which restricts you to just four notes. The idea is learn to do a lot with just a few notes vs. doing very little with a lot of notes.

How do you approach teaching improvisation? 



Sounds like I have a new exercise to practice. Thanks! I don’t consider myself a great improviser. As much as I love Jazz, I can’t hang in those jams. Some of my friends can play for 10 or 15 minutes straight without repeating an idea. I’m not there yet. I spend most of my time backing up singer/song writers. I find my self in situations live and in the studio where I’m playing songs I’ve never heard. Of course I improvise in those situations, but it’s based on the melody. I’m trying to do my best to serve the song. So, when I teach, I teach lick based and melody based improvising. We look at how we can take that melody and find its essence and find all the different ways that we can phrase it, look for embellishments, play the melody in different positions on the fingerboard and so on. When I first started playing I didn’t want to learn scales. Other than a technical exercise they seemed like a waste of time to me. As soon as i started figuring out melodies on my own, scales became my friend. I try to get people to learn the scales and immediately use them to find the melody. It’s pretty exciting when a student realizes they can find the melody in 5 or 6 places across the fretboard. Then we find the unique characteristics that each position has to offer. We talk about what makes a great solo. We use a basic formula for a decent structure that isn’t flat all the way across but has a peak somewhere…

Right! With a beginning, middle and an end!



Exactly! A solo that goes somewhere; takes the listener somewhere. And use that concept to connect these different places that we can play the melody to make something interesting. So that’s my basic approach – find it’s essence; edit out all the notes that you don’t need to play in the melody (which is really important in fiddle tunes.) Then find creative ways of communicating that melody and little ways of embellishing it.

I’m sure you’ve felt this, but once you get beyond the sheer mechanics it’s really easy to get into this territory where you start restricting and censoring your own ideas. So one of the exercises I’ve done with students is to challenge them to improvise for 2-3 minutes without stopping. Most folks find this incredibly difficult! They start censoring their own ideas almost instantly. Then you get into this Zen territory where the best ideas really come out of your unconscious where you’re not thinking about what you are playing. 




Exactly! My favorite moments are when something completely unplanned pops up.



Let’s switch gears for a moment: You’ve played with a lot of great musicians over the years – Sara Watkins, Peter Rowan, Bette Midler, Dwight Yoakum, Dolly Parton, Missy Raines and the New Hip – what have been some of the highlights of those experiences and what have you learned along the way from your associations with other musicians.

Peter

with Peter Rowan and Keith Little

Most of my heroes that I’ve had the opportunity to meet and play with have all been incredibly kind and supportive. The year I started playing I met Mike Aldridge, Josh Graves, Rob Ickes and Jerry Douglas. They all took the time to talk to me and encourage me. It was pretty amazing, with in the first month of starting to play I got a lesson from both Rob Ickes and Mike Aldridge when they came through town. I studied those tapes for years and learned every note they played!

I remember when Peter Rowan, Tony Rice and Mark Schatz came through L.A. I had played a few shows with Peter over the last year. I got to hang with them when they came through town. They got me up to play the whole second set of their LA show. It was ridiculous. I was 17 years old and had only been playing for 3 years! I played 3 or 4 shows with them. I still can’t believe that happened.

R_R_S_WITCHER_97or98

with Peter Rowan, Tony Rice and Mark Schatz

 


If that was me – 17 years old and playing with Peter Rowan and Tony Rice – well on the one hand it’d be really exciting but I’d be scared to death!

I was! But I jumped in there and tried my best to hang on. That’s what it’s like playing with Peter Rowan; it’s jump in and hold on! (laughs) Even if you rehearse it’s still unpredictable. The one time we made a set list we didn’t play any of the songs on the list. If you can survive that, you’re ready for just about anything.



Well I guess that’s one of nice things about bluegrass music is that it trains you to be ready for anything, since there’s no written music. I mean there’s no choreographer and a set of dancers. Whatever’s going to happen is going to happen; there’s a framework there, but there’s also a lot freedom.



Totally! Though I’ve played with plenty of artists who play the same exact solos every night and expect the show to sound just like the record.

Another really cool experience from when I was a teenager – I got a phone call one morning. I was still half asleep and this voice says “Michael? It’s Flux.” We chatted for a while and it turned out he had a gig playing with Dolly Parton in L.A. that he couldn’t make and wanted to know if I could do it. That was the coolest call. 

I was 18 or 19.

There’s a guy I know – Brian Nelligan – that had a similar experience. Do you know Brian? 



Yeah, we talked about it. He played Letterman with Dolly. 

I think Brian told me that he actually hung up on Jerry when he got that phone call! He thought he was pulling his leg and hung up on him, then thought about it and had to call him back a few minutes later! (laughs)

You are both a musician and a photographer. Do you see any analogies or parallels between the learning process in becoming a musician and photographer? I just wound up buying my first semi-pro DSLR but I am brand new to photography and I’m taking a lot of bad pictures!

I really approach them both the same way. There’s a technical side and a creative side to each. I went to school for photography and it was all about learning how the camera works, how light works. Once you learn how it works the fun part starts. It’s all about experimenting to get different looks and trying to mimic different styles. It’s kind of the same process with dobro. There are a few photographers whose work I really admire and have tried to emulate. I always fail miserably but I usually learn something in process. (laughs). In music I try to emulate my hero’s but I end up failing and hopefully learn something in process. 
What kind of camera did you buy?

A Canon 7D 



Nice. That’s the same camera I have. It’s an amazing camera.



I think it’s a great camera, but I don’t know how to use it. I’m sure there are folks out there who might listen to you play on your Clinesmith and think “wow, that guitar sounds great. If I had that guitar I’m going to sound just like that.” So to quote Lance Armstrong ‘it’s not about the bike.’ How do you think about the instrument and the sound of the instrument vs. the sound you can get out of the instrument and what advice do you have for someone who wants to make the leap from a starter instrument and move up to a professional quality instrument




There are a lot of great starter instruments out there. If the Gold Tone PBS guitars were around when I first started, I probably wouldn’t have gone through so many guitars before I bought my first Scheerhorn. I started out on a Regal import. I mowed lawns and washed cars; saved up all my money for that Regal. I played that guitar for about a year and eventually upgraded instruments a few times until I got a Scheerhorn. I struggled with getting a tone that I liked on the Regal. I was way into Mike Auldridge early on so I really like a nice, rich tone. I can see the effects of trying to make that Regal sound good in my technique today. It definitely shaped the way I put my hands on the guitar.

That’s such a great insight Mike. Over the years I’ve been asked countless times for advice on this or that instrument. Let’s put it this way – I love my Scheerhorn’s but I’ve played other guitars that I love too, you know… it doesn’t really matter to me what the brand is but it’s more about does the instrument give you the sound that you’re looking for? How do you think about this sort of thing?

I agree! I got my first Scheerhorn in 1998. I got it because that was the guitar that my hero’s were playing. I’ve played a lot of great guitars over the years…I don’t think one wood is best, one builder is best, one body style is best and so on. I think it’s a big combination. I have this sound in mind and I don’t care who made the instrument or what the parts are as long as it makes that sound. I eventually ordered an L Body Scheerhorn around 2002 or 2003. I loved that guitar. But, I felt like I was always wrestling with it to get what I wanted out of it. In 2008 Todd Clinesmith built me a beautiful Koa guitar. I played that guitar almost exclusively for 6 years. It totally changed my playing. I didn’t wrestle with that guitar. It gave me exactly what I wanted. Especially on the high string. It really sings! In 2014 I got my hands on a BlackBeard, one of the Jerry Douglas Signature Series Guitars made by Paul Beard. I’ve been playing this guitar almost exclusively for a little over a year now. I really love it. It’s top string really sings too. It has a huge sound but isn’t muddy in the mid range and low-end like most large body guitars. It doesn’t compete for space with a dreadnought acoustic guitar. It’s rich and beautiful and it cuts through. I’ve never heard or played anything like it.

