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Danelectro 59 Resonator ist eine E-Gitarre, die einen Piezo-Tonabnehmer in der Kegel mit 56 Lipstick® kombiniert pickup am Hals. Mit einem Masonite hollow body und Diamant-Platte Deckel 59 Resonator liefert einen verbesserten Ton im Vergleich zu anderen Resonatoren auf dem Markt. Ausgestattet mit einer Mischung control in hinzufügen, genauso wie viel Piezo Töne, wie Sie mit dem Lippenstift Halspickup mischen wollen. Erhältlich in schwarz oder Tobacco Sunburst beenden.
Resonatorgitarren wurden ursprünglich entwickelt, um Gitarren in Tanzkapellen, mehr Lautstärke verleihen, aber sie nun von vielen Musikern geschätzt sind und sind eine beliebte Wahl für Blues und Bluegrass Spieler durch ihren unverwechselbaren Sound geworden.
Solid Bodied Resonator Guitars
Dieser fantastisch klingende Resonator Gitarre wird in Kanada gefertigt und besteht aus Masonite mit Maple Hals. Die 59 Resonator kombiniert einen Piezo-Tonabnehmer in der Kegel mit & Lsquo; 56 Lipstick® Tonabnehmer am Hals einen unverwechselbaren bluesigen Sound produzieren.
Die Diamant-Platte-Abdeckung nicht nur bietet ein traditionelles Erscheinungsbild, sondern steigert auch den Ton des 59 Resonators. Der Resonator & Rsquo; s einzigartiger Ton ist mächtig genug, um die meisten Mischungen und Aufführungen viel leichter als eine akustische Resonator durchschneiden. Die zusätzliche Tonabnehmer ermöglichen den Ton verstärkt werden und ist eine ideale Wahl für live-Auftritte und im Studio.
Die control Layout ist einfach master-Volume, master Tone und eine Mischung Topf. Die Mischung Topf können Sie beide Tonabnehmer für einen wirklich unverwechselbaren Sound perfekt verbinden. Mit seiner bluesigen Tönen und Aussehen ist die 59 Resonator die perfekte Wahl für Bluegrass Spieler.
National Resolectric New Resonator Guitar
Der Lippenstift-Rohr-Tonabnehmer wurde zuerst auf ihre Linie von E-Gitarren von Danelectro eingeführt. Die ursprüngliche Lippenstift-Rohr-Tonabnehmer wurden, in der Tat mit überschüssigen Lippenstift-Röhren, die von einer Kosmetik-Hersteller gekauft und vorgestellt wurden viele ursprünglichen Danelectro Gitarren hergestellt. Diese überschüssigen Lippenstift-Röhren hatte die Elektronik innerhalb eingefügt und daher machte es den niedrigsten Kosten Gitarre Tonabnehmer in der Branche zur Zeit.
Die aktuelle Produktion Tonabnehmer sind nicht gemacht, benutzt überschüssigen Lippenstift Röhren, aber eher Rohre bearbeitet, vor allem um ihre ursprüngliche Design zu entsprechen. Es ist von einem magnetischen Single-Coil-Gitarre Tonabnehmer hat seine Elektronik, völlig eingehüllt in ein verchromtes Metallrohr gefertigt. Diese renommierten Tonabnehmer können Sie einen satten Sound zu erreichen.Our first encounter with a Mule Resophonic instrument came back in 2016 and, in the years since, the brand has gone from strength to strength. Helmed by former Huss & Dalton luthier Matt Eich and based in Saginaw, Michigan, the company’s waiting list continues to grow along with the rollcall of high-profile players who appreciate the raw charm of Eich’s creations. This includes Jeffrey Foucault, Jason Momoa, Celisse Henderson, Joey Landreth, Rebecca Lovell, Ariel Posen and Kristian Matsson (aka The Tallest Man On Earth), to name but a handful.
In addition to the resonators that started it all, the Mule catalogue also contains single and double-cutaway variations on the Mulecaster. These s feature Strat– and Tele-inspired outlines with hollow steel bodies and a 25-inch scale length that can be strung in standard or baritone tuning, and they come in a variety of powdercoat hues as well as Mule’s trademark distressed steel.
The Resonator Electric
Early 2020 saw the birth of a new Mule model somewhere between the two poles of Matt’s existing electric and resonator designs. Christened Mavis, Eich describes it thusly: “It’s part archtop , part electric , part resonator. And something completely different to your ear. It’s awesome and it’s weird, it will push you. You’ll find something new.”
Available with or without cutaway, the Mavis uses roasted woods and combines solidbody construction with a resonator cone and a single humbucking pickup with master volume and tone controls.
