A conversation with Tim Scheerhorn

 

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SJ: How did you get started designing and building squareneck resonator guitars? Was there a master plan or was your path an evolutionary process?

TS: Well to start out, I was a player and I wanted to build a guitar I couldn’t buy. I played really nice old Regal guitars – just like Mike Auldridge’s vintage Regal’s – and they got buried in a jam session. I couldn’t get them to cut through the mix, but they sounded great. I wanted to come up with a design that would project a fuller sound out of the guitar. So I started out with that thought process in mind – as a player – never dreaming that I would build them for a living, but it certainly evolved into that later on. I knew there was a lot more going on the inside of a resonator guitar than most people had an inkling of. Early on there were a few builders – Rudy Jones, Bobby Wolfe, Dick DeNeve – that did some internal things that hinted that there was more going on inside a resonator guitar than the Dopyera’s ever thought. So mechanically I knew there were some things I could do which would improve projection. So that was the first motive. Certainly not wanting to change the way the guitars sounded like. Once I built the first guitar it evolved into the baffle. The baffle design really told me a lot.

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Tim playing with his band in the late 1980’s

SJ: In what way?

TS: Well, initially I had nothing but a skirt baffle similar to a RQ Jones resonator guitar. Then I opened it up on the top and the bottom, realizing that the upper bout contributed a tremendous amount, especially in the bass and midrange. And then evolutionary design tipped it forward to the parabolic baffle that I use today. Non baffle guitars have a certain overtone that not everybody hears. But that overtone is annoying to me. It’s like an oscilloscope – (makes whooshing sounds) – that’s out of sync.

SJ: So this was part of the process that went into designing and building your first guitar?

TS: Correct, that’s the guitar (points to wall). My first guitar wound up being the same dimensions as a Regal – same physical size and depth.

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the first Scheerhorn resonator guitar

 

SJ: So, when you finally put that guitar together, did the final set up and played it for the first time – what did you think? What was your reaction?

TS: I thought it kicked ass! (laughs)

I built that first guitar in 1989 and that July I took it with me to Winterhawk (bluegrass festival) where Mike Auldridge and the Seldom Scene were playing. I had taken it to some jam sessions around Michigan and had gotten a lot of good feedback from everyone that had played it. But at that point in time Mike was a God to me and was up on a pedestal so high. There was an intimidation factor which I overcame and I introduced myself as he walked offstage and asked him if he had a few minutes to look at a guitar that I had built. I told him “people back home in Michigan think it sounds pretty good but I sure would like your opinion.” He said “sure, I’ve got a few minutes.” So he sat on the fender of his car for the better part of an hour playing my guitar. We got to know each other; exchanged addresses and phone numbers and I told him I was so appreciative of him test driving my guitar and giving me his honest feedback. Two weeks later I got this letter in the mail (points to framed letter on wall near workbench).

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SJ: What role did his feedback and/or the feedback from other players in the evolution of the design of your guitars from the original smaller body guitars to what became the L body guitars?

TS: Cosmetically I did some things differently on my very first guitar. So I wanted to refine a few things. I wanted to come up a little more unique way of putting a signature on the guitar vs. writing it on the headstock. So I got thinking about the end of the fingerboard. I had put the “S” on the peghead of the original guitar and I thought “man that was a pain” (laughs).

SJ: So it was a pain to do the inlay work – the “S” on the peghead?

TS: Correct. It was a pain to do it and then I got to thinking that most people put a strap on it and you can’t see it anyway. And so I got thinking about the Gibson Mastertone banjo which has the logo at the end of the fingerboard and I though that would look kind of cool. So I inlaid the next 4 guitars like that and it’s been that way ever since. When I first met Jerry Douglas he played two of those guitars and wound up ordering what became guitar #6. I met him backstage during the Master of the Steel String Guitars tour. They were playing in Lansing, Michigan. I had no idea how to get ahold of him, but I called information and got him on the phone (laughs). He said,  “call me the day before the show and I’ll let you know what time we can meet.” So I drove to Lansing. We met about 3 hours before the show in the green room and he played #3 and #5.

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first batch of Scheerhorn guitars

 

SJ: What was the path from building your own guitars in Michigan to become a well-known builder? Was it a long process?

TS: Well, it happened really fast. But it was directly a result of meeting Jerry and Mike. The reason Jerry was willing to meet with me was because Mike had told him about me. During my meeting with Jerry I mentioned that I thought Sally Van Meter might be interested in a guitar like this and he said “she needs a guitar like this.” And I said “you wouldn’t happen to have her phone number”and he said “yes I do.” Back then no one had cell phones. So he got me her phone number and I didn’t have the guts to call her. It took me a couple of weeks to work up the courage. I mean these players were my idols. These were the people that I wish I could play like. So I called Sally and said “ hi this is Tim Scheerhorn” She said “ I know you. How much?” She got guitar #3. She got it mid-week and went to Strawberry Festival the following weekend. Two people ordered guitars shortly after. One call I got was from a guy named Randy Cole who has since then become a good friend. The other call was from Rob Ickes. Now this was 1990. So technically, those were spec guitars. The first ordered guitar was from Jerry Douglas. The second was Randy Cole. The third was Rob Ickes.

SJ: So if we shift a little bit from the players themselves. What happened between those first days to creating the L body guitar?

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“Wavy Gravy” Koa L Body

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TS: There was a period of time where every guitar was curly maple. It was kind of like Henry Ford – you could have any color as long as it was black. I always figured if curly maple was good enough for Lloyd Loar it was good enough for me. But Jerry asked me to build a mahogany guitar for him with a spruce top and that’s when I ventured into something different. He ended up playing that guitar on the Great Dobro Sessions record. Through the years that guitar wound up being Sasha Ostrowski’s guitar (with Bering Straits, now plays with Darius Rucker). Anyway, the evolution into different woods, from mahogany to Brazilian rosewood which Rob wound getting. I had taken a trip to Nashviile where Rob played that guitar and he really liked it. Several people had seen that guitar – Brazilian rosewood/spruce top with herringbone trim and mentioned that it needed some tortoise on it. So I came home and designed the tortoise pickguard and then Rob called and wanted that guitar. Awhile later I got a call from Jerry Douglas. We got to talking and he asked me if I would consider experimenting with building a larger guitar to produce a fuller sound which led to a lot of experimenting on my part to develop what later became the L body design.

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SJ: Interesting! When I got my first guitar from you in 1994 – a maple guitar – I took it to a jam session and let a couple of other players give it a test drive. The first person that played it made the comment to me “wow, this guitar plays fast.”  A couple of years later when I sold that guitar and bought one of your mahogany/spruce guitars I spent a few days going back and forth between those two guitars and thinking I had made a mistake because the mahogany guitar did not project like the maple guitar. A few years later when I got my L body maple guitar I was really astonished by the differences. When I went back and compared all three guitars (I had sold the small body maple guitar to a friend of mine) the maple small body guitar had a very strong projection but didn’t have near the depth and fullness of sound of the L body maple. Whereas the small body mahogany/spruce guitar had an incredibly warm presence to it which I liked much more than the small body maple guitar. In other words, my opinion of each guitar was affected by comparing it to the other.

TS: You’re expressing it exactly how it happens. The voice is in the wood. And truthfully, we’re not talking volume. We’re talking physics and we’re talking voice. The physics of maple – it’s punchy and bright. Then you get into mahogany which is a darker voice. By comparison when you bring the L body design into the picture you have a depth and fullness of tone which wasn’t there with the smaller guitars. It’s a fuller sound, but the voice just carries with the design of the guitar itself. Curly maple is going to be a brighter and punchier sound. Comparing a standard body mahogany and now L Body mahogany – are two different worlds – but the same voice characteristics of the wood in a different way. But the voice is still in the wood.

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Sinker Mahogany L Body

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SJ: One way I’ve thought about this is that the standard body guitars had a more focused sound.

TS: Let’s back up a little bit. The other reason for wanting to design my own guitar was that I wanted to create an acoustic guitar out of a dobro, whereas the Dopyeras wanted to button it up by gluing the back to the top with a soundwell. No movement at all in the guitar except for the mechanical parts moving in the resonator. I didn’t want any of that. I wanted an acoustic guitar as much as I could. So the voice characteristics of these species of tonewoods really came out.

SJ: What about the contribution of the top of the guitar – the soundboard – in one of your guitars? How much does it contribute to the overall sound or tone of the guitar vs. the back and sides? Having played a bunch of your guitars I find that in certain combinations it can be huge, in other cases not so much.

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TS: It can be huge. Now we’re talking a much smaller percentage compared to an acoustic guitar, but yes the top does influences the voice. For example, cedar or spruce – woods with completely different densities – will change the voice, although with a small percentage number of influence, maybe 5%. But again, stop and think about listening. The hard part for most players to understand is that there are two ways of listening: listening as a player and listening to someone else play a guitar. The same guitar is going to respond totally different in those two different environments. The important thing is to satisfy both. Sit and play the guitar and feel it vibrate, feel what it’s doing, understand the complete vocal range and where you can get certain things out of it. But then have someone else play it and stand back 10 or 15 feet and then judge it, because it’s a combination of both of those things. Sitting and playing it is a completely different experience than standing back and listening to someone else play that same guitar.

SJ: That’s a great description. I love that! I find that trying to describe the way a guitar plays or the way it sounds, for that matter, is like trying to describe a glass of wine or the nuance of a one color vs. another. I can’t always articulate why I feel the way I do about a certain guitar, there’s more information there than I can express in just a few words.

TS: Well, you’re right. First of all listening is a huge factor. But secondly, feeling is another one. There are some guitars that feel like rubber and there are some guitars which almost play themselves. I’ve had lots of my customers tell me that about my guitars.

SJ: Back to my earlier comment about the guy who played my original standard body maple guitar – “this plays fast.” I knew what he meant. Speaking from my own experience, all things being equal I find that playability and responsiveness are probably the most important features of a guitar. I’ve never played a guitar that was hard to play that produced a sound I liked. I’ve always gravitated toward instruments which were easy to play.

TS: I think it would be extremely difficult for someone to build an instrument if they don’t play that instrument. You do hear occasionally about people building violins who can’t play a lick on them. I know guys that have tried to build dobro’s who don’t play much. Part of that playability and feel is neck angle, string height, scale length – all these things combined. I can’t put my finger on why guitars play so easily. I know exactly what you are saying but I can’t reduce that to one magic ingredient.

SJ: This is a perfect segue into my next question: what came first for you, learning to do a good set up or designing and building your own resonator guitars?

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Jigs for cutting string slots

 

TS: I played banjo for 13 years before I got interested in resonator guitars. So set up of banjos was in my blood. A friend of mine had a dobro which sounded and played really bad. I asked her if I could take it home and see if I could make it sound better. And that was before I even started playing the dobro. And I did make it sound better.

SJ: What did you do to it?

TS: I didn’t have a Quarterman cone available, but I started by straightening out the cone.  I was just looking at the mechanics; how the thing worked. The spider wasn’t level, so I leveled it. I didn’t read any manuals or anything like that; I was just looking at points of contact to make it as best I could. So, to answer your question I did a lot of set up work that carried over into how I designed and built my own guitars.

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SJ: In the past you’ve said something which really intrigued me. You said something to the effect that a good set up is not just a matter of quality parts; that it’s “in the hands.” This is something that I experienced when you did the set up on my OMI 60D. I called Elderly Instruments in Lansing, MI to see if they could help me with some suggestions to amplify my dobro and they mentioned that you were building your own resonator guitars and might be able to help. When I called you we discussed the amplification stuff for a little while and you said “I’ll bet I can make your guitar sound 100% better.” Frankly, I didn’t know what to make out of that, but you certainly got my attention! What you didn’t know was that guitar never did play right from the day I bought it – it always played a little out of tune at the 12th fret, with a sort of dead spot. You did your set up – replaced the cheap plastic nut with a genuine bone nut, replaced the maple saddle inserts with ebony capped maple inserts, new #14 spider and Quarterman cone, assembled the guitar with maximum break angles to load the cone and – viola – not only did the dead spot go away, but the guitar projected better and played better than it ever had before. A few weeks later I took a lesson from a great dobro player in Chicago named Tom Boyd. When he heard my guitar – I’ll never forget the look on his face – his immediate reaction was “wow, what did you do to that guitar?” He definitely noticed the difference. Later on a student of mine purchased a OMI 60D – same guitar as mine – which was advertised as having been professionally set up. When he got the guitar it had all the same upgrades in materials but it played and sounded like crap with poorly cut string slots at the nut and the saddle and who knows what else. The difference was like night and day!

That’s a long way of getting to my question: what does it mean that it’s “in the hands?”

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TS: I kind of equate it similarly to being a player. I could study Rob Ickes and do my best to play his music note for note. You could play his songs note for note, but you are not going to play it like Rob. You could study Jerry Douglas and play his stuff note for note, but you’re not going to play it like Jerry. All of the top players have signature sounds and signature things they do which distinguish them. Earlier I mentioned listening:  I can listen to records and usually I can tell you who is playing. There are clones out there today, so I can get a little confused. Some of the young guns that are out there now may sound similar to Rob, in their approach, tonally, note selection, things like that. But it’s signature stuff that takes place and I equate setting up a guitar to that same dynamic.

SJ: What does that mean in practical terms?

TS: I’ve done set up workshops for a long time. I can show anyone what I do. It’s hard to describe other than to say that I have techniques that I’ve developed, little things that I look for. From that experience I pretty much know what the end result is going to be. I still may have to tweak it after I put strings on it, but usually that’s not the case.

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SJ: So, it’s 1000 little details?

TS: Yes

SJ: In the past you’ve mentioned that it’s what’s inside the guitar that counts.

TS: Yes

SJ: I think it’s hard for most people to understand that just because a guitar looks good doesn’t necessarily mean it’s going to sound or play good. You really can’t judge a book by its cover. When you say it’s what’s inside that counts are you referring to the design of the guitar, the skill of the builder in putting the guitar together, the attention to detail, etc.?
TS: It’s all of those things. You have to look at the whole package. As I mentioned earlier, my objective in designing and building a guitar was projection – I wanted the sound to come out of the guitar; acoustics – I wanted to have the instrument contribute to the overall sound acoustically. So it’s a combination of things. During a setup workshop I sometimes describe this as layers of stuff. If one thing is missing it’s not going to be a finished product. Something is going to be missing.

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SJ: Has your approach to building and setting up your guitars changed over the years or has it remained pretty consistent?

TS: Once I started making the L body guitars I haven’t changed a thing. I’ve honed in on my techniques a little bit, but as far as the physical construction of the guitars, I really haven’t changed a thing.

SJ: Any changes in how you approach setting up your guitar or set ups in general?

TS: There are a few details in materials, mainly in materials for bridge inserts. And certainly when I made the switch from Quarterman cones to making my own cones my goal was to come up with a cone that was the equivalent to a Quarterman, since it was the benchmark. To my surprise I feel that my cones were an improvement, especially in the bass and midrange clarity and sustain. Those key elements were better. I can tell you a story about that if you’d like.

