Stringer - Posted - 02/24/2016:  11:04:40

I have not played in a few years and looking to get back into it.

I am wondering what the sound quality of an early 70's Dobro is like compare to say a PBS. The model I am looking at I think is a 1973  as the serial # is 2130 (no letter).

I know there were changes in management or ownership about that time ect or was that in 1975?. The dobro is priced reasonable about the same as a used PBS which I have owned in the past I am wondering if the 70's Dobro would be a step up?

Also what years should I avoid if looking at Dobro brand sq necks? Thanks

Edited by - Stringer on 03/03/2016 14:14:12

MC5C - Posted - 02/24/2016:  11:39:44

I think a nice mid-70's OMI made dobro might be a real nice instrument. OMI was the Dopyera brother's last go at manufacturing, so you have the cachet of saying it's a Dobro made by Dobro in California, so to speak.  OMI made Dobro brand instruments in California between 1970 and 1993, is what I understand.  I believe they made several models, so which one and what shape it's in and how it speaks to you are probably things only you can answer. It can obviously be upgraded with a new cone and a good setup, but you need to like the look and feel of it. Presuming a PBS is a Goldtone Paul Beard Signature, then it's also a good choice. They also have several models and the instruments changed a bit over the years but in general I think they are as good as any factory made instrument, any where, any time, and better than most. It's probably a better instrument in pure terms than a 40 year old OMI, but that's in the eyes of the beholder. I have a PBS Goldtone, solid mahogany cut-away round neck, and it's a very nice instrument. I think the real step up from it would be a real Beard, or a luthier made instrument, but even then it's down to the instrument and the player to decide.

Edited by - MC5C on 02/24/2016 11:48:06

DaveInAL - Posted - 02/24/2016:  12:43:10

My first dobro was a 79 OMI model 27.  There weren't  a lot of choices then.  The tone was very thin and it did not have much volume.  The cone was glued in, the spider casting was poor and the nut was plastic.  When it came time to either upgrade the model 27 or move to a different instrument, I moved on and never looked back.

I've played a couple of the Beard Gold Tones and found them to be good instruments for the money.

MarkinSonoma - Posted - 02/24/2016:  14:11:27

Good thing about OMI Dobros: built like a Sherman tank, or like the old Timex watch commercial, "takes a lickin' and keeps on tickin'."

A good setup can do wonders. Though some OMI Dobros I have come across over the years been true junkers, like maybe finished at 4:45 on a Friday afternoon and everyone was in a hurry to get out of there for the weekend. Others have been fairly nice.  

Here is the big difference: The bodies are generally shallower than a GoldTone Beard so the OMI Dobros are not as conducive to getting the bigger modern sound that most people seem to want these days. On the other hand if you are going for an early bluegrass back to old-timey country sound, then you can get that vibe with an OMI. Not that you can't get that in a GoldTone - as the saying goes, it's in the hands." But getting the bigger modern sound out of the typical OMI Dobro is going to be more difficult to accomplish. 

The years when Don Young was the shop foreman, before he went off to hang out his own shingle and revive the National name in the late '80s are considered the better years. I need to look elsewhere to find that information, when I have a few minutes I will see what I can come up with.  Some of it is here in the archives. Since you are new here Stringer, look at the upper right hand corner of your screen - There is a SEARCH function - a lot of stuff in the archives on a variety of subjects.

OMI made instruments after regaining the Dobro name in California between 1970 and 1993. Gibson bought the company in 1993 and production continued in southern California, with some management changes in Huntington Beach until 1998, when Gibson shut down the facility and moved production to Nashville, the beginning of the end of the U.S. made Dobro brand. Only one guy from Huntington Beach made the move to Nashville, someone in accounting, and he lasted there two years.

Edited by - MarkinSonoma on 02/24/2016 14:20:53

MarkinSonoma - Posted - 02/24/2016:  16:10:14

A couple of historical items from Tom Gray as posted on The Steel Guitar Forum in 2011. Tom is the guy who co-authored a book about Dobros with John Quarterman, the one that never got published because Quarterman had a dispute with the publisher, apparently in "the 11th hour." I'm guessing Don Young was the shop foreman in hist first tenure from the early to late 1970s. 

