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Bukka white national guitar amplifier

Derek Trucks was born on June 8th, in Jacksonville, Florida. Derek is mostly known for playing Gibson SG guitars. While playing he usually keeps his guitar tuned to open E, always plays through the neck pickup, and uses his own signature Dunlop DT01 slide. By he removed the pickup cover on the neck pickup or replaced it altogether, which is somewhat less likely , and by he removed the pickguard.


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WATCH RELATED VIDEO: Booker ‘Bukka’ White’s 1933 National Duolian Resonator - all-audio.pro

The Guitar Department


The quest for loud guitars came long before Les Paul, Leo Fender, and a host of other innovators developed workable electric guitars and amplification. As the relatively quiet and small-bodied guitars of the 19th century left the small, genteel parlors of homes for larger public spaces, they needed to become louder to accompany violin, piano, or brass instruments.

This resulted in the guitar being transformed from the refined, delicate instrument still tied to a European model to one more stereotypically American—big and loud. As the 20th century began to ramp up, several American makers began fundamentally changing the guitar to meet the needs of the players who wanted to be heard on a bandstand, juke joint, or busy downtown sidewalk.

In this arms race for more volume and presence, guitar makers began building larger and larger instruments and experimenting with different construction concepts, like new bracing systems and mechanical amplification.

The sound of a guitar relied on a vibrating wooden box to produce sound, but all of that changed in the late s, when a Slovak-born luthier named John Dopyera was tasked by an American guitarist, George Beauchamp, to create a guitar loud enough to play melodic parts on the bandstand. As an inventor who already had a few patents to his name, Dopyera devised a way to make the guitar louder using three very thin aluminum cones, driven by the strings vibrating a T-shaped bridge.

The cones operate nearly identically to the speaker cones in your home stereo or guitar amp, though they face the back of the guitar and their sound is reflected off the rear. These first three-coned instruments were called tricones, and they immediately caught on with the Hawaiian guitarists that were very popular in this era, like Sol Hoopii.

The tone of these guitars could be almost liquid, with complex overtones, a reverberating quality, and a lot of sustain.

In response to the Great Depression, National introduced a less complex design that was more cost-effective to build. These more affordable guitars used one large cone, with a small bridge attached to the top of the cone, called a biscuit.

A spider bridge, as the design came to be known, produces a sweeter and more sustaining sound than a biscuit-style resonator, but not as rich as a tricone. Spider bridges found favor first with country and later with bluegrass musicians. The rise of the electric guitar and the onset of World War II effectively ended production of resonator guitars, though they remained popular with artists who continued to make music with them until interest in their unique tones again began building in the s.

The market is quite specialized, too, which allows it to be nimble, with many unique and exotic variations on the resonator theme being produced by small custom builders and larger factory makers alike. The allure of a vintage guitar is undeniable, and classic Dobros and Nationals are relatively affordable. But in most cases, modern resonators are more playable and sonically on par with—or even better-sounding than—the earliest examples, which often suffer from poor intonation at least on the round-neck models and inconsistent manufacturing techniques, not to mention the ravaging effects of time.

National Guitars, which was founded in and is based in San Luis Obispo, California, is a leader in integrating modern construction aids like CNC with the considerable amount of handwork that goes into soldering brass, steel, and German-silver bodies together or creating wooden guitars. And having recently acquired the revered Scheerhorn brand of spider-cone guitars, National now offers dobro-type models.

Just like steel-string acoustic players, resonator guitarists often crave unique instruments, which leads some of them to turn to smaller makers for custom pieces. The resonator scene is dominated by instruments made in China and sold in the U. Other relative newcomers, like Republic and Royall, are making waves with unique models that summon modern aesthetics, like steampunk. Most resonator designs fall into the two traditional choices—a steel-, brass-, or wood-bodied biscuit-style modeled after a National, or a wooden Dobro-type guitar.

Regardless of your budget, there is something out there that can satisfy your musical cravings for the unique sounds of a resonator guitar.


Reggie Young

A resonator guitar or resophonic guitar is an acoustic guitar that produces sound by conducting string vibrations through the bridge to one or more spun metal cones resonators , instead of to the guitar's sounding board top. Resonator guitars were originally designed to be louder than regular acoustic guitars, which were overwhelmed by horns and percussion instruments in dance orchestras. They became prized for their distinctive tone, however, and found life with bluegrass music and the blues well after electric amplification solved the problem of inadequate volume. Many variations of all these styles and designs have been produced under many brand names.

Little wonder then that the man became more than just an influence on some white English kid with a big amp; he was the main source of inspiration to both.