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Lathe set up for spinning cones

 

SJ: Sure

TS: When I first started making cones I was really excited. I had a conversation with Rob Ickes about them. Even though we lived just 40 miles apart we couldn’t find time to meet up other than at an event in Nashville that happened to be an overnighter for me. So I was staying in a hotel room. We met and I mentioned the cones to Rob and he said “let’s do it.” So I wound up taking his guitar apart 4 times in my hotel room – Quarterman out Scheerhorn in, back and forth. If you’ve ever had to gut a resonator guitar on a hotel bed it’s not a lot of fun (laughs). His initial reaction was “I think I’ve lost high-end.” I said “Rob, no you haven’t – your ear is fooling you.” Now here I am telling Rob Ickes what to listen for. I told him “you’ve gained bass and midrange which has changed your perception about high-end.” He finally agreed with me. At that point I was his ears standing far away from the guitar. But I will say this – after doing this for so long – I hear things that some people might miss, but I know what to listen for. So the move to using my own cones was a huge change for me. Not business wise, for a huge element in the overall result as I far as I was concerned.

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SJ: It must have been kind of a wild ride going from building that first guitar to having a 4 year backlog and being in a position of – as I’ve heard it said – chasing the market – where you were taking orders at a certain price, but because the waiting time to get a new guitar was so long used Scheerhorn guitars were selling for more than new guitars.

TS: There was a long period of time when it was going that way.

SJ: In addition, I think there were a few folks that were ordering guitars strictly as investments, correct?

TS: People were ordering multiple guitars and in some cases would order 3 guitars, flip 2 of them and get a guitar for free.

SJ: I imagine that must have been frustrating for you

TS: First of all, to clarify my motive and reasoning behind my policy – I figured a deposit would lock in a price. My intention was to treat people the way I would want to be treated. For example if I ordered a custom guitar and the wait time was 4 years the last thing I would want would be for the builder to call me, tell me my guitar was ready, and “by the way, your price is 40% higher than what we originally discussed.” But the market said I was under priced. So raising my prices was difficult for me. I enjoyed making guitars, I wanted to make a living at it and I didn’t want to price myself out of the market. For years the people in NYC that I knew – some friends at Mandolin Brothers – kept telling me that my prices were too low. It started snowballing and I couldn’t stop it. It was an eye-opening thing when people were getting $2000 more for one of my guitars than I was charging for them. So I had a long heart to heart conversation with my wife and said “who is the dummy here?” The only control I had – and at that time I was swamped with a 4 year backlog and there was no way that was going to change – was to pull the plug and quit taking orders. As soon as that word got out the phone was ringing off the hook. Consequently, that’s how the Wish List got started. So the Wish List is nothing more than a phone number and a name, with no obligation on my part of their part. I was not obliged to build them a guitar. When I made that decision I still had 4 years of guitars to build.

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Ebony/Spruce L Body

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SJ: That was around?

TR: 2005 or 2006

SJ: It seemed to me that there was a lot of confusion about the dynamics at play in that situation. It certainly was a popular topic on the forums.

TS: First of all, it’s economics 101 – supply and demand – with speculation about the future.

SJ: Sort of the guitar version of Flip this House?

TS: Yes, but unfortunately I was caught in the middle of it. I had no control over those prices. I reacted to it in the only business like way I could

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SJ: $500 down to order a custom-made guitar is not out of reach for most people

TS: What that did is it allowed me to buy materials, prepare for those orders. However, I also had an unwritten policy that if you wanted to cancel the order – for whatever reason – I would take $50 and return the rest to the buyer. Most builders would keep the entire $500.

SJ: What have been some of the most satisfying aspects in your career as a builder?

TS: The high point for me has been getting up every day and doing what I love to do. Not having to punch a time clock. Although every customer was a boss I didn’t have to put up with the typical corporate BS. That eliminated a lot of stress for me and enabled me to do what I love to do.

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SJ: I imagine it must have been pretty exciting to have some of the greatest players on the music scene playing your guitars as well.

TS: Well, I do remember the first time seeing Jerry Douglas on television, on the American Music Shop. He was playing #6 and the camera went to a close up and on him playing my guitar and I looked at my wife and said “that was pretty cool.”

SJ: That reminds me of that Steven Seagal movie with Rob Ickes playing your guitar in that one scene.

TS: Oh yeah, Fire Down Below.

SJ: I don’t know who directed that movie but they must’ve been big fans of the resonator guitar. I do recall there was one scene with a close up of Rob Ickes playing his Scheerhorn.

TS: There’s actually a story behind that movie. Three days before he was supposed to fly out to L.A. to shoot that scene Rob Ickes was at a photo shoot for his first record and wound up dropping his guitar. Rob called me and said “Jennifer and I are flying up to visit you – I dropped my guitar and I need to have you fix it so I can make it out to L.A. to shoot a scene in a movie.” At that point he only had one guitar so he really needed to get it fixed. So they flew into Detroit late at night and wound up hitting a deer just a few miles away from my house. Couldn’t open the passenger door, it was really a messed up day! When they got to my house they were a little frazzled so we talked for a little while and I told him let’s deal with this in the morning. Now I’m an early riser, so I had the guitar repaired and ready to go by the time he woke up.

SJ: Did you replace the neck or something like that?

TS: No, he had cracked the lower bout, which left a big hole in the guitar. But, all the pieces were there so I put it all back together with epoxy. I think he was a little surprised I was able to fix it so fast. I do recall that he spent most of that morning on the phone with the insurance company from the rental car company discussing the deer accident.

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SJ: Your business model defies the logic of everything I’ve been taught about marketing – no marketing materials, no website, no social media, etc. Was that on purpose on your part?

TS: in 1989 I built my first guitar and in 1994 that I made the decision to leave corporate American and starting building guitars full-time. Initially I wasn’t sure how many guitars I could build in a year or how many I would have to build to keep me employed. There were a lot of unknowns, a lot of unanswered questions. Over the years I had built a few acoustic guitars and I thought about someday expanding my offering to include acoustic guitars as well as resonator guitars so I could make a living. Initially I thought if things slow down I would advertise in Bluegrass Unlimited or other magazines. Years ago I did place an ad in Bluegrass Unlimited, I think it was in 1991, but that was the one and only time I ever did that sort of advertising. Back in your business school, I’m sure they mentioned timing and in my situation timing truly was everything. Rudy Jones guitars had run their course. Bob Reed had taken over where Rudy left off, maybe not at the same pace. Dick DeNeve and Bobby Wolfe were both making resonator guitars and Paul Beard was just getting started. I was this close to trying to find an RQ Jones. If I couldn’t find a Jones I was going to look for a Reed. I also looked at Paul Beard’s guitars. But I’m glad I didn’t. I’m glad I wound up building my own. It certainly changed my life.

SJ: How did the agreement with National Guitars to build and offer a Scheerhorn L Body come about?