Emil "Ed" Dopyera died in 1977. Rudy died in 1978. In 1983 OMI was owned by the Lazar family. Gabrielle Lazar was a sister of Dopyera brothers. Her son Ron ran the company from about 1973 until his death in 1982. Around the time your Dobro was made (1983) Gabe rehired Don Young (now known for National Reso-Phonic Guitars) as shop foreman. Don had left OMI earlier because of a dispute with Ron.

 

Edited by - MarkinSonoma on 02/24/2016 16:12:12

Doctor Proctor - Posted - 02/24/2016:  16:42:22

I guess a lot would depend on how close to a good music store you are . It's great to have options that you can try in person. 

I have a 1979 DOBRO with a  spun  cone and it sounds good.

I am 20 minutes away from 3 similar guitars but original cones and they range from $1300 - $2000 .

My setup kicks their butt .  I've had mine for 30 yrs .

Their is a  Goldtone PBS   another 15 mins away for $850  and and it sounds and plays great.

the thing is that for what an old DOBRO  might cost you could get a nice/good /better guitar

MarkinSonoma - Posted - 02/24/2016:  17:05:52

Joe, you are saying that there are 3 OMI Dobros 20 minutes away for $1300 - $2000? Unless there is something unique about them (some customs and exotic models were made in the OMI era) at those prices the sellers are dreaming. 

Good pre WWII Dobros at those prices, that's  another story. 

kimbro - Posted - 02/24/2016:  17:32:40

Hey Guys,

I was reading this thread and thought I would record some samples for ya to listen to. This is my 87 OMI 60 DS Dobro. I bought this about 5 years ago off ebay for 550.  . Took it to Steve Smith for a new setup. It was all original when I got it. Steve replaced the old plastic nut with a new bone nut, put in a new Scheerhorn cone, and a new set of maple ebony saddles and it made a huge difference all the way around. Tone, volume and playability. I think it sounds pretty darn good. I recorded this for my benefit as well to see how it sounds on a recording since I had never recorded it since Steve did the setup. You'll have to excuse my sloppy.  There are some pictures of the guitar on my home page if ya feel like looking of when I got it.

Stringer, maybe this will give you some idea of what they can sound like with a good setup. I know it's not like hearing it in person but it's something anyway.

87 OMI model 60 DS/ sound samples

 

 

 

hlpdobro - Posted - 02/24/2016:  17:54:51

I was asked to inspect a four digit s/n 1970 OMI at the recent Joe Val festival. It was a "transition" guitar (Mosrite==>OMI) and had the screw-in the-back & neck (Mosrite) features along with more common OMI design elements.



This particular individual turned out to be perhaps the nicest early OMI I'd ever laid hands on . Pretty sweet, even with an original cone and nickel wound strings.



It wasn't for sale but it would have been a very solid $1,000 imho

Then again, the PBS is a fine guitar in its own right and can be had used for less. Also it is my personal opinion that the average build quality of the PBS is better then the average build quality of OMI. Based on my nose in a large number of both.

Good luck in your decision and have fun.

h

Edited by - hlpdobro on 02/24/2016 17:58:42

Stringer - Posted - 02/24/2016:  18:57:29

Thank you everyone for the great info including the sound file Kim.
I am just kidding myself anyway as I know myself well enough that Ill probably be ordering a handmade model in no time (at least my wife say so).

kimbro - Posted - 02/24/2016:  19:04:39

Stringer, it sounds like your wife is a keeper.

Doctor Proctor - Posted - 02/25/2016:  03:31:16

quote:

---

Originally posted by MarkinSonoma

 

Joe, you are saying that there are 3 OMI Dobros 20 minutes away for $1300 - $2000?  

 

 

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yes itsa pawnshop /music store they have several round neck metal body Johnsons / the 3 Dobros are hung very prominantly above & behind  the cashier/ they have been hanging there for at least a year/ I don't pay any attention to em because  I already have one and they are too high ( need a ladