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RESONATOR
GUITAR STRINGS
QWhat kind of strings,
and what gauges, should I use on my round-neck resonator guitar?
Paula McFadden
Pittsburgh, Pennsylvania
AWhether they have cone
resonators (like Nationals) or spider-type resonators (like most
Dobros), resophonic instruments deliver optimal tone and volume
with minimal buzz and rattle when the strings exert sufficient downward
pressure on the bridge-resonator assembly. Since these guitars have
relatively shallow neck-to-body angles and a fairly low rake from
bridge to tailpiece, most players favor strings of medium or heavy
gauges. I use a custom-made set of heavy-gauge, brass-wound, round-core
strings: .016, .018, .029, .036, .048, .060. The brass winding stops
short of the tailpiece and is replaced by a light silk wrap to maximize
pressure on the bridge. This improves the guitar’s sound and keeps
the low string from popping out of the saddle slot.
Many of my favorite players, notably Bob Brozman, favor beefed-up
string gauges, but some guitarists find them difficult to negotiate
manually. Marie Nordlinger at National Reso-Phonic told me that
new guitars leave the shop fitted with medium-gauge (.013–.056)
bronze-wound strings by John Pearse. Maestro John Hammond uses a
similar set on his old Style 0 but subs a .014 for the first string
and an unwound .026 for the third. Boston blues boss Paul Rishell
strings his contemporary National polychrome tricone with a light-gauge
(.012–.053) D’Addario bronze set! He shims the nut to cut down on
buzz and amplifies the guitar to increase its volume. Some resophonic
players still opine that a more "authentic" sound can be attained
by using nickel-wound strings.
Not knowing the model or condition of your guitar, or what styles
of music interest you most, I’d suggest you experiment while adhering
to the heavier-is-better principle. Remember that on all guitars
of this type, the resonator is held in place by string tension,
so it’s best to change your strings two or three at a time rather
than all at once.
—Steve James
TAPE
TIPS
QWhat kind of tape is
safe to use on nitrocellulose lacquer finishes in order to strap
a magnetic pickup cord to the back of the guitar, and what do I
use to safely remove any of the adhesive left on the finish?
Cheryl Watson
St. Augustine, Florida
ARegular duct tape, masking
tape, and clear plastic tape will serve to hold a cord to the back
of your guitar. If it is used for very short periods of time (a
couple of hours or less), tape will cause no damage. If it is left
in place for prolonged periods (days or weeks), tape will certainly
cause a bit of damage to the lacquer. Such damage can usually be
"rubbed out" by an experienced professional. The tape residue may
be removed with mineral spirits (paint thinner) or lemon oil (less
effective). Lacquer thinner, acetone, alcohol, and other strong
solvents will damage the finish seriously. For prolonged use, I
recommend using an endpin jack and a regular "hardwired" pickup
installation. Any tape will eventually damage nitrocellulose lacquer.
—Frank Ford
HEARIN'
THE CHANGES
QGary
Joyner’s article "Guitar à la Carte" (December 1999) mentions
a book by Jerry Coker called Hearin’ the Changes: Dealing with
Unknown Tunes by Ear. Could you tell me where I might purchase
a copy?
Iain Lindsay
Dallas, Texas
AHearin’ the Changes
by Jerry Coker, Bob Knapp, and Larry Vincent is published by Advance
Music in Germany and is available in the United States from Sher
Music Co., PO Box 445, Petaluma, CA 94953; (800) 444-7437. The cost
is $19.95 plus shipping. You can find additional information on
the Web at www.advancemusic.com.
—Paul Kotapish
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