TS: To answer that I need to go back to my arrangement with Wechter and Sweetwater Sound. Basically, the folks at Sweetwater had a difficult time marketing the instruments. Sweetwater’s business model is kind of unique – they have dozens of sales reps calling customers all day long – so for them to get in the business of making instruments was a step away from their core competency. The Wechter Scheehorn models involved a lot of assembly here in the United States, with the guitars being built in China and the final assembly taking place here. Sweetwater was not used to that kind of overhead and they weren’t used to selling guitars by calling all the smaller music stores all over the country. They wanted to expand the line by offering electric guitars and so on. And while the Wechter brand had some recognition, the Wechter Scheerhorn name had a very good reputation and the resonator guitars were – by far – the best-selling guitars offered by Wechter. So eventually Sweetwater made the decision to pull the plug on the Wechter brand. Fortunately, that meant that I became a free agent. I was in the process of talking with several high-profile companies about either building guitars in China and putting my name on them or something along those lines. The last thing I wanted to do was set up a warehouse somewhere here in the U.S., have containers come in and wind up rejecting guitars for poor quality. I’d known Don Young at National for many years, we were friends. So in our initial conversation I asked if he would be interested in importing guitars from China with my name on them and doing the set up work. It didn’t take him long to answer me. He said “no, but how about having us build the guitars?” Immediately the switch went on and I said “wow, that’s a no-brainer.” It’s a perfect fit for them and for me. What it did for National is give them a full spectrum of instruments – all the way from the pre-war historical National guitars to the contemporary spider style guitars. The motive for me of continuing on with something I didn’t build but designed and had influence on. It’s really about creating a legacy so that when I’m gone my grandchildren can look at say “that’s something my grandfather created.”

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SJ: Where are you at this point in your career as a builder and what do you foresee for the future?

TS: I’m building very few guitars. I built 4 guitars last year. I don’t intend to build more than that this year. As far as the future, I’ll continue to do set up and repair work, on a limited basis, but technically you could say that I’m semi-retired. I still get involved with the folks at National Guitars, I still do the Reso-Summit, a few things in Michigan but I’m at a point where most 68-year-old people are – retired, or tired (laughs). I’m at a point that most people look forward to and I’m addressing it the best way I can.

Rob Ickes

Originally published at www.robanderlik.com in 2008

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SJ: Your latest project – Three Ring Circle – is fantastic on so many levels. First of all, it’s great music; highly enjoyable to listen to and incredibly innovative. Unless I am mistaken this is the first mando-dobro-bass trio project ever, correct? How did this project come about? How did you go about writing and arranging the tunes?

RI: It came about pretty organically. Dave (Pomeroy) and I have been working in town together a lot; playing on other people’s records and we just hit it off. We started playing some music together, playing around town. Sometimes Dave would have his own gig; we started writing some tunes. We started looking for somebody else to pick with and I had met Andy (Leftwich) awhile back. I always thought he was a great player and I didn’t even know he played mandolin! I had only heard him play the fiddle. I heard him do some work with Ricky Skaggs and I don’t know, we just hit it off we’d wind up playing music together. So I told Dave “this guy’s great” we should get together. Then the three of us got together informally one night at a bluegrass festival in Nashville and it seemed like sparks were flying. Andy had this song that he’d written and started playing it and I started playing with him, Dave jumped in; we had these neat arrangement ideas that came together pretty quickly. So that’s how it got started…everything just fell into place.

SJ: Did the unique instrumentation force you to change your approach/technique to providing rhythmic support during mandolin solos?

 

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RI: It’s actually been easier. Sometimes it can be a little bit challenging to play in a trio; there are only three of you and you have to keep it going; you can’t hide behind anything, so you really have to be up on your game. But in some ways it’s a lot easier because there are only three of us. I can hear the dobro better; I can hear everything a lot better. For me I feel as though I can get even more expressive. As far as rhythmically there is not much difference. I’m still doing a chop like I would in a bluegrass band. I don’t feel like I’ve changed rhythmic approach that much; it’s similar to playing in a bluegrass situation.

SJ: When did you realize that playing the dobro was going to be your day gig? Were there any special experiences or circumstances that led to that decision? Was it hard to break into the music scene when you first moved to Nashville?

RI: The first time I head Mike Auldridge first album it was a “lightening bolt” experience. I knew I had to learn to play the dobro. I just knew that I loved it…a lot! And I always knew that was that I wanted to do. When I got a little older living in California felt like an island, musically; at least for acoustic music. I would read about these great players – Tony Rice, J.D. Crowe, but they really didn’t come out there that much. Bluegrass artists at that point didn’t go out to California very often; it wasn’t expected. Now that I’ve played for living I know why the bands don’t get out there as much. So I thought really seriously about it but I didn’t know how to get from point A to point B, you know. So I just kept playing and working with as many people as I could. Then in 1990 Alison Krauss hired me to play on the Cox Family’s 3rd record for Rounder Records. I was friends with Ron Block who was in her band; he was also from California. So they flew me out here and we worked on the record all week and it was so much fun and the music was so great. That kind of did it for me. I was already playing full time at that point but I was not doing much because there was not much to do in California for bluegrass music. So that really tipped my decision to move to Nashville and got the ball rolling which led to me joining Blue Highway. We all met a couple of years after that.

SJ: You have played with such an impressive roster of artists over the years. What have been some of the highlights of those experiences for you? What effect have other musicians had on your own musical development?

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RI: The first record I did with the Cox Family was an incredible experience. It was one of the first times where everyone, all the musicians were just great. You know when you’re out there farming around and you think your good, you think you know what you’re doing, but if you don’t get in the right environment you don’t know what you’re capable of. So I felt like that was the first time I’d been with musicians who could make me sound good. It’s a team effort. That was the first time I’d really played with all these great musicians – Ron Block, Barry Bales, and of course Alison Krauss. So it was like “hey this is fun, this is nice.” So that was a great experience. I’ve had some great stuff happen…in the last few years I’ve been playing the Earl Skruggs band. It just been incredible to get to know Earl and to work with him, he’s such a legend. And to find out what a great guy he is. Not only is he a really important musician but just to get to know him personally has meant a lot to me. I’ve also had the opportunity to work with Tony Rice in the last few years. I’m kind of a part-time member of the Tony Rice Unit. And same thing…I put Tony and Earl on the same level: they’re important to me; in a lot of ways more important than the dobro players I listen to. Not only is Tony a great singer and guitar player but as a producer he’s put out records that haven’t been beat in my opinion.

SJ: Like his record Manzanita for example? That record seems to have been a benchmark or standard for a lot of aspiring bluegrass musicians.

RI: Yes, Manzanita or Cold on the Shoulder and the Bluegrass Album Band records. He was a catalyst and also has a way of making people play better. He picks great material but he’s such an incredible supportive rhythm player that he brings the level up for everybody that plays with. And of course to work with Blue Highway has also been amazing. We’ve been together for over 12 years now; it’s been one of the best things that’s ever happened to me. For me coming from California, where I loved bluegrass but didn’t get to see it all the time…to get to work with these guys, who are from eastern Tennessee and western North Carolina where this music is from. And, these guys just do it better than anyone else. So to be able to hook up with the musicians of their caliber and have that be my main gig has been a great experience for me.

SJ: I am pretty confident everyone is familiar with the amazing range of work on your solo recordings, your work with Blue Highway and a long list of high profile recording artists such as Alison Krauss, Dolly Parton, Ricky Skaggs and so on…With that said, some folks may not be aware of the more obscure work you have done. For instance, your work with (Czech guitarist and former Chicagoan) Slavek Hanzlik on Summer Solstice and Fall of My Dreams– fantastic stuff with a stellar cast of musicians – Bela Fleck, Tim O’Brien, Stuart Duncan and Mark Schatz. Are there any more “obscure” projects that you are especially proud of that your fans may not be aware of?