Are there other builders that you admire?



There are so many great builders these days. Of course Beard and Scheerhorn make amazing instruments. I’m also really interested in Kent Schoonover’s guitars. I’d really like to own a Schoonover someday.



I played Jimmy Heffernan’s Schoonover a few years ago; a rosewood/spruce guitar. He handed it to me – I had no idea what kind of guitar it was – and I played it and thought – wow, this is a great guitar!

Kent is doing great work. His son Kyle is a great player and built an all mahogany guitar which is one the best guitars I’ve ever played.

I’m really glad to hear you say that. I’ve talked with Kent several times and I am so impressed with him and his guitars.

He’s really a great guy!

Yes he is.

I want to thank you for turning me on to his modular spiders. Let’s talk a little bit about your live performance rig: 



Up until the Aura system I hated plugging in. I’ve had the McIntyre, Feather and other pickups that have come along in the last 10-15 years and I absolutely despised them and avoided them whenever I could. Now I use the Aura pedal along with the Nashville series pickup and it’s amazing. Sometimes I even prefer to plug-in over using a microphone depending on the situation with the sound guy. I’ve gone through three generations of that pickup. The first two pickups (very early versions) went dead on me. Fishman was really great about overnighting replacements. The third time around I had Kent Schoonover install the pickup with his modular spider and the guitar sounded better, much better. The pickup sounds great. It’s been many years now and the pickup still sounds wonderful.

Did the pickup affect the acoustic sound of your instrument?



Yes, the early ones did. But I liked it 
.

Really?

It actually helped the sound of the Clinesmith. It’s been so long I’m not sure I can accurately describe what it did. I think it helped the sustain and controlled some of the harmonic overtones. I’ve also had so many different spider set-ups since I’ve changed from non-pickup to pickup and each one of those sounded different, but I’ve found that Kent’s modular spider sounds the best.

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Sara Watkins recording session with Dave Sinco, John Paul Jones, Sean & Sara Watkins, Mark Schatz and Ronnie McCoury

 

Let’s talk a little bit about your instructional materials. Over the years you’ve taught lessons the “old-fashioned” way – in face to face settings in private lessons, at group settings at Kaufman Kamp, etc, but you’ve also published a couple of books and have put together a comprehensive library of downloadable instructional videos on your website and through Peghead Nation. Can you tell us a little more about the range of instructional materials that you have available? I’m also curious to know how your experiences in teaching in a live setting has influenced your approach to creating instructional videos?

I love teaching. From the raw beginner to advanced players. I love helping people find their voice on the instrument. A lot of times, people have bits and pieces and they just need help connecting them. It’s really fun to facilitate and watch it all come together. I’m a stickler for technique. That sort of stuff transfers really well from in person lessons to Skype lessons. I can move the camera and show full screen close-ups. It’s pretty amazing. It took a while for me to get used to teaching over the internet. It’s been 6 years and it’s going stronger than ever. My skype students are quite succesful too. It’s been really fun watching a handful of my students become professionals and the ones who are already professionals reach new levels! But, the most rewarding is watching people with no or little prior musical experience become musicians.

The downloadable lessons on my site cover the foundations for good technique. The songs give opportunities to apply that technique. Peghead Nation is really an extension of what’s available on my site and in my books. We lay a good technical foundation, but we also dive into understanding the fretboard and how to use some basic music theory concepts. Instead of just telling you to practice scales and arpeggio shapes, we show how to use those shapes to learn a song and connect every new song back to those shapes. I try to show my thought process for connecting the scales, triads and chord shapes in different positions to find the melody. I don’t want to teach people one way to play a song. I want to teach them how to find the melody for themselves and actualize the music they hear in their heads. That’s my goal with the Peghead Nation lessons. New lessons get posted every month. I head over to their studio every two or three months to record new lessons. Students can message me with what they want to learn and I try to work it into the lesson plan. I’m really happy to be working with them!

For what it’s worth I think your arrangements are really great. One of the things that I like is that they are true to the melodies; they are accessible and challenging for a beginner/intermediate student but not too challenging!

Thanks!

When I was learning I looked at the same books you did. I remember trying to learn from one particular book and it seemed liked that person picked the most difficult possible way to play something. I remember spending hours looking at that book and trying to learn that style and thinking “what the heck?” I quickly figured out that I didn’t want to play like that. So on a personal level I could relate to your style better. It made sense to me. I think there are probably some folks that can find value in the “100 licks you need to know” approach – I’m not saying that those things are bad. However, what I’ve found to be the most effective as an instructor and as a student is learning to play the repertoire in the bluegrass idiom. You go to a jam session, you play those tunes. That’s how you learn. Of course, in addition to learning where the notes are there’s always the issue of style and just learning how to play in tune.

It’s amazing how much instructional material has become available over the last 6 or 7 years. I think we are entering a whole new era of dobro playing. The internet has changed everything.

This instrument is really technically difficult. It makes so many buzzes and rattles with all of this metal on metal. Most of the technique is about getting rid of unwanted sounds. It’s rare for someone to actually master the technique and stop focusing on it so they put everything they have into the music. There are only a handful of people who have accomplished that.

 

Mike,Aoife,Rashad,Beppe

with Aoife O’Donovan, Rashad Eggleston and Beppe Gambetta

 

Right! The value of basic musicianship vs. focusing on a bunch of licks! I’ve had that same conversation with Ivan Rosenberg. He told me that he went through the same experience when he started all he wanted to do was play licks. I had the experience of taking a lesson from Sally Van Meter about 10-12 years ago. I started playing for her and she said “well I can see that you’re more than a weekend player. Why don’t you play the melody to Banks of the Ohio in the key of B?” So I start playing the tune and after a few bars she stops me and says “great, now play the melody.” So I play it again and she stops me and sings back to me what I was playing. It was pretty sobering. I was playing more licks than melody and in doing so I didn’t realize I was pulling the listener all over the map. (laughs!) So the best lessons that I’ve had didn’t involve learning where the notes were as much as they did gaining insights into my own playing and my own technique, more about understanding myself than anything else.

I’ve had similar experiences. In my case, most of those experiences came from playing music with my brother. We were playing a beautiful slow song. I started playing my solo and half way into it he stopped playing, looked at me and said “what are you doing?” I said “what are you talking about man?” He said “no, no. Listen to the song, Listen to the melody”. So eventually our little jam turned into an exercise in which I was only allowed to play on one string with two plucks for the entire solo. It was all about editing out all the B.S. and finding the essence of the melody. That was the most difficult exercise I’ve ever done and the most powerful.

That brings to mind when I was in graduate school I had to take a class in poetry and I remember reading some poems by Elizabeth Bishop and thinking “this is really simple stuff. I could write something like this.” Then I sat down and tried writing my own poetry and found out it wasn’t so easy. (laughs)



How has your style or perspective changed over the years? What excites you about playing the instruments these days? What are you working on?

Well, I’m not trying to sound like somebody else every time I pick up the instrument. There was a turning point when I started playing with Missy Raines & The New Hip. I had to start holding myself accountable for what was coming out of my instrument. We weren’t playing Bluegrass. I couldn’t fall back on my repertoire of bluegrass licks. That situation forced me to come up with my own ideas.