The neck joins the body at the 13th fret and early versions of Mavis saw Matt utilise a Fender-style bolt-on arrangement with four screws and a plate at the rear, but now he attaches the neck screws from the front and covers them with pearl fingerboard dots.
Kepohk Resonator Electric Guitar Acoustic Guitar
This delivers the clean look of a set neck but means the neck can be removed much more easily should repairs be required further down the line. Somewhere, many years in the future, a weary luthier is thankful that they don’t have to drill holes and inject steam.
The neck itself utilises a scarf joint and stacked heel, which was a conscious decision on Matt’s part designed to minimise wastage. “Two-piece necks are cool but you almost waste as much wood in the blank as you use, ” he says. “Even in the beginning when I was working by myself I would end up with all these big boxes of cutoffs that I was trying to keep, just in case I could use them for something. I ended up having to throw them away. It felt gross.”
Though it started life as a semi-hollow instrument before morphing into a solidbody design, the large amount of wood removed to allow installation of Mavis’ resonator cone means that the production version’s overall weight and balance is still akin to that of a thinline semi.
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With a body depth of approximately 38mm at the edges, the back is carved from roasted pine based on geometry drawn up by Matt’s violin-maker friend Christopher Jacoby – a feature that Eich regards as a game-changer for the model.
The roasted maple top, meanwhile, has an attractive figure and is outlined by marquetry purfling and complemented beautifully by one of the best-looking pickguards we’ve seen in years, fashioned from 4mm thick Italian celluloid.
The neck profile is a cultured, soft-shouldered deep V/C hybrid that suits the ’s aesthetic as well as it sits in the hand, and the hand-rubbed oil finish feels damn near perfect.
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Though it arrives strung with a wound G, the combination of 25” scale and 20-inch fingerboard radius make bluesy bends easy, while tuning is kept stable by a set of vintage-style three-on-a-plate machineheads whose design was the result of one of Matt’s first-ever CAD projects.
Before we even plug in, this provides an amazingly fertile breeding ground for ideas. Acoustically, as you’d expect, Mavis provides a good deal more volume and resonance than the average unplugged electric and this makes it a fabulous couch or accompaniment to a flat-top acoustic during a songwriting session.
Down at the cowboy end, there’s banjo-like plunkiness to the attack combined with a lengthy, mellow sustain. Single notes in higher registers are especially beautiful, with an ethereal halo of harmonics and reverberation. As cool as our review looks, when you hear that high-end, it’s obvious why many players have opted for the cutaway version’s easier access.
Want To Buy A Resonator?
Show Mavis a microphone and all this translates into something that sounds like you’ve blown the cobwebs off an ancient phonograph and are listening to a century-old blues recording.
It’s perfect for lo-fi intros and breakdowns or layering along with amplified takes. Indeed, when using the Mule in the studio, we’d recommend recording acoustic and amplified signals simultaneously to maximise blend options in the mix.
Plugged into an amplifier, it’s like that old record player has been replaced by an IMAX theatre as the sonic landscape erupts into technicolor. Situated relatively far back in the body, Mule’s low-wind Tomthumbucker is capable of both extraordinary depth and beautiful clarity.
Electric Resonator Guitar In White Colour
A helping of that wonderful acoustic character finds its way through the wires, with fingerpicked folk parts sounding glorious and the B-string in particular providing a rich harmonic playground for slide lines.
It’s not all about Americana and roots music, though; Mavis is a that would be as at home in the hands of a member of Radiohead as it would Dan Auerbach from The Black Keys, and the aforementioned combination of depth and clarity is a boon for contemporary adventures in ambience with sprawling effects chains.
And when we drop the low E string down to D and beyond, there’s a wonderfully loose and grungy low-end that loves dirt, while fuzzy powerchords have an enveloping warmth that makes us nostalgic for lo-fi indie rock records of the 1990s.
Resoville Davenport Ws14c Cutaway Resonator Guitar In Sapele Finish Inc Case
Over the years the great vocalists in rock and pop history have all had something in common: you believe them. They’ve all been able to deliver with an authenticity and intensity that moves audiences on some primal level, sometimes in a way that a technically superior performance cannot.
That’s not to say, of course, that all highly polished performances are inherently lacking in authenticity or that sloppiness can’t sometimes be embarrassing. But there are certainly parallels with -making that are relevant here.
For myriad reasons, some instruments simply have X-factor and vibe to spare, and provide a wellspring of inspiration in a way that other extremely well-made, high-spec designs do not. The Mule Mavis falls squarely into the former category, and it feels like both a songwriting companion and the launchpad for hundreds of new ideas.
Mule Resophonic Guitars
Inspiration is an intensely personal thing, of course, but the sheer number of artists gravitating towards this suggests that on some objective level Matt Eich is doing an awful lot right.
At the moment it’s hard to get hold of
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