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RI: It’s funny you should mention Slavek’s records because I just heard then again. I was playing somewhere and they played Summer Solstice before the show. I had forgotten about that record. It’s a really nice record. Slavek writes great melodies and is a great player. That was probably one of the first things I did when I got to Nashville. It was great to work with people like Mark Schatz, Tim O’Brien and Stuart Duncan in the studio. I also did this record with Raul Malo (lead singer with The Mavericks) a couple of years ago called Nashville Acoustic Sessions. It was me and Dave Pomeroy and Pat Flynn and Raul. It was neat, just a three piece band backing up his vocals. When we were cutting the record it seemed loose and sort of out of control, nobody knew what was going on (laughs)! But when I got the record back I really like it. I thought everything sounded really good. Some really nice moments on that record… I really love the Cox Family records as well – (Everyone is Reaching Out for Someone, I Know Who Holds Tomorrow)

SJ: The first time I heard you was back around 1992/93 on the Tony Furtado record – Within Reach – playing the Beatles tune “I will” with Alison Krauss on vocals. Truth be known, I just assumed it was Jerry Douglas! That tone – big, round, full, and so-oooo in-tune! I seemed to me then that you were the first “new” guy to come along after Jerry had done so much to revolutionize the instrument. How do you trace your musical heritage as a dobro player and musician? Do you feel your style has evolved or changed since the time you first came on the music scene?

RI: I hope my style is always evolving and changing. That’s one of the things that I’ve always admired about Jerry Douglas playing. He has a style but he would always play differently depending on the situation he was in. I always thought he was an interesting musician because of that. He sounded different on each of his records but on other people’s records too. He never had this “here my three licks that I do” “this is my sound” approach. He was a great improviser and would play whatever fit the moment. So that is something that I have always strived for too. I’m always learning and trying to change. With the Three Ring Circle record I feel like I’m playing stuff that I’ve never played before, you know I’m getting sounds out my guitar that I haven’t got before. As far as the evolution of it when I started my goal was to sound like Mike Auldridge; that was all I wanted to do. And then I got into Jerry Douglas, Josh Graves and Brother Oswald, those are my four main influences. As I got older I listed to those guys so much, absorbed a lot of it and started to wonder, “what do I sound like?” It felt funny to play a Jerry Douglas lick. I felt like I was stealing every time I played an Auldridge lick or Josh Graves and I really got curious about “what do I sound like” or “how would I play this.” And it helped me to make that switch. A lot of people don’t do it. They might get to where they can play like Jerry and they stop right there. That’s o.k. but I was always curious about what I sounded like and it’s been a continual search.

SJ: As a Christian and as a musician I am especially grateful to you for your arrangements of traditional hymns on the dobro. Your contributions of tunes like “How Great Thou Art” and “Be Thou My Vision” have inspired me not only to learn those tunes that you have arranged but also to try my own hand at arranging hymns. Can you share any insight as to how you pick tunes or how you go about adapting them to the dobro? Does the tuning make a big difference in the arrangement?

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RI: I do 99% of my stuff is in G tuning. I think I heard How Great Thou Art when I was sitting in church one time. It’s a standard tune but I didn’t grow up in church so a lot of this music was new to me. So as I recall I heard it in church and thought to myself this would sound really good on the dobro.” It was the same with Be Thou My Vision. I think that’s where I got that from.

SJ: So you took your cue from the vocal melody and made up your own arrangement?

RI: Yes. I listen to singers a lot and think of the dobro as a really vocal instrument. The key of G is nice because you have all those open string possibilities which help direct the song. When you play dobro its like playing guitar with one finger; it’s hard to get those big chord changes and bass notes, so the key of G works really well. Be Thou My Vision is in C. I’m not really sure why I played it there. It starts out over this C add 9 chord which has this ethereal, rippling water sound you know? I’m a big fan of the melody. I went through big Chet Atkins phase, listened to a lot of his records. He can just play the melody and sound great with hardly embellishing at all. It’s fun to take a great melody and work up an arrangement; it’s a fun thing to do and the dobro is good for that.

SJ: Let’s talk about gear for a moment. Tell us about your resonator guitars.

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RI: I started playing Scheerhorns in 1990; I’ve got # 8. Sally Van Meter is a good friend of mine and we were both living in California at that time. She got a guitar from Tim. I played her guitar and went “wow, I’ve got to get one of these.” It was like night and day compared to my guitar which at that time was the first dobro I ever bought – a 1979 OMI Model 60D Dobro. I called Tim the next day and placed my order for one of his guitars. I just loved it – it sounded great and was so beautiful. I probably played that guitar for 5-6 guitars and I dropped it during a photo shoot or something happened where it wasn’t giving me what I wanted. Tim had a rosewood guitar that really liked so I played that for a couple of years and then he made me a large body (L Body) version of that guitar which I play to this day. So, when I find a better guitar I’ll play it, but I haven’t yet. There’s something about that guitar that gives me a sound that I like. I think the Rosewood gives it a nice warm tone. Tim had 2 or 3 guitars when he brought those to me in 1998. I played all three of them but the one I picked was the one that he had made specifically for me. It just had everything that I wanted.

SJ: What does your “live” rig consist of? What kind of microphone and/or pickup and preamp do you use? Do you like to use any spatial effects such as reverb or delay when you play live?

RI: 99% of the time I use my own microphone which is an AKG C1000. No big deal. It’s not expensive. It just seems to fit my guitar and gets a really warm tone. It seems like I’m always leaning toward a warm sound. I don’t like a really high end-y guitar. I prefer something big and fat sounding. I think this microphone really matches my guitar well. I like it because it’s a condenser microphone but it doesn’t feedback easily. When you’re playing festivals and have a 3 minute set-up you want something you throw up there and go to work without it ringing. You can’t use a really nice studio microphone because it would feed back too much. So the C1000 is the right balance of good tone with being prone to feedback. I also have a Schertler Basik pickup in my guitar which I use if it’s a loud live situation where there’s drums, electric bass or electric guitar, but I try to use a microphone whenever I can because I get the best tone that way.

SJ: Tell us about the new Wechter/Scheerhorn Rob Ickes model? How did this guitar come about; how is it different than the other Wechter/Scheerhorn models?

RI: Tim Scheerhorn designed it. Tim and Abe Wechter have gone into business together and are making plywood dobros. So the Rob Ickes model is exactly like my guitar but made out of plywood and they are really sounding great. We sold out of the first run of 48 guitars in the first two months.

SJ: You’ve won IBMA Dobro Player of the Year 7 times now. You are the only person other than Jerry Douglas to win the award. As such, you are in a unique position to comment – what does the future of the dobro look like? Is the “dobro songbook” expanding to include new standards? How is the range of the instrument being expanded by today’s up and coming players?

RI: It’s tough to say… There are some really good young players coming down the pike right now. It seems like every time I turn around there’s another good dobro player coming up. I think that’s good. I think that is good for the future. I think there will be a really good generation of players coming up. As far as where it’s going – I just hope it gets more and more popular. It’s a great instrument. I guess I’m a little surprised that there aren’t even more people playing right now because people who are new to the instrument always freak out over it. But maybe that’s changing with the new generation of players coming up. You know, that’s what I love about the instrument I’ve made some solo records and I tried to take the instrument into new territory and see what it can do and I’m always impressed at how the tone of the instrument can work in a lot of different band contexts. So that’s something that interests me. What can this thing do? How far can I push it and still sound great? It’s interesting to me to work with jazz musicians or classical musicians or whatever.

SJ: Taking the instrument out of its native context of country or bluegrass music, for example?

RI: Exactly! There’s something that’s kind of freeing when you’re creating something new, like this trio with dobro, mandolin and bass. I don’t know if that’s ever been done before. It’s a very creative situation where it all sounds new so you feel really creative and productive in those situations. I think that’s why musicians do that – push the envelope, etc. I know some fans want you to stay and just do what you’ve always done, but if I did that I think I would get stale, you know?

SJ: I guess that tension will always be there – between tradition and adding to the songbook.