What continues to excite me about playing the dobro is its vocal quality. To me that’s the most unique quality the slide has to offer. When I play, I want to sound like a great singer. That’s why players like Jerry Douglas, Derek Trucks, The Campbell Brothers and Aubrey Ghent still interest me. The Sacred Steel tradition is all about that vocal sound.

Did you had a chance to see David Lindley play when you lived in Southern California?



Only a couple times, he’s another one of my all-time favorites. He’s not just a slide player, he’s an amazing musician and it’s his level of musicianship which makes him stand out on the instrument to me.



What does the future hold for you? 



Mike Witcher and Willy Watson

with Willy Watson

Well, I have a lot of irons in the fire. I’m not touring much this year. Mostly playing up and down the west coast and in the bay area with various artists. I’m continuing to build up a resource of instructional material on my site and with Peghead Nation. I just finished producing a project for my good friend Willy Tea Taylor. I expect to that one to be released in the near future. I had a great time working with a lot of talented people on that record. I’m looking forward to doing a lot more producing! I’m also working on a new trio project with mandolinist Dominick Leslie and guitarist Jordan Tice. We’re setting up a west coast tour for this fall. I’m still playing a few dates with Pete Rowan and also Keith Little & Little Band. There’s plenty more I’m not thinking of. I try to keep my calendar up to date on my site. That’s where I look when I need to know what’s coming up!

 

A Conversation with Resophonic Guitar Luthier Kent Schoonover

SJ: About ten years ago I was visiting Jimmy Heffernan at his home in New Jersey when he handed me a squareneck resonator guitar to play. As soon as I played it I looked up at him and said “this is a great guitar! Who made this?” Up until that point I had never heard of Schoonover Resophonic Guitars. What inspired you to start building your own instruments and what is the background story of Schoonover Resonator Guitars?

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Kent Schoonover

 

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KS: The inspiration came quite early for me. My dad was a fiddle player and some of my earliest recollections were of him playing “Pop Goes the Weasel” and my older sister and I dancing a circle around him as he played. By the time I was ten years old he had me sitting down with his D-18 trying to learn to play rhythm for his fiddle. He loved Tommy Jackson, Chubby Wise and Scotty Stoneman. August of 1971 found the family camped in a big tent at Bill Grant’s Salt Creek Park Bluegrass Festival in Hugo, OK. I was 13 years old. It changed our lives. We slogged through the mud for five days catching the stage shows and the all-night jams. As a family, we continued to make the yearly trip to Hugo through the 1970s.

After returning home that first year, I started learning the banjo and my brother Craig (known by all as Bozo) started to learn the dobro. Hey, every dobro player has to have a nick-name right? Well, we didn’t have a Dobro at the time so Daddy put a nut extender on his D-18 to get him started. Soon after, he bought Bozo an OMI Dobro through the mail from Slim Ritchey in Dallas.
The fascination for lutherie came from yearning for one of those beautiful, powerful banjos I encountered at the Bluegrass festivals. The Hugo festival hosted instrument contests and I remember the prize for the banjo contest was this gorgeous hand-made Thomas Banjo. I was blown away by the banjo playing of Don Thomas and seeing these great banjos that he made really made a mark on me.

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Curly Maple Schoonover Resophonic Guitar

 

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Back home, Bozo and I woodshedded with Daddy’s collection of Flatt and Scruggs. You know,
putting the LP on the turn table and slowing it down to 16 RPMs. I also had Earl’s 5-String Banjo Instruction book. It was there in the back of that book that I found some basic information on building a banjo. I remember thinking “we could build a banjo”!

I think at this point I should tell you a little about our family. We were the ones that, you know, if the water well pump quit we pulled it out and fixed it. If the truck engine was worn out, we overhauled it. If the house needed a roof……you get the picture. The music was a part of our lives just as much as our spirt of being self- sufficient. There were many talented craftspeople in our family and extended family. I think we were all inspired by each other. My dad was always tinkering with fiddles. He would bring home a fiddle, sometimes in pieces, and put it all back together. There was an old fiddle maker in Ardmore that he would visit when he had something special to show him and I went with him one time. I was really drawn to that level of craftsmanship. Well, I never built that banjo. We saved our money and went to see Don Thomas and I came home with the banjo that I play to this day. But receiving that custom banjo and knowing the sacrifice the whole family had made in order for me to have it and knowing the great person who made it inspired me to write a paper in high school of my desire to build instruments.

After High School, I went to work in a paper mill and I was spending my spare time with old Chevy trucks and hunting and fishing. Bozo came home one day with this Walnut R.Q. Jones Resophonic Guitar! He and Mom and Dad had made a few trips to Wanette, Oklahoma to see Rudy and ordered that guitar. I remember seeing some photos he snapped of Rudy’s shop. Rudy had this big ole bandsaw and workbenches with guitar bodies and parts in this old brick storefront building with this sign that read “R.Q. Jones Resonator Guitars, Worlds Finest”. I thought that was the coolest thing! While working in the oil patch in South Texas I managed to build a mandolin from scratch and I cannibalized a cheap import for the tuners and fretboard. It was really bad. My Dad had Roger Siminoff’s book on Building a Bluegrass Mandolin which I studied but paid no attention to in the building of that mandolin. After moving back home to Oklahoma, I set up a workshop where I satisfied my need to create by building furniture and repairing the pawn shop specials my Dad would bring to me. I also built a few mountain dulcimers. I really don’t know why. I didn’t care for them much but I thought it would be a good place to learn some of the basic construction methods that I had ignored on that first mandolin.

By the fall of 1992 I had just finished building an 18’ Cedar-Strip canoe. Bozo brought his R.Q. Jones over complaining about a buzz. We opened it up and discovered the buzz was a result of the glue joints failing on some of the support posts. We repaired it and put it back together. Bozo said to me “why don’t you build me a dobro”?

Gaven Largent playing his rosewood/cedar Schoonover Resonator Guitar

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Sapele/Sitka Spruce “Black Lacquer” Schoonover Resophonic Guitar

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SJ: So what process did you go through to learn how to build guitars? What qualities were you most concerned with when you designed your first guitar?

KS: Well, that first reso was just a copy of the RQ Jones – more or less. In our neck of the woods the Jones was King! So, why not start there? I had a lot of Walnut lumber from trees I had cut down and milled with a chainsaw mill. I had Irving Sloan’s book on Classical Guitar construction to guide me in the basics. So that first guitar was Walnut. After completing it, I remember thinking….this is not the way to build an acoustic instrument. Every great guitar that I had ever encountered was light and responsive in my hands. Studying my brother’s OMI Dobro and his R.Q. Jones I found they were built to withstand very heavy loads from top to back. However, the body was not well equipped to counter the over 200 pounds of string tension from the tailpiece to the neck. This resulted in the soundwell or the cone ledge becoming egg-shaped. My brother’s R.Q. Jones, which I had just copied, was built like a bridge. You could drive a car over it! I thought it was interesting that the back was so heavily braced and seemed to be designed to support the resonator yet the top was flimsy and prone to deformation from the string tension. This deformation, I believed, would have a negative effect on the cone’s resonance and sustain.
I thought about this day and night. I couldn’t sleep. I wanted to build another reso but I had no desire to build it with what I saw as a poor structural design.

What quality was I most concerned with? Well, ultimately, if you are building a musical instrument it is going to be tone. There is a tone that you hear in your head. You know it when you hear it. You know when you don’t. But it is more than that. It is the sustain, the response, the projection, the attack, and the decay…. If it does not have a voice that speaks to you it is just a guitar-shaped piece of furniture. Having built only one reso at this point, I felt that a richer more guitar-like tone might be achieved by getting rid of all that lumber on the back and build the strength into the top. I understood the importance of providing the cone a solid platform on which it could resonate; I just did not want the back to support it. My first and foremost challenge in designing the Schoonover reso was this. And this is what kept me up all those nights. To create a structural member for the top that connected the neck block to the tail block to withstand the tension of the strings without deformation. I thought by building the strength into the top, I would be able to brace the back in a more traditional guitar-like manner and keep it free and responsive. So, my goal was great tone that was more than just the cone but I felt the path to that goal was structural change.

