Electrocute a Dobro

John Daugherty · Post by **John Daugherty** » 9 Apr 2005 5:09 am

I have a friend who asked me for advice on "electrocuting" a dobro. He wants to record some dobro tracks and doesn't like the sound (or feedback)he gets with a mic.
Can someone recommend a pickup for dobro that won't cost an arm and a leg?

Webb Kline · Post by **Webb Kline** » 9 Apr 2005 5:42 am

I use a Fishman Dobro pickup. I like it a lot, although it needs a preamp to get the boost needed for live. I still like the results of a mic in the studio, but the Fishman does a real nice job. Of course, I'm using a combination of an AKG 414 and Shure SM 81 condenser to get the results I like--not a cheap way out. Maybe a mixture of mic and pickup would be the answer.

Larry Bell · Post by **Larry Bell** » 9 Apr 2005 5:43 am

For the studio I would never use a pickup -- at least not one of the ones I've tried. I had a Model 117 with a pickup in it from the factory, I've used Barcus, Fishman, and several others and none sounded as good on tape as a high quality condenser mic near the resonator and a second one picking up the room ambience (and bar / string noise which actually ADDS to the authenticity of the sound) from the neck end. Best recorded Dobro sound I've ever gotten.
check it out

Live, a combo of a pickup and mic have given the best sound.

The real master is Gary Morse. He gets a great amplified Dobro sound, but I've tried the same equipment he uses and it didn't work as well for me.

These days, the MatchBro is doing its job. I don't have to carry a reso with me and it really sounds surprisingly great -- even in the studio.

Just my two cents.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 09 April 2005 at 06:59 AM.]

Donny Hinson · Post by **Donny Hinson** » 9 Apr 2005 6:00 am

Mike it right to the board and there'll be no feedback.

Dave Ristrim · Post by **Dave Ristrim** » 9 Apr 2005 6:01 am

How the heck do you get feedback in a studio, unless you're in the same room as the monitors? Use headphones and turn the monitors off if that's the case. Always use a mic for the most natural sound if you can.
Dave

Bryan Bradfield · Post by **Bryan Bradfield** » 9 Apr 2005 7:02 am

When recording, I use a good quality microphone, and also run a line to the board. No extra time is involved for the direct line really except for a quick set-up plus a level check. More time is spent on microphone setup. This way a good engineer can mix the 2 signals, or use one or the other. I made my own piezo pickup for the dobro from a generic element. The important part of the sound is the pre-amp, which is not so much a signal booster, but is rather an engineered buffer. A fellow named Fishman pioneered the use of piezo transducers, and also developed the early buffer preamps, and I use one of his preamps.
In summary, don't debate the theoretical benefits of one versus the other. Use both, then use your ears during mixing.

Marty Pollard · Post by **Marty Pollard** » 9 Apr 2005 7:55 am

I installed McIntyre Feathers on my reso and my b@nj0 and they sound really accurate but I would also go acoustic in the studio.

Bob Hoffnar · Post by **Bob Hoffnar** » 9 Apr 2005 8:57 am

I find the LR Baggs Paracoustic DI to be very usefull.

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Bob
intonation help

John Daugherty · Post by **John Daugherty** » 10 Apr 2005 7:31 am

Thanks, everyone for all the informative replies. I sent this link to my friend, George. He learned a lot from all of you. He has a AKG condensor mic which he is going to try now, and monitor w/headphones. He prefers to monitor with speakers. That is why he got feedback.
I know it is possible to monitor w/ speakers,but it is not the preferred method today. I have been in studios that did this back in the 1960s. You need directional mics and the proper mic and speaker placement.

Mark van Allen · Post by **Mark van Allen** » 10 Apr 2005 7:48 am

John and George, If you're recording yourself or in a small studio where you have the time, It's not hard to use headphones, adjust the mic pre/eq/mic placement and then check the results over the monitors. A little back and forth and you get to know the difference in sound between the cans and the mains very quickly. A large diaprahm condensor is really the way to go for tone, with a room mic as Larry suggests if the room has a good sound. Audio technica makes some great clip-on horn mics (AT-pro35) which sound great on reso, around $200. Here's some tracks I recorded with one $99 JoeMeek mic, just off the cone, and headphones- Beard custom R reso. http://www.cdbaby.com/cd/planetriders

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Stop by the Steel Store at: www.markvanallen.com

John Daugherty · Post by **John Daugherty** » 13 Apr 2005 4:46 am

Lots of good advice.
I would certainly use headphones in a studio. I posted this topic for a friend and do not know the details of his situation. For some reason, he wanted to monitor w/speakers. Maybe he is going to record a live performance ???
Michael Breid had success by mounting a lapel mic inside the dobro for use at the "Pine Mountain Jamboree" stage show.
Thanks again guys. I think George has enough info now.
I think we can CLOSE this topic....

Ron Randall · Post by **Ron Randall** » 13 Apr 2005 10:52 am

For recording, I second the motion on a good condensor mic. A starting place is to aim it below the bridge somewhere between the tailpiece and the little screen. Very bassy sound at the little screen, very tinkly trebly near the tailpiece.
Sometimes place another mic near the player's ears. IF you like what you hear then why not put the mic there?

I hope to help.

Ron