RI: Exactly! I’m not the first person to experience that or try that; I guess everyone goes through that. So I guess I’m impressed with what the instrument can get away with that and that’s an interesting part for me. As far as what I’m going to do on the instrument is keeping pushing the envelope and trying it in different music and different styles.

SJ: Sally Van Meter once told me that you had put in a lot of hours transcribing Robben Ford solos for the dobro. What’s the story behind your jazz projects – Slide City & What It Is? How/when did you decide to record those records? How did you go about arranging the tunes and instrumentation? Did those records present any special challenges compared to recording with traditional acoustic instruments?

RI: When I went to college I got introduced to a lot of jazz music, rock and blues. Players like Robben Ford, B.B. King, Larry Carlton and John Scofield made a big impression on me. I got really excited about it. It was like hearing Tony Rice for the first time, that level of intensity. I started wondering if some of this music would work on the dobro and found that some of it laid out very well. I don’t know why I did those jazz records. I think just listening to that music made a big influence on me and I thought it would be fun to put the dobro with drums, bass, piano and saxophone, you know? And I got these great players and we made records which I am really proud of. I feel like we got into some really good stuff. I didn’t want to sound like a bluegrass guy playing jazz songs. Sometimes bluegrass players will do that – take a jazz song but they’ll do it with a bluegrass band. I always wanted to take the dobro and put it in a jazz band. I thought it would sound a little smoother, a little more natural. That’s what I like about those records – you go “that’s a great jazz record” and then “oh, that’s a dobro” You think about that later. That’s what I like about those records. But I think just from listening to a lot of jazz and blues and rock colored my vision of what the dobro could do.

SJ: In addition to being a recording artist, you are also very well known as an instructor. I have a copy of your Homespun instructional DVD’s which are extremely well-produced and truly a great asset to any/all aspiring players. Do you have any comments or closing words of wisdom for aspiring players?

RI: When I teach I talk about a lot technical things which are of course important, but to me the most important thing is getting together with other musicians and playing. So I guess that’s one thing that I would recommend. You have to practice on your own but you make much bigger leaps when you’re making music with other people. I was fortunate that my family played music, so I was thrown into the fire at an early age. I was playing my brother, my mom and my grandparents a month after I started playing. For me the biggest leaps always came from playing with other musicians. So that’s what I would say. These days there’s so many computer based learning tools – metronomes, drum machines, ProTools, computer programs, etc. but go out and play some real music.

SJ: So nothing can replace the experience of playing music with other musicians. I have always maintained that while a metronome is a valuable learning tool it doesn’t respond to you. Different musicians “feel” timing in different ways. So, playing music with others involves you are a responding to each other; seems to be part of the process of learning.

RI: It’s also part of the process of creativity. A lot of times, if I’m on a really good session, working with good musicians, I play stuff that I had no idea I could play. People can bring it out of you: it’s this exchange that happens between musicians. Those are the peak moments, you know, the reason why we are all playing music in the first place. Don’t miss out on that stuff. Sometimes it can be elusive but that’s what brought us here in the first place.

Wolfgang Reimer

Originally posted at www.robanderlik.com in 2011 

Wolfgang reimer

SJ: Thanks for allowing me to feature you on my website. Please tell us about yourself: where did you grow up, when did you start playing music, what instruments do you play?

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WR: First of all I was born 1950 in Hamburg where I grew up and lived for about 20 years. When I was 14 years old I started to learn and play electric guitar. At that time the Beatles, Rolling Stones, The Who, Yardbirds and many other bands were just coming up and getting famous. And of course like so many others I tried to copy as much song material as I could get at that time. In Hamburg there was the world-famous live music STAR CLUB – and at least three times a week I went there to see countless famous bands like the Searchers, Small Faces, Kinks, Spencer Davis, Pretty Things, Taste with Rory Gallagher, Free, Procol Harum and many more. Furthermore there were two concerts halls in Hamburg where I saw The Beatles, The Rolling Stones, The Beach Boys, Jimmy Hendrix, Led Zeppelin, The Bee Gees, Jethro Tull, Roxy Music, Chicago, Queen, ABBA and many more……. So all these bands and many others had a big influence on me but it was mainly the Rock and Blues music in which I was interested most. At 15 I had my first band and the next few years I played in several different bands, playing different kinds of music – from Rock music to Dance music wearing even a tuxedo sometimes. In 1979 I got an offer to join a so called “TOP 40” cover band which was the No. 1 band at that time in northern Germany. The next 9 years I played about 100-120 gigs per year with this band – besides my 5 day full time office job! This was a very hard time – often enough I played 3 gigs on a weekend and returned on Sunday night at 3 or 4 o’clock a.m. and had to get up at 7 o’clock next morning to go to work. And such gigs were not a one or two hour show – we normally had to play from 8:00 p.m. to 2:00 – 3.00 a.m. ! After 10 years I was really burnt out and quit the band. But after a half year break I started again to form a new cover band covering mainly “oldie music” from the 60’s, 70’s and 80’s. I played with this band nearly 18 years – but we did’nt do more than 20 gigs per year. So, this is my experience and my musical roots ! Regarding my instruments: all the years I played mainly electric guitar and in the mid 80’s a little bit Pedal Steel guitar.

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SJ: I have to admit that I am more or less completely ignorant about contemporary German culture and especially the music scene. So…tell us: what’s the local music scene like? Do Germans listen to/prefer local/regional musicians & singers? What kind of American musicians are popular in Germany?

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WR: I think the music scene in Germany is similar to so many other European countries. I’m still living near Hamburg which is definitely a cosmopolitan city where you can find all kinds of music. Many top acts have always come to Hamburg and since we have had a new and very big concert hall, even more famous international acts stop by in Hamburg. And of course we have local/regional musicians and bands which are famous over here and are filling big concert halls. American Rock, Pop, Hip Hop etc. musicians who are famous in the US are famous in Germany and other European countries as well. But unfortunately Country and especially Bluegrass music is not so popular and widespread over here – that’s why many famous US Country or Bluegrass musicians are largely unknown in Germany. And although there is a Bluegrass scene (which is unfortunately very very small) most people have never heard about it and do not know what Bluegrass is at all.

SJ: What is the “live” music scene like where you live? What kinds of bands/music can you see at a club or concert hall? What kind of gigs are available to a performing musician?

WR: There is definitely a lot of live music in Hamburg with lots of different kinds of music but Country or Bluegrass music unfortunately plays only a small or hardly any part here. There is a small “Live Club” where a so called “Blugrass Session” (open stage) is held once a month. But you’ll mainly find musicians coming to this session and only very few interested visitors. And for Bluegrass music you can rarely find gigs and opportunities to perform. This is also the reason why there are hardly any Bluegrass bands over here.

SJ: What was your first exposure to the dobro? Where/when did you first hear the dobro; what made you decide to take it up? What’s it like to be a “dobro guy” in Germany and/or Europe? What kind of gigs do you get and what kinds of instruments/musicians do you play with?

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WR: I was a fan of Country music for many many years and in the 90’s I heard and saw Alison Krauss on German TV – but at that time not yet having a Dobro in the band. But I liked her music very much and bought some of her records. Then later on there was this double AKUS live CD. Suddenly I came to appreciate this fantastic sounding instrument called Dobro especially on the solo pieces “Tribute to Peador O’Donnell/Monkey let the hogs go out”. This definitely bowled me over – I listened to it over and over and couldn’t believe the sound and really wondered how it was possible to play an instrument in that way. This was definitely the starting point for me to delve into this instrument. As I said, gigs in general are rare over here. I’m playing with a guitar player, banjo/mando player, fiddle and bass player. It is really hard to find musicians over here, at least for Bluegrass music who are on the same or similar playing level and at the same time interested in playing in an “organized” band, willing to practice regularly, experienced enough to perform on stage, etc. etc.. You can really count yourself lucky if you can find any musicians over here who are interested in Bluegrass at all and at the same time play an acoustic instrument. That’s the position over here. Fortunately I’ve found such musicians in my area and we are actually practicing hard and already did some nice gigs here and there.