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Quilted Maple Schoonover Resophonic Guitar

 

SJ: Has the design and construction of your guitars changed or evolved over the years? If so, in what ways?

KS: The basic design idea of the neck-to-tail top support with the free back has not changed although the materials and construction methods have evolved. The first Schoonover designed resos (#2 through #6) had the top support made from steam-bent 1/4″ x 3/4″ maple strips laminated into what I referred to as a “tennis racquet”. I started with a single Maple strip formed into a hoop and then wrapped that with 2 more laminations with a filler strip between them that resembled a handle. The handle end was mortised into the neck block. The rounded hoop end was connected to the tail block. I built elaborate fixtures to bend and clamp the steamed strips to shape. Then, when dry, I glued it all together and ran it through a thickness sander. It was crazy! I really enjoyed the process at the time, but it was very labor intensive. In an effort to reduce the labor in each guitar I began cutting the top supports out of Finnish Birch plywood as one-piece units. I found this to be an improvement both structurally and tonally.

I was really pleased with the guitars and they were selling. But, I noticed that the sound was not as focused as my brother’s R.Q. Jones, and it seemed that the back was being overpowered. I was bracing the back dead flat at the time and the body depth was consistent all around on the sides. So I started tapering the sides and bracing the back in a dome and that tightened up the back. My construction methods have evolved to suit my build style and the tools and machines that I have. Some of my construction methods may be somewhat unconventional. For instance, I don’t cut the holes in the top until the guitar is completely finished and buffed. I do the same with the tuner holes and neck attachment bolt holes. The neck is never attached to the body until it is ready to be set-up. It is properly fit to the body with the correct angle and flossed in but can’t be attached until I cut the holes in the top. I built only that R. Q. Jones body style until just last year when I added (after much prodding from my son, Kyle) an “L” body.

Jeff Partin playing his mahogany/spruce Schoonover Resonator guitar

SJ: Interesting! What are the actual size differences between the Jones body style and your newer L body guitars? How do they compare from a sound/volume/playability perspective?

KS: There is virtually no size difference. The new body is a modification of a Martin “D” and scaled down in some dimensions. It is just a sexier-looking body to me. The upper bout and shoulders are more rounded than the Jones body. The construction of them is identical. If I had to pick-out any difference in the sound I would probably say that the Jones body may emphasize the mid-range a bit more. No difference in the playability.

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Black Acacia/Western Red Cedar Schoonover Resophonic Guitar

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SJ: From a builder’s perspective, what are the most important design features of your guitars that go into creating great playability and responsiveness?

KS: I feel when the structural requirements of the design with the proper execution of each construction detail balances with a minimum amount of material, great things happen. I build great strength into the body by interconnecting all the key structural elements. The top support is bracketed into the sides; the back is free of posts and domed with braces that are tucked into the lining. The neck heel is full width and allows the use of 3 attachment bolts. The fingerboard extension is also bolted down from the inside with 4 machine bolts. It is a very solid unit. It is lightly built with regards to the amount of material, but very strong. These things when coupled with a proper set-up help to advance the player’s experience with regards to playability and responsiveness.

SJ: So your guitars have been an open bodied design from day one, correct? No soundwell?

KS: That is correct. I have never made a soundwell guitar. The only guitar I ever built that utilized posts was that first guitar.

SJ: What constitutes a good set up on a resonator guitar? How do you go about setting up your own guitars – what kinds of materials go into a good set up to get the best sound out of a resonator guitar?

KS: Whoa! Really? OK! Three words…… Every little thing. No…. Every minute thing!
The sound of any reso is only as good as its set-up. The finest tonewoods assembled into a reso with the most gifted hands, utilizing the best hardware and set-up by someone without a clear understanding of what works will be totally uninspiring. What is a good set-up? Well, it starts with a structurally sound guitar. When I am setting up a customer’s reso I first evaluate it. If there are issues with the cone ledge not being flat and true, I start there. I feel it is very important for the cone to rest on a perfectly flat shelf. A resonator that is forced to conform to a cone ledge that looks like a potato chip will not be ideal. I have found this to be an issue with resos that utilize posts and domed backs. With fluctuations in temperature and humidity, the back will either dome up (high humidity which can cause the posts’ glue joints to fail) or flatten out (low humidity which can cause the cone ledge to rise under each post). I have a platform that I mount to the top of the reso and route the cone ledge or soundwell flat and true again. The neck joint must be secure and at the proper angle.

For my own guitars, the cone ledge is created when I route the holes in the top. I use a specific setup for the route so all of my guitars have a consistent cone ledge depth. I cut the neck heel to provide a specific amount of relief at the nut when a straight edge is laid on the guitar top and on the neck shaft without the fretboard. This accounts for the tension of the strings so that when strung to pitch the neck will be on the same plane as the top of the body. I arch the spider and level the tips of the legs perfectly by manipulating it with a hammer and lapping it on a granite plate. The backside of the spider “hub” is machined to further lighten it. The bridge height is adjusted to maximize the available space under the coverplate’s palmrest. I also mount the Modular Bridge about 3 degrees off of perpendicular to the Modular Spider with the top of the bridge angled back toward the tailpiece. I use a spacer under the tailpiece if I want to moderate the down-pressure on the cone. One thing I have learned is how to calculate the maximum bridge height for a guitar. If I know the cone ledge depth and what cone and coverplate are used, I can solve for the bridge height. It takes the guesswork out of it. Cutting the string slots in the nut and saddle is where the Mojo is. You can have every other thing right, but if you don’t get this right there is no magic. It takes practice and an understanding of a string’s dynamics to have consistent success.

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Southeast Asian Rosewood Schoonover Resophonic Guitar

 

 

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In terms of materials, the following are important:

  • Bone nut: correct height, properly fitted, shaped and polished. I am an advocate of cutting string slots that give equal space between strings as opposed to string slots that are cut center to center. It looks right to my eye and I like the playability better.
  • Cone: At one time it was only Quarterman. Now, I let the customer decide as long as it is a Quarterman, Scheerhorn, or Beard.
  • Spider: Schoonover Modular Spider
  • Bridge: Schoonover Modular Bridge Phenolic-capped Maple.

SJ: I’ve played a lot of different squareneck resonator guitars over the years and I’m sometimes puzzled at how two different builders can build a guitar with the same kinds of wood and yet those guitars may sound/play very differently. How do you view the intersection between the design of a guitar and the craftsmanship of the builder vs. the influence of tone woods used to build the guitar?

KS: I absolutely believe the differences between two luthier’s design and skill will outweigh any similarities one might expect to hear because of the use of the same wood species. You also have to understand that we tend to discuss different woods and harp on their generalities. You know, Maple is bright, Mahogany is sweet, and Brazilian Rosewood is…insert divine adjective here. In reality, there is a lot of variability in wood within species. There can be a lot of variability in wood from the same tree! Even the way the grain is oriented in the wood affects its stiffness and will therefore have to be considered in the construction for the way it can influence the sound.

SJ: On your website you list options for different tone woods – I’m curious to know which wood combinations are the most popular and what kind of process do you go through to help some select the tone woods for their guitar?

KS: Overall, the most popular wood for my guitars has been Maple. But, there have been cycles. There was a time it seemed Rosewood/Spruce was very popular. It’s funny, the first two guitars I built were Walnut and I didn’t build another Walnut guitar for over 20 years. I have built three in the last year!