Resonator guitar


He was a giant of a man; son of a railroad worker, boxer, baseball player, prisoner, blues genius. He was a giant and I mean a real giant not only as a musician, but also as man, a sonic philosopher and bona-fide American Shaman of the twentieth century. He emerged from a society that was marginalized not only by the majority white segment of the population, but also from some within his own community. Many proper church-going folks did not listen to the blues, especially the gritty, greasy, down-home flavored blues thrown down by Booker. He sang and played profane songs full of temptation and need, murder and greed, prison and trains, desperation, isolation, loneliness, and the danger and excitement of being full of White Lightning and in the wrong house at the wrong time. He was a man on the outside and a man on the move from an early age, living the life that became his music. There is very little showbiz in this kind of blues; it is art from the mud, saloons, juke joints, street people, hustlers and fast women. Many of his best songs have a very conversational feel about them. They describe ordinary situations and feelings that carry powerful statements; When Can I Change My Clothes seems like a very mundane topic unless you realize he is in jail, on Parchman Farm in Mississippi; one of the toughest prisons in s America. His plaintive holler and wail, the timbre of his voice, and cross-tuned E minor National guitar cast a very harrowing portrait on most everything he did, especially his and recordings that bracketed his arrest and prison sentence for shooting a man.

THE MONEY SHOT BUKKA WHITE’S 1933 NATIONAL DUOLIAN

bukka white national guitar amplifier

The National String Instrument Corporation was formed to manufacture the first resonator guitars, known as resophonic guitars. National also produced resonator ukuleles and mandolins. The company was originally formed by John Dopyera, the luthier who invented the resonator, and musician George Beauchamp, a steel guitar player who had suggested to Dopyera the need for a guitar loud enough to play a melody over brass and other wind instruments. In this era, many guitarists sought instruments that could complete in volume with other instruments in the orchestra.

The quest for loud guitars came long before Les Paul, Leo Fender, and a host of other innovators developed workable electric guitars and amplification. As the relatively quiet and small-bodied guitars of the 19th century left the small, genteel parlors of homes for larger public spaces, they needed to become louder to accompany violin, piano, or brass instruments.

Modern Guitar Innovations – 1928 – Single Cone Biscuit Resonator Guitar


This seller has not set a shipping cost for Russian Federation. Please contact them to ask about shipping. One of the most classic and collectible of all resonators. A wonderful sounding guitar with plenty of bluesy bark and warmth, this Style 0 still has its original cone and biscuit — unique for vintage National tone. Original tuners and headstock decal.

Reverend Peyton’s Big Damm Band

The band is one of the few acoustic Blues bands around. You can see them perform this month at a number of venues including Longwood Gardens. I talked to both Stevie and Paul in this interview. How did the band get together? Paul: The Bluescasters started as an electric band, which among other players included the late Danny Starobin. After a while Stevie and I decided to have a band with just acoustic players.

Who invented the first single cone resonator guitar? Important musicians who have played Style O resonator guitars are Bukka White.

Down & Dirty: 10 Next-Gen Resonator Players

Reggie Young with his Fender Stratocaster. Reggie Young passed away on January 17, Here is an extensive interview he did with VG in Reggie Young is one of the most recorded guitarists in history.

Some of the most viscerally powerful recordings ever made are acoustic blues. But finding where to place the needle amid the haystack of pre-war records can be hit-and-miss. Here, Michael Messer - one of Britain's finest traditional blues guitarist - offers a soul-shaking intro to the style. His guitar style is, simply, definitive. Everyone from Jack White to Ian Anderson has been influenced by it. And his singing on it is just stunning.

After 12 years of playing as many as shows each year, Rev.

Son House's place, not only in the history of Delta blues, but in the overall history of the music, is a very high one indeed. He was a major innovator of the Delta style, along with his playing partners Charley Patton and Willie Brown. Few listening experiences in the blues are as intense as hearing one of Son House's original s recordings for the Paramount label. Entombed in a hailstorm of surface noise and scratches, one can still be awestruck by the emotional fervor House puts into his singing and slide playing. Little wonder then that the man became more than just an influence on some white English kid with a big amp; he was the main source of inspiration to both Muddy Waters and Robert Johnson , and it doesn't get much more pivotal than that.

I had a huge amount of feedback for which many thanks to all you clever, knowledgeable people about the original list and so I expanded it to cover later artists including some Gospel , but I still try restrict it to acoustic instruments, give or take the odd added pickup. The information is mostly gathered from repros. Also, please bear in mind that any one singer would have used several instruments in his career and that he could have borrowed a guitar for the photo session.




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