SJ: I have had many non-musician friends comment to me that it is necessary to have a “talent” (as in “innate” talent or aptitude) in order to become a good musician. Do you agree with this kind of thinking? How did you get so good, so fast? Do you have “talent” or was it dedication to a practice routine, hard work, long hours, etc?

WR: In general I think nearly everybody is able to play an instrument – with or without talent. But of course it is easier for people to learn an instrument more quickly and better if they have an innate musical talent or aptitude. I think it’s like in school, in your job or anywhere else. For some people a certain lesson, exercise or job comes easy – other people have to work long and hard on the same thing. I think I’m somewhere in the middle – I’m not sure how much natural talent I have but I’m a real hard and very ambitious worker – at least in terms of playing and learning an instrument ;-). And I think my advantage is my years of experience in music. I’ve played in cover bands for more than 40 years and always had to copy the electric guitar parts of countless songs. And especially the first 20-30 years there was no supporting material like tabs (I’ve never learnt to read music) so I had to learn all those songs and guitar parts just by listening. This of course trained my ear over the years and now I’m even able to figure out and learn the Dobro parts of a song just by listening and without writing down notes or tabs.

Shebeg and Sheemore mp3 on Deneve 8 string resonator guitar

You asked “How did you get so good, so fast ?” I think one reason is that about 25 years ago I played Pedal Steel guitar for a few years. I didn’t play this instrument very well and gave it up later on. But some of the technique I could definitely adapt when I took up the Dobro 3 years ago. Especially the left hand technique of how to hold the steel bar plus string damping I was able to adapt very quickly. Meanwhile I have started teaching some students who are learning to play the Dobro from scratch. They’ve never held a steel bar in their hands before and do not know anything about string damping. Consequently they first have to learn all these techniques, which takes weeks, months or even longer. So I think this was a big advantage I had when starting up with the Dobro. Another reason of course is regular and concentrated practising ! Although I have a 5 day week office job, I’m spending a lot of time practising and playing the Dobro. There hasn’t been a single day in nearly 3 years now that I haven’t played at least one or two hours per day – on weekends sometimes 6 – 8 hours. Fortunately I have a very understanding and tolerant wife – it seems I made the right choice 35 years ago ;-).

SJ: I am assuming you are self-taught, correct? What learning tools or practice techniques gave you the best results when you were getting started? Did you learn from DVD/Videos, cop licks off of c.d.’s, etc?

I must tell Jesus on Meredith mahogany/cedar resonator guitar

WR: Yes, I’m mainly self-taught. And at this point let me stress that I’m not a professional player – I think “semi-professional musician” might be more appropriate. When I started with the Dobro I first bought the Video “Learning Bluegrass Dobro” by Cindy Cashdollar. This helped a lot to get me into this instrument. Other material followed later on, like D. Hamburger’s “Dobro Workbook”, Stacy Phillips “Complete Dobro Player”, Rob Ickes double DVD “Essential Techniques for Dobro” and lot of other material. Not to forget that right from the beginning I started to buy and collect a lot of Bluegrass or Dobro Audio CDs. This kind of music was really new for me – let me remind you at this point that for me Bluegrass didn’t exist for more than 50 years of my life ! Listening permanently to all those CDs was and is still very important and helpful for me to get a feeling for this music and of course to learn and listen to the many different roles a Dobro plays in a song. And each time I find an interesting song, solo or back up I try to copy it as best as I can. The first two years I mainly played just for myself and learnt to play solo songs from Jerry Douglas, Rob Ickes, Ivan Rosenberg, Junior Barber etc.. I practised them to death until I could play them. But for some time now I have been playing in a band and therefore have to focus on different things like back up, speed licks/solos etc.. This is a new challenge of course and broadens my horizon. Anyhow I always tried to be as versatile as possible avoiding getting wound up in a certain thing for too long. Each time I come to a certain point when practising a song, solo or lick I immeditely stop for that day and continue next day or later. One good example: 6 months after starting to play the Dobro, I tried to play JD’s “New Day Medley”. I worked hard on it for several weeks but finally gave up and had to admit that is was to soon and my skills at that time where definitely too inadequate for such a complex song. Two years later my ambitionsness got the better of me and I took up this song again. Believe it or not – within two weeks I figured out how this song worked. What a sense of achievement ! Of course the reader of this interview might get the impression that I’m a pure “copy-machine”. And in a certain sense they are right. And I defintely have to admit that my own creativity on the Dobro still leaves much to be desired. But to be creative on an instrument in my opinion you first have to learn all the muscial and technical basics ! And I think it is quite understandable and useful and defintely not reprehensible to copy as much as possible – above all if you are a beginner. How do you learn a song, a lick, a solo without copying it from a CD or tab book ? I think there are only very few if any musicians out there who never copied ! But I know a few musicians in my area who never cared much for learning basics. And I know that those guys are not happy about it because it definitely limits their real and innate abilities and talents. It took me years to be creative and to find my own style on the electric guitar – but at a certain point after learning all the basics this creativity came to me and my own style automatically. And on the Dobro I still feel like a kind of beginner and I know for sure that there are so many things I still have to learn. But with continued learning I’m convinced that my creativity will improve.

 

SJ: Tell us about your right hand technique: what kind of thumbpicks and fingerpicks do you use? How do you position your right hand…do you curl your right hand fingers up (the Jerry Douglas “ping-pong ball technique”), extend your pinky, etc? Any comments about your right hand technique in general?

WR: After using and checking out different picks I finally found out that Zookies L- 20 thumbpicks and metal ProPick fingerpicks work best for me. Yes, my right hand position is similar to Jerry D’s – but this time I didn’t copy him 😉 – it came automatically. Some additional comments: what I definitely adapted especially from Jerry is my thumb technique. I’m now doing a lot with my thumb on all strings. So my thumb is not limited only to strings 4-6 – I’m also using it for the first two strings. Of course what my thumb does depends on a lick or roll but I found out that for many rolls or arpeggios my thumb makes a lot of movement especially on strings 4-6. So, instead of using thumb, index and middle finger for certain rolls I often use only my thumb ! This was definitely hard work to cultivating this playing style but I’m glad that I practised this over and over because I now have much better control and power in my overall playing style.

SJ: What kind of techniques do you commonly use to play back up for other musicians? Do you use/prefer chops, chucks, rolls, etc?

WR: Depends on the song – may be chops, chucks or rolls – and of course a fill lick here and there. For me backing up is still a challenging matter. I didn’t find much material out there teaching back up so far. So I’m listening to many different songs trying to figure out all the different back up styles and try to copy them or even create my own style. As I mentioned – it depends on the song.

SJ: How would you describe your approach to improvisation? Do you think in terms of key sigs, scales, modes, rhythmic variations, etc?

WR: It’s a mixture of all the things you’ve mentioned. But rhythmic variations are always very important for me. Playing “static” scales I do not find so interesting and often a little bit boring. My playing style on the electric guitar is also very rhythmic and I applied this automatically to the Dobro. Rhythm is the salt in the soup.

SJ: Tell us about your gear: what resonator, lap steel and Weissenborn guitars do you own?