Some customers know exactly what they want. Some don’t….I have to tell a story. A man called and made arrangements to meet me at my shop. He had seen one of my guitars and was excited to have a reso made. He drove from the Texas Panhandle, about a five hour trip, to spec out his guitar. I think we looked at every stick of wood I had. After hours of discussion and lunch and even a little pickin’ he says “I can’t decide between a Maple or Rosewood/ Spruce, I think I’ll just have to have one of each!” That was a fun day and I made a really great friend. I mostly do a lot of listening. I want to know what type music they play, and in what type of setting. Are they into tradition or more contemporary in their leanings? If it is a long distance customer I offer to email photos of particular sets of wood. Last year, I had a customer in Japan choose his wood from several sets of Claro Walnut using this method. If the customer has distinct desires regarding tone, without a clear choice in species, I make recommendations based on my experience. For instance, I had a customer who said he loved the look of Maple but he did not like that “bright, harsh sound”. I chose a set of outstanding Quilted Bigleaf Western Maple. Tonally, I have found this wood to be more like Mahogany than Maple.

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Claro Walnut Schoonover Resonator Guitar

 

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SJ: What was the inspiration to design and create the Schoonover Modular Spider? It seems to me that your Modular Spider was a perfect solution for some of the issues associated with the installation of the Fishman Nashville Series Pickup, but I’m not sure which came first.

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Schoonover Modular Spider

 

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Schoonover Modular Spider with ebony capped saddle

 

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Schoonover Modular Spider w/Fishman Nashville Series Pickup assembly

 

KS: You know the old expression – “necessity is the mother of invention” – in this case it was frustration. After building several guitars and all the various jigs a guitar builder tends to rely on and refining my methods of work, I had everything ironed out to suit me. Everything was a breeze until I went to set-up the spider-bridge inserts. I don’t know why I hated that so. I hated fiddling with those tiny bits of wood, pressing them into that ragged slot. I never felt good about that. Well, I had lots of spider bridges to fiddle with. I had visited with Bob Reed at his shop a few times back in 1993 and I was buying my spider bridges from him. After he passed, I approached his family about acquiring the match plate for the spider bridge which I did. This was the spider that Rudy had used in his guitars. So I began having these spiders cast and sold many of them through Beverly King and Country Heritage. Over the years I spent many hours experimenting with spiders by filing, drilling, grinding, resonance tuning and measuring deflection. I just thought there had to be some room for improvement. I noticed all of the different bridges available for banjos and how a bridge change could alter the tone and I thought how great it would be if I could change a bridge as easily as a banjo player does. So, I machined the bridge slot boss off flat on a spider and fashioned a few bridges of different materials. At first, these were two-piece bridges. I liked how they made the guitar sound and the fact that I could easily alter the tonal character of the reso. So I tooled-up (had to make more jigs) and had some custom cutters made and started machining the one-piece bridge stock in strips. I had a few of them in guitars when the Fishman Nashville Series Pickup hit the market. I had a customer order a guitar with the pickup so I ordered the Adjustable #14 for it. I installed that pickup and it worked out okay. But I thought how cool would it be if Fishman would install their pickup in my Modular Bridge. I called Fishman and explained what I had and asked if I could I send them a sample. They just said their production was setup and that I would just have to find a way to make it work. Little did they know my moto in life has been “Find a way or make one”. ☺

SJ: It’s got to be exciting that two of the hottest new players on the scene – Jeff Partin and Gaven Largent – are playing your guitars. How did you come to meet both of those fine players? I’m also curious to know what wood combinations they choose when they commissioned you to build them a guitar? Did they know what they wanted or did you guide them through that process as described earlier?

KS: It is really exciting for me to hear the music these guys make. That is what every luthier wants, I think. To have your instruments put to use at that level. Gaven tears it up! I mean, you should see his guitar! It looks so cool, like it’s 60 years old already! I received a phone call from a man in Florida about 2 years ago. He says “I saw one of your resos at a festival. It was a great sounding guitar.” He continued, “It looked like the thing had been in a house fire!” I said with a grin…..You must have run into Gaven Largent! Kyle was living in Nashville and met Gaven at Reso-Summit a few years back. Gaven bought a Rosewood/Cedar guitar that Kyle had on hand at the time. He has commissioned me to build him a new Flamed Maple guitar that is just now getting underway. He is excited. Though, probably no more than I!

I have to credit Kyle for getting a guitar into Jeff’s hands as well. I don’t get away much but Kyle is like the Schoonover Resophonic Guitars PR division. He contacted Jeff and told him about a Mahogany/Spruce with Snakewood trim I had built for a show that I did not make it to. Jeff jumped on it. He can really make that thing sound good. Jeff really knows what to play for the song. He is a very talented musician. I think that Mahogany/Spruce fits him nicely.

SJ: Can you give us a quick synopsis of the base price for your guitars, different options and current wait times?

KS: Sure. The base price is $3,300.00. That is for a Flamed Maple, Black Walnut or Genuine Mahogany guitar. Fully bound with black, tortoise, or ivoroid. No up-charge for shaded finish. Includes Premium Custom Case.

Options

  • Wood Binding
  • Various purfling schemes
  • Custom Inlay
  • Many available body woods

Current wait time is about 12 months.

SJ: How do you like the daily life of a luthier? Do you sort of revel in the smells and the sawdust and the chips and the band-aids? Any closing comments for our readers?

KS: Well, I love it! I love working with wood. I love the music. The people I have come into contact with have all been a blessing to me. Every single one. I am thankful to God for the opportunity to spend some of my days building resophonic guitars that are used to bring joy to the people who play them. And without the unwavering support of my wife Tammie, I would not be building instruments at all. I try to get to the shop every day and make something good happen. I have been able to meet some really top-shelf luthiers over the years and have aspired to be a luthier for so long; it sometimes startles me when I am called that. When I am called a luthier I am reminded of former Phillies first baseman John Kruk’s response after being called an athlete……”I’m not an athlete, I’m a baseball player!”

Brad Harper

Originally published at http://www.robanderlik.com in 2007

SJ: Where did you grow up and how did you get started playing music?

BH: I grew up in Lewisville, a small town (now has one stoplight) near Winston-Salem, NC. It’s about 2 hours from the mountains and 3.5 hours from the beach. I started playing music as a 6th grader in school band… I played trombone for 2 years and then switched and played Tuba at the state band level by 8th grade. I really wanted to play sax and eventually did in college for a while (tenor) but at that point my interest in reso had taken over.

SJ: What kind of music did you listen to when you growing up?

BH: Hmm… Anything you can imagine really, From Enya to Wu Tang Clan and just about everything in between. At one point in college I owned over 600 compact discs but have trimmed down the collection quite significantly since. I really just like anything that captures my attention and that I can connect to either from a rhythmic, lyrical or musical perspective. I also tend to engrain music in my head in association with specific periods of my life, sorta like a sonic primary key to a row in the brain database. I’ve always stored a tremendous amount of auditory detail about music; I’m not exactly sure it’s normal, but I’m glad I can do it.

SJ: How/when did you decide to take up the dobro?

BH: I was introduced to dobro the summer after my freshman year of college. I was 19 and moving furniture and lifeguarding as summer jobs. Some co-workers were very into bluegrass and acoustic music. They had me over one afternoon after work to a pickin’ party and the one instrument in the room that nobody picked up was a late-70’s regal. I noodled with it that day and on the way home stopped at a Best Buy and bought my first two reso albums… ‘The Seldom Scene – Act IV’ and ‘Jerry Douglas & Peter Rowan – Yonder.’ Mike’s break on Tennessee Blues and Jerry’s solo on Wayside Tavern made me feel like I was taking crazy pills. Within a week I had purchased my own rd-45 from the Music Barn in Greensboro, NC. My dad was ticked, I’d spent a weeks worth of summer wages on this stupid alien-looking instrument. It’s been an obsession ever since, and I’ve never looked back.

