Dobro versus National

[Charlie Bernstein]

There are sometimes posts in the classifieds here for used National and Dobro resonator mandos.

In general, how would you compare the two? If you were shopping for a reso, which would you be more likely to get?

Thanks!

[pheffernan]

Allen Hopkins has written eloquently and recently on the subject:

https://www.mandolincafe.com/forum/s...21#post1633121

[lflngpicker]

My dear friend and cousin, the late Don Young, co-founder and president of National Reso-phonic guitars, cut his teeth as the shop foreman at Dobro in Long Beach, Ca. In the late eighties he with McGregor Gaines established National (in a sense re-established it, though it was a different entity).

Nationals are in a class of their own quality-wise. Having walked through the factory and spoken to the skilled builders, you can't beat the fit, finish, set up and tone of the National. I have a National M-2 guitar that is incredible. I would love to have a Dobro or National mandolin, provided that the Dobro was pre-Gibson ownership.

[allenhopkins]

A shout-out for the reference -- the main difference between National and Dobro instruments is the construction of the resonator, that aluminum disc that amplifies the string vibrations transmitted through the bridge.

1. National instruments -- and their Asian "clone" mandolins like Johnson, Recording King, Republic et. al. -- have what's called a "biscuit" bridge. The resonator cone rises in the center, and a thick wooden disc, or "biscuit," is glued to the highest part. The bridge rests on the biscuit, and when you strike the strings, the vibration is transmitted through the bridge and "biscuit" to the cone, which then produces the sound.

2. Dobros have a "spider" bridge. The Dobro resonator cone is concave -- lower in the center than the rim. A cast-metal framework, or "spider," sits on top of the resonator cone, contacting it at the rim, and through a threaded bolt that connects the center of the bridge to the center of the cone. This is how the string vibrations are transmitted to the cone.

Beyond that, my description of how I perceive the acoustic differences between Dobro and National instruments can be found in the linked thread. I should add that my two resonator mandolins are quite differently constructed apart from their resonators: the Dobro is laminated wood, smaller, shorter scale. The National is painted steel, larger, and longer scale -- so the differences in resonators are not the only differences. I do have a '30's National Style 0 guitar, and a wood-bodied National Havana of similar vintage, with biscuit bridges, as well as a Johnson resonator ukulele and (surprisingly) a five-string "Dobro banjo" that also has a biscuit bridge. My spider-bridge instruments, in addition to the Dobro mandolin, include a recent square-neck Deneve guitar, and a pre-WWII Dobro tenor guitar. So I have examples of both types of construction, and I've found the tonal differences to be pretty consistent, regardless of mandolin, guitar, banjo, or ukulele.

"Which I would get" depends on what I wanted the instrument for. For bluegrass, country, generic folk, where the distinctive spider-bridge sound and a "sweeter" tone is needed, I'd get a Dobro. For blues, rag-time, jug-band, and where high volume and a more aggressive sound is wanted, I'd get a National -- or, in each case, at least the kind of resonator associated with the two brands.

[pops1]

I used to have an old Dobro mandolin, worked on it so it played very nice, but the angle I had to have my wrist to play it bothered me so I let it go. Without the arthritis I would have kept it.

[DavidKOS]

My experience is similar to Allen's.

I do prefer the biscuit cone to the spider cone, but mostly I'm playing Hawaiian music and am too cheap to get a good tricone!

I have not found many resonator mandolins I like, new or vintage, but that could just be me.

[Charlie Bernstein]

Thanks, gang, that helped a lot. Allen, your descriptions of the differences here and on the linked thread tell me what I wanted to know. I've never played a biscuit cone, but since I'm starting to figure out how to play blues on mando, National is probably the way to go - some day!

'Picker, I have a Smith & Young maple squareneck, and it's an impressive instrument.

Allen, you mentioned Wailing mandos on the linked thread. Do you know how they compare to a National or Dobro?

[catmandu2]

I'm as David - my mando playing (rags, blues, jazz) calls for biscuit...yet I've not acquired a good one because, when you get into that price range I prefer to spend it on something non-funky; for old-time funk I can use anything, including modded-Asian, low-fi electric, funky acoustics, tenor banjo, practically anything - there are many approaches to getting that period sound. So whenever i get close to buying an expensive reso, i typically deploy the funds elsewhere. I'm one of these guys who'll never spend more than a few clams on a banjo.

I'd *like* an old Triolian...but there's this nice harp for sale..

*btw, as an alternative reso ukes are a gas (I totally recommend getting into resos!)

[CES]

I have had a National RM1 for 4 or 5 years now, and I really like it. When I first got it I had trouble with one of the A strings popping out of its saddle slot because the neck angle is so flat (I’ve been told to prevent damaging the biscuit and cone with the increased pressure more string break over the bridge would offer). Because of that issue I didn’t play it much at first, but finally got around to having that slot deepened just slightly. That helped, but what finally fixed the issue entirely was lowering my action a little at the nut, which increased the break angle over the bridge just enough that it’s staying put. When I bought it I intended to play some slide, but ultimately decided I’d like to have the action closer to that of my other mandolins, hence the nut work.

Since I’ve made that change I’ve been playing that mandolin a ton. It’s easily the most dynamic instrument I have from a volume standpoint, and it’s not nearly as brash as the metal bodied Johnson and Recording King ones I’ve played. I think it sounds good for pretty much everything but classical, and adds a cool and different voice in a band/jam setting, which is where it really shines.

I mention the neck angle just so you’re aware. Especially now that I’ve got it set up well, I would not let that issue prevent me from buying another if something happened to this one.

[Chief]

I've had them all at one time or another-still have a couple of Nationals(old and new) and used to have a sweet Dobro from 1935 that I regret selling. I also had a Wailing, which while well made, was quite small and had a very shrill sound to my ears, so I moved it along to its new home.

[Teak]

I don't know about you other posters, but the sound of the National RM-1 really resonates with me.

[Charlie Bernstein]

I don't know about you other posters, but the sound of the National RM-1 really resonates with me.

Yeah, I hate thinking about that much money, but it sure sounds like that much mando.