WR: At the moment I own 5 resonator guitars (I’m meanwhile a real Reso-geek), Beard Mike Aldridge Signature, Meredith maple, Meredith mahagony/cedar, Scheerhorn maple R-body and a Moon custom maple from Scotland. There is a very nice Wallace Weissenborn made of walnut and a very old Oahu Diana lap-steel guitar. There is also a very old Stromberg Voisinet and an old Stella – both lap steel acoustic guitars. And last but not least later this year I will get my new Scheerhorn Rosewood/Spruce top after waiting about 3 years. I’m not sure if I will want to or be able to keep all these wonderful but at the same time very expensive guitars later on. We will see. But it would definitely be hard to part with any of them.

SJ: I am convinced that many people, especially beginners, place too much emphasis on the instrument; as if all you need to become a good player is the right brand of guitar. What is your view on this sort of thing? How important is a certain instrument to getting “your” sound?

WR: That’s a very good and much discussed question. I have played and owned so many different instruments in my life that I think I can really give some informed answers to this question. On the one hand I’m not a professional musician but even for a semi-pro musician like me who did nearly 2.000 gigs so far and earned quite good money in the past, a good-sounding and working tool is a must. I always liked to play a good instrument and good instruments cost good money. I’m talking about electric guitars, guitar amps, effect devices etc.. Regarding the Dobro of course I started as a newbie from point zero. My first Reso was a cheap Regal roundneck, followed by a Epiphone Squareneck, a Gibson Dobro from the early 80’s, a Lebeda Break and a Gibson JD model. For me each of these guitars of course were a step up in terms of sound and playabilty but after a while I always got a little bit dissatisfied because my idea of a Reso sound was different, especially when comparing the sound of my guitars with all the well known sounds produced by all those famous Dobro players. Meanwhile of course I know that even a cheap Dobro can sound quite good on a recording – it depends mainly on the player and recording procedure and quality. Anyway, at that time I was still searching for a better and stronger sound. My next Reso was the Beard MAS – what a step up !! Suddenly all the song material I had been playing and practising immediately sounded much better ! Later on in February last year I took my Beard with me on my US trip where I had the opportunity to compare it with many other guitars like Scheerhorns, Clinesmith, Wechter, Rayco etc. As a result I decided later on to buy a maple Meredith. This guitar is now my first choice especially when playing with my band. This guitar really has the punch, loudness, clear and differentiated sound which comes very close to the ideal Reso sound I’ve had in mind. Of course I still like the Beard very much but in a band the Meredith is stronger and makes itself heard better.

Coming back to your question. I think the brand of a Reso is not essential to becoming a good player – it needs much more than that. From my point of view you need a little bit of talent, a lot of ambition, perseverance and above all the strong will to learn this fascinating instrument. And I’m convinced you can become a good player even playing the cheapest available Reso guitar on the market. Imagine Jerry D. or another famous player played a song on a 200 $ Reso guitar – I’m 100% sure that everybody would be amazed about his playing and the sound ! But on the other hand a good instrument defintely helps, and for me a good sounding instrument is a source of satisfaction in itself. And I’m really thankful that I can actually afford such nice albeit expensive instruments – but believe me I have worked really hard for it the last 30 years.

SJ: Please detail your “live” rig? Pickups, microphones, electronic gear, etc? Can you give an advice to our readers on getting a good tone through a P.A. system?

http://www.youtube.com/watch?v=nQeL6q4FuZY

WR: My Meredith is equipped with a Schertler BASIK pickup system. For me this is the best sounding system I have heard so far. I have tried Fishman, McIntyre and some other Pickups, but the Schertler produces the best sound for me. In some cases I use an Audio Technica Pro 35X clip mic on my coverplate or a simple Sure SM57 on a mic stand in addition. As a monitor I’m using a Roland AC-60 amp. This amp is able to handle both signals from the Schertler and mic at the same time. There might be better amps on the market but I’m quite satisfied with this versatile Roland amp. Good value for money.

SJ: Your recordings have great sound quality: please detail your recording gear. Can you give our readers any advice on how to get good sound quality on home recordings? Is there anything you have learned along the way that you want to pass along to someone who is new to home recording?

WR: Frankly speaking I’ve tinkered a lot with recording over the last few years. And believe me, often enough I was dissatisfied and frustrated with the result – especially when comparing it with the punchy and powerful sounds on many recordings. Music is only a hobby. I’m not a skilled sound engineer – so my method was always based on trial and error. And recording acoustic instruments was also a new experience and challenge for me.

In short – I’m now using the following equipment/signal chain:
Neumann TLM103 mic, SPL Channel One Mic-preamp, ROLAND VS- 2400CD Harddisc-Recorder. Mastering at the very end on PC with STEINBERG WAVE LAB software using only Peak Master and for convertion from Wav-file to mp3.
In my experience the following tools and factors are important for a good recording:

  • –  good mic with large diaphragm (must not necessarily be a Neumann)
  • –  good Mic preamp (preferably with tube for a warm sound)
  • –  good signal processing tools or plug-ins

First of all it is important to get a good and clean signal onto your recording device such as a HD-Recorder or PC. In the past I often tried to compensate or push up a weak basic signal with various dynamic and effect processors afterwards. This is definitely the wrong way and will rarely lead to a good result. I’m using the built-in effects of the Roland HD-recorder – they are quite sufficient for home recording. So I’m using a compressor and equalizer plus Reverb. That’s all ! But the combination of a good compressor and EQ brings a lot of punch and power to the overall sound. Not forgetting to bring the final signal to 0 DB – I do that with the Peak Master of my WAVE LAB software.

I nearly forgot: of course it is also very very important to use a good monitoring. For a certain time I only used headphones for the mixing – because it sounds so nice ;-). This is definitely the wrong way and also rarely leads to a good result over a speaker system later on. But I don’t think you need a very expensive monitor system – two small active monitor speakers for a few 100 bucks will do the job. The market is full of such monitor speaker systems.

So I’m still experimenting with recording and I’m sure there is still enough room for improving the sound and my skills. But I think I’m on the right pass.

SJ : I’d like to close by asking for your comments on musicianship and creativity: What inspires your creativity as a musician? What are your plans for the future, what are your long-term goals as a musician?

WR: Listening to all kinds of music inspires me at all times. It can be a simple groove or melody line on the radio or TV or anywhere else. Immediately I develop my own idea in my head – but unfortunately often I forget my idea afterwards and cannot recall it later on. But even this process going on in my head is fun and is a kind of creativity and at the same time mental recreation for me. There is always music in my head even when I’m not translating each and every idea into real sound on my instruments.

My plan for the future is definitely to continue working on my playing skills as much as I can – I’m sure and hope that there is still enough room for further improvement. I hope that my band will stay together and that we will get the chance to present our music to the public more than we are doing at present. But we are on the right track – there are several gigs coming up the next months. By the way, this band had quite a new idea of combining quite well known Bluegrass songs with our own written lyrics in a quaint old regional German dialect called “Low German” which is still common in certain parts of the area where I live. Hopefully we can establish the Bluegrass music over here with this unique idea. Besides this Bluegrass project I recently joined a cover band playing all that rock stuff I’ve played so many years. So I took my electric guitar out of the closet, wiped off the dust and plugged it into my Marshall amp. It’s really great to have the opportunity to play in two completely different bands. The contrast between sweet acoustic and loud rock music is fascinating. And above all my playing style and skills defintely benefit from both kinds of music. I don’t know if the term “ cross influence” is the right word for it but defintely I feel some influence from the Dobro when I play electric guitar and vice versa. Furthermore I will now have the chance to bring in my OAHU DIANA lap steel. This guitar in combination with a 100W Marshall produces an absolute killer sound. Here we go – back to the roots !

It was an honor for me to be interviewed on your website, Rob. Thanks a lot.