SJ: How did you learn to play the dobro? What were some of the most important factors that helped shaped your style and approach to playing the dobro?

BH: I guess I learned by listening mostly. There weren’t any teachers around that I knew of so I’d sit with cd’s and learn breaks as best I could. I also tried to mimic lines from songs in other genres. I guess in retrospect, I took a brute force approach with theory, imitating licks and intense noodling. When I started to meet other resoists, the intensity level really picked up. I would hear licks and ideas and immediately try to fit them into my repertoire and make them my own. At first, it was all the speedy hammers of Douglas that mesmerized me. Only after a few years did I start to appreciate how he complements vocal lines so well… how he could add depth and detail to the imagery created by a song. I think I first heard that on ‘Slide Rule – I don’t believe you’ve met my baby.’ I think he is the best at adding color using fills. Later on, meeting with Rob Ickes blew me away and introduced me to a whole new mindset for improvisation and tone. It took me a while to understand Ickes but once I did (at least I think I do), I learned to fully appreciate the complex-simplicity of his mastery. The next milestone was a lesson with Randy Kohrs at SPBGMA one year. That 2-hour period of time probably did more for my confidence/playing than anything else. He gave me constructive criticism and complemented my strengths. For the first time I felt like I was actually going to learn to play this thing. His technical ability and unbelievable power on the instrument made me feel like a toddler and immediately changed the direction of my approach.

Most recently, meeting and becoming friends with Jim Heffernan completely changed my attitude and relationship with music. He helped me think outside the box and not be afraid to play what’s in my head even if it’s a bit ‘out there.’ After all, you’re never going to play anyone else’s game as good as they are so you better just stick to what’s in your own head and lets the chips fall as they may. I knew enough theory to understand keys and chord structure, but he got me to think 3-dimensionally (modularly) instead of 2- dimensionally. Most importantly, Jim made me feel like a musician, and I hope he knows how much that meant to me. He’s a great musician, teacher, and friend. I think time will tell that he’s been an invaluable resource to the reso community.

SJ: What were some of the most difficult  and/or valuable learning experiences for you? What motivated you to push your technique to the next level?

BH: I’ve always tried to stay in over my head (play with better musicians). I typically respond well to that type of situation; it’s worked for me so far. Sometimes half the battle of becoming a better picker is just to be able to put your finger on what needs changing. Picking with other (better) players helps you isolate your weaknesses. Also, trying to emulate phrases and licks from other instruments is a good way to point out where you are lacking. Although, sometimes it’s a pointless exercise because some licks are simply not applicable (maybe practical is a more appropriate term) to this instrument in my humble opinion.

SJ: Have you had any formal training in music? Is it important to understand the fundamentals of music in order to play dobro?

BH: Not formal as in music school, but I read quite a bit and have learned from people that have been “formally” trained. I think to take your music past a certain threshold you must understand general music theory; continuing to learn will help take it even further.

SJ: How did you team up with Melonie Cannon? What have been some of your favorite gigs?

BH: (I’ve recently left Melonie’s band to focus more on building guitars and a family ;-] )
I joined Melonie through a musician name Jody King who lives in Virginia. Jody is a very talented multi- instrumentalist (plays guitar, banjo, and mandolin… not a bad reso player) that’s been around bluegrass for quite a while. He got involved through Ronnie Bowman (a former bandmate) who produced Melonie’s first album and was put in charge of pulling together a band for her. Jody and I were playing in a band together in NC, and I got offered an opportunity to tryout. My first show with her was the ‘Grand Ole Opry’ in the Ryman (some ice-breaker huh?). That was probably one of my favorite shows because my wife and family (mom, dad, brother) were there, and I felt like all the time that I’ve spent on this instrument and all the sacrifice they had made for me to be obsessed were rewarded with something I was extremely proud of. I had never thought that I’d have the opportunity to play on such a historic presentation in such a highly regarded venue. That was a very memorable night. Playing at Ft. Hood in Texas for the troops was a fun show, and playing ‘The Station Inn’ was always something that meant a lot to me.

SJ: How orchestrated are the song arrangements with the M.C. band? Is there room for improvisation?

BH: The general structure was pretty much set. On songs that breath a bit I was free to add fills ad hoc as long as I didn’t step on anyone’s toes. The more up tempo songs were pretty much set as far as arrangement. Improvising on the breaks was pretty much fair game though.

SJ: How do you view your role as a time-keeper in your band? Please describe your approach to playing rhythm: can you share any examples or specific techniques you’ve learned with aspiring players?

BH: For me, in a full band, I only chop when the mandolin is taking a break. Other than that I stay off his toes with the exception of maybe highlighting an ending chord change with a bit of syncopation (as Ickes does so well). As far as learning, that’s a somewhat humorous topic. I don’t play guitar so strumming/rhythmic chopping didn’t come naturally to me. I really had to practice to get the movement and motion honed so it was bearable. I’m in the car a lot (at least I used to be) so I started to chop on the steering wheel as I was driving and listening to music. I now do it nonstop. I get made fun of a lot but it’s really helped me copy other rhythmic ideas and concepts from mandolins & guitars. I’ve been doing it for about 5 years now, and it’s really helped me rhythmically & it also helps build the muscles in your arm and shoulder to chop with endurance. My chop is still not where I want it to be, but I’ll get there some day.

SJ: I’ve heard it said that 80% of a dobro-players tone comes from the right hand. Do you agree or disagree? Please describe your right hand positioning and technique.

BH: I agree. My tone changed significantly when I started to pick harder and build up strength in my right hand. My right thumb muscle is noticeably larger than my left, and the added strength gives you so much more control and accuracy over what you are doing. I think my right hand technique is probably a little peculiar. My most comfortable hand position is at an angle where I must strike all the strings at an angle with my picks. So I never come across the string with a completely perpendicular stroke…. it’s always a brushing, glancing attack. My picks really show it by being extremely worn on the edge that faces towards the neck of the guitar. It’s a bit hard to visualize… but in a relaxed state on the guitar, my thumb points towards the upper bout farthest from me, and my index and middle fingers both point towards the upper bout closest to me. My hand also sits behind the palmrest because of the angle of my arm across the guitar. I’ve been told it’s a bit weird, but it works for me. There is no ‘one ring to rule them all’ as far as I’m concerned.

SJ: You are well-known as a player but also as a luthier. How did you decide to start building resonator guitars? When did you know this was going to become your full-time gig?

BH: I started because my home finance committee (little wifey) would not approve the acquisition of a new Scheerhorn Resonator guitar for the 2002 fiscal budget. I decided that if I couldn’t buy a new guitar, I’d try to build one. I had toyed with the idea of building since I’d started playing and finally had just enough motivation. I really didn’t plan on building more than one. Surprisingly the first one sounded pretty good and at that point it became yet another subject of my OCD, and I just had to make another. I had no idea it would turn into a fulltime (almost) occupation (and its still not 100% fulltime). I’m still tapping into my computer science background occasionally to help with funding (sound gear, dog food, new home etc.). It takes a lot of money to start and run a business… especially in a creative field. My goal is to be supporting us completely through music related occupations within 5 years.

SJ: Is it necessary to play the resonator guitar in order to build them? Does one influence the other?

BH: It’s not necessary to be a player in order to build resos, but I think it certainly helps. I think the more intimate you are with your intended tone, responsiveness, volume and playability the better chance you have of building something that you and others will be inspired and motivated to play.

SJ: How do you think about/trace the history of resonator guitars from the Dopyera brothers to modern day instruments? What have been some of the major advances/improvements of resonator guitars over the years?

BH: I think the trends we’ve seen in custom building in the last 20 years have all played an integral role in creation of the “new” breed of resos. From a construction perspective, although I’ve played really great soundwell guitars (McKenna, Beard R), I think opening up the body has been one of the most influential mutations. I think enlarging the sound chamber really evens out the frequency response. In older soundwell guitars, I hear a lot of mid-range frequencies that aren’t accompanied by matching high and low end frequencies. In my opinion that’s why older Dobros have that “honky” (for lack of a better word) sound. Another change that’s helped engage more of the low-end frequencies is deepening the body. The increase in internal volume (size not sound) allows air to move a bit more and larger sound waves to fully develop. To complement the increased low end, advances in setup components, materials & techniques have brought that sparkling high-end that balances out with the bass response. Best of all, we’ve gotten away from the slotted headstock (sorry Bob)!!

SJ: How did you come up with the design for your guitars?

BH: My design was originally done in Illustrator and AutoCAD based on my aesthetic ideas for the exterior, and the Scheerhorn baffling system with my bracing design inside the box. The headstock was drawn in the spirit of the Weissenborn guitar which I am a really big fan of. The original body shape had elements of the Scheerhorn lower bout and the RQ Jones/Reed upper bout. There have been subtle changes in the bracing and neck dimensions, and I’ve added 1/4• in width to the waist of the guitar. The backs are now arched a bit more (15•radius), and the top brace is one piece that runs neck to tail. The hardest part to grasp and the part that I’ve spent more time on than anything is the setup. I had no idea how delicate and crucial a proper setup is. I still haven’t mastered it by any means but I’m happy with where I’m at as a setup guy.

SJ: Awhile back I put up a page on my website with sound clips of several different resonator and Weissenborn guitars. After recording several clips I started to realize there is one factor that is difficult, maybe impossible to communicate with a sound clip: and that is playability/responsiveness! What, in your opinion, are things that influence the responsiveness of a resonator guitar?

BH: The type of wood the guitar is made of and the density/hardness ratio of the nut/saddle material both play major roles. I think setup can dictate quite a bit of the responsiveness but can only go so far depending on the two elements I previously mentioned. By the way, anytime I mention setup related specifics I’m assuming the setup is comprised of high-end components (#14 spider or equivalent, Quarterman cone or equivalent, bone nut and the appropriate bridge material(s) of your choice). String diameter in relation to how hard a player picks can also affect the responsiveness.

SJ: I recently saw a post on a website claiming that while L body guitars were best suited for jazz, pop, etc, R body guitars were the only guitars capable of producing an authentic bluegrass sound. What is your view on this sort of thing? Is it all about the size of the guitar, or is it more complicated than that; including the construction and design of the guitar (tone posts, baffles, tone ring/no tone ring, etc)? 

BH Honestly, I think it’s what you do with the guitar more than anything. Rob Ickes could play a stock regal on a jazz/swing tune, and you know it would still sound sweet. Now, it might not do everything his ‘Horn’ will do, but he’ll get his message across for sure. I think guitar type/style/brand is much like politics… most people just want to pick a jersey and proclaim it. I guess its human nature to want to reinforce your own decisions by preaching them to others… I do it too. However, there are very few resos that I’ve picked up and not liked something about. I like them all. With that being said… sure some guitars are going to lend themselves more to a particular type of music. A guitar with more sustain & presence might sound more natural in a jazz setting because we’re used to hearing horns with huge tone and controlled sustain. A maple guitar may sound better in a bluegrass setting because its brightness enable it to be heard a bit more. Some guitars may be better in the studio or on stage, but to say you have to play an L or an R body to fit in a particular genre is a bit of a stretch. Again, it’s more about what you are doing with it in my opinion. To me the tone, body-style, brand (jersey) is more about how it inspires the picker and makes them want to sit down at the dobro-desk and play.

SJ: Along the lines of the question above: how much influence does a professional set-up have on a resonator guitar? What exactly is a professional set-up? Can a professional set-up make a cheap guitar sound like a custom made Harper?

BH: A proper setup is incomparable. It can make a tremendous difference. To me setup controls ~ 60% of the presentation of the guitar. Sure, construction, body depth, bracing, material type and every other variable matters but in a reso, the cone, spider, nut material & slotting, bridge material & slotting and strings are responsible for creating the tone (signal) that the body only serves as a host to. If you send the guitar body a crappy signal, it’s going to project a crappy response. If you send it a clean, tuned signal it will project a clean, tuned response. At this point in time, to me a professional setup is: top grade components (Quarterman cone, #14 spider, bone nut, hard maple bridges & a hard, durable cap), detailed slotting and profiling of nut & bridges, proper string height & proper tension between cone and spider. There may be more to it (matching components, etc), but I’ve no indisputable evidence of it in my limited experience. A valuable illustration occurred when I first started building, and I had a spider/cone/bridge assembly from my Scheerhorn guitar. Every guitar I owned at that point could be instantly transformed into a banjo-eating machine with beautifully smooth tone and playability by simply installing that component group alone. Not only did they sound good, they actually sound ‘Horn-like.’ The components and attention to detail make a huge difference.

SJ: What does your live rig consist of? What is your opinion on the microphone vs. pickup question?

BH: I’ve been a huge proponent of the latest pickups to hit the reso market, and the bar has been drastically raised. However, I still only think they are appropriate as a last resort in noisy environments or venues where extreme volume is necessary. In any situation where a mic is possible, that’s what I’d choose hands down. My current live setup is either a Shure KSM-44 or KSM-32. I like them both, and when properly EQ’d they can sound very similar. I usually use the 32 because it’d be cheaper to replace. For pickups, I’m currently using a stereo combo of a Fishman Passive and a Schertler Basik. I’ve wired them in stereo with the Fishman to the tip so I can tune without requiring “phantom” power. When I’m actually plugged in to send sound to the house, I run them both through a Presonus AcoustiQ, a Peterson StroboStomp for tuning, a Schertler Unico for a monitor and then to the house. I usually use ~ 80:20 Schertler/Fishman ratio. The Basik thumps on the low-end and the Fishman gives a cutting crispness. Plus, I still use the mic if possible for additional volume control.

SJ: In addition to being well-known as a builder and a player, you are also host of http://www.reso-nation.org, one of the most popular websites of its kind. How have managed to create such a positive culture among the 1000+ members of reso-nation and avoid some of mean-spirited chatter so prevalent on other sites?

BH: I haven’t had to do much at all to be honest. I think when you have a great community it tends to be self- policing. I’m fairly certain I can count the number of posts that have been deleted on one hand. I’m really pleased with the response the site has received. I wanted a site that was simple, organized, and informative. I also wanted a website that I could easily use as if I had nothing to do with (just be another user), and reso- nation has served those purposes well. Thanks to everyone for being a member.

SJ: What are some of your favorite reso or music related websites?

BH: I typically scan the usual suspects (Jerry’s and Rob’s sites) just to keep track of the latest gossip. I also grab quite a bit of live music from http://www.bluegrassbox.com. Other than that I mostly do technology and political/philosophy reading online.

SJ: How do you balance your career as a builder, player and webmaster?

BH: As best I can… sometimes it’s a bit wobbly. I have a lot going on, and I have to remember what’s really important… in addition to all my hobbies I’m married, have to mow the lawn and feed three cats and a big, hyper chocolate lab. I stay extremely busy and don’t get much (enough) sleep. Things come and go in surges… they usually balance out fairly well… if not, my wife tends to set me straight!!

SJ: What are your plans for the future? Do you have any plans to record a solo cd?

BH: I just want to keep pursuing my passion. I’ve got so much to learn as a player and as a builder…. I just want to keep the pedal down as long as I can. As far as a solo project, it’s in the works now. I’ve been traveling quite a bit over the past few months so I invested into a mobile recording rig, and I’ve got a great group of musicians helping me out. It should be a project that the reso community will enjoy. There’s even going to be a multi-resoist contemporary reincarnation of ‘Fireball Mail’ done in the spirit of “The Great Dobro Sessions” that I’m really happy to be a part of. I hope it will be ready by the end of the summer but who knows how long it will take… could be done just in time to be a last minute stocking stuffer (coal replacement) for all the horridly behaved children in my family

Chris Stockwell

Originally published at http://www.robanderlik.com in 2008

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SJ: How did you get started playing music and when/how did the dobro enter into the picture?

Our Pleasant Surprise mp3

CS: Thanks Rob! I’ve been around music for as long as I can remember. When I was growing up My mom was a singer in a bluegrass gospel band called the Christainairs and they played all over the West Virginia/Ohio region. So I was fortunate enough to be surrounded by gospel and bluegrass music throughout my childhood. My mom would pull me up on stage to sing when I was 2 years old and I traveled with them until I was a teenager. I started playing Drums when i was 12, and played in all sorts of different bands all through high school – mostly rock and country bands, but I always had a love and appreciation for bluegrass and acoustic music. I was in The high school choir and show choir all through high school and attended Potomac State College In Keyser, West Virginia. I majored in vocal performance and music education.I was there for a year and decided that i wanted to put college on hold and move to Morgantown, West Virginia to check out the music scene there. I was still drumming at the time and was listening to a lot of jazz and bluegrass. I had always a big fan of Jerry Douglas wanted to buy a Dobro to see if i could teach myself to play it. So I went out and bought a Johnson D60 model Dobro to learn on. That was around 2002.

Whispering Bill mp3

SJ: I really admire that you have managed to become a good player in a few short years. Can you share any insights into your practice routine or any learning techniques?

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CS: Well thanks for the compliment! I practice at least an hour everyday, sometimes longer. I also  like to practice with cd’s!. When I started out I would play along to CD’s with other Dobro players to pick up licks and work on my timing with rolls and improve my technique for better tone and just to pick up new ideas. Lately I’ve been listening to a lot of guitar players – acoustic and electric – as well as horn players. IMO finding the melody is a key when playing Dobro! I bought both of Rob Ickes’s instructional video’s and learned a lot from both of them! Rob is great teacher as well as an awesome player!

SJ: Without knowing any better I’m inclined to think that the Dobro is more prevalent in West Virginia than where I live in Chicago. So…what’s the local music scene like where you live? What kinds of gigs are available in your area?

CS: Great question! You would think there would be a lot of Dobro players In West Virginia, but there are only a handful of people who I know of that play. Bluegrass is very popular here and there are quite a few places that feature live bluegrass music. We have a few different Opry houses here that have live bluegrass on the weekends and some of the local pub’s feature live bluegrass during the week.

SJ: Tell us about the bands and musicians you play with: do you consider yourself primarily a bluegrass dobro player? Are you open to playing in a variety of musical settings, etc?

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CS: At the moment I’m not really playing full time with a band. I’m in a side band called Rush Hour. It’s more of a progressive style of bluegrass; kind of like a New Grass Revival type of band. We have won 7 major band contests and we showcased At IBMA in 2004. I had a short stint with Lou Reid and Carolina and the first band I played with when I started playing Dobro was with John Douglas and Acoustic Heritage. John is Jerry Douglas dad and Jerry’s brother Blaine Douglas was the bass player in that band. Needless to say I had to make myself a better player quick! (laughs). I have been involved with several other bands – The 3rd String band, Shavers Crossing, Buck Carroll and Breaking new Ground – all from the West Virginia /Kentucky region. Recently I have been playing some shows with 4 Fret Chord – which is a great band based out of Gatlinburg,TN. I also play with Chet Lowther a great Singer/Songwriter from Washington D.C.from time to time. I don’t consider myself primarily a bluegrass player. Don’t get me wrong – I love to play bluegrass music! It’s one of my first loves, but I also love to play the blues, as well as country music and I’ve been working on a lot on jazz standards. I’m a big Miles Davis fan and its really fun to work out his solos, especially his early stuff on the Dobro. I love John Scofield and Bill Frisell as well and I would love to play in that kind of setting one day!

Possessions mp3

SJ: When I listen to your playing you seem to have mastered the art of playing melodies with rhythmic drive. Can you give us any insights into your right hand technique and tone production. Do you utilize the so-called “ping pong” ball right hand position? Can you share any general comments on playing with good timing and good tone?

CS: I try to keep my right hand stationary near the palm rest when I’m playing rolls. That’s where the best tone comes through for me. I do use the ping pong hand position. Playing fast bluegrass is challenging and good technique helps me play at the speed I need for rolls and fast hammer on’s and pull off’s. Playing a little harder when doing pull-off’s helps me to play with better tone and not putting too much pressure on the bar,not pushing down on the strings will help your tone as well.for timing I say practice with a metronome.I might be bias to this, since I played drums for so long.but I think it will definitely help your timing out.

SJ: You may have heard me say this before; but I have a strong belief that musical friendships and playing music with “real” people – is an essential part of anyone’s development as a musician. Along those lines, are there any musicians in particular that have had a significant impact on your own development as a musician?

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CS: I agree 100% that playing with people will help develop you into a better musician! My friend Duane Simpson has made a big impact on my playing and growing as a musician. We both grew up playing in bands together and he was my roommate when I moved to Morgantown, West Virginia. We played music all the time. He is a jazz/blues/classical guitar player and now lives in Asheville, North Carolina. Duane is a wonderful musician, dear friend and a great influence on my playing.

SJ: Let’s talk about the creative side of musicianship for a moment: Any comments about your approach to creativity and/or improvisation on the dobro? Do you write your own tunes?

CS: I try not to rip off other Dobro players. Its hard to not to do that because the instrument is so young. It’s very easy to pick up licks from other players. I try to listen and pick up influence from singers and other musicians,  not just Dobro players. I really try to play what I feel. I write my own material and I’m trying to put together a solo cd to be released in the spring. I’ve recorded a few songs and I have a bunch of idea’s that i can’t wait to layout and see what happens with them.

SJ: Tell us about your gear: what kind of guitars do you play? Also, what does your live performance rig consist of?

CS: At the moment i’m playing a 2002 Gibson Hounddog F60,That I had Paul beard and his fine crew of luthiers set up for me and add a few baffles. I’m very happy with it!. It reminds of a late 70’s/Early 80’s R.Q Jones. I have played many of these Gibson models.and none of them compared to this one. I ‘m looking right now at the Meredith’s and thinking of ordering one of them! Tooter is making one fine instrument right now. I’d also love to have a Scheerhorn! They are just awesome! On stage i use a SM 57 Mic .It gives me the cut and tone I need on stage.they are great mics!.

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SJ: What are your plans for the future? Do you have any closing words for our readers?

CS:  Right now I’m looking to play as much as I can and continue to work on my technique and becoming a better dobro player! I have a few recording projects coming up that I’m looking forward to. I hope one day I can join a serious band and travel the world and play music or become a session player. My advice for the readers is play as much as you can. Practice, practice, practice – and play with as many people as possible. It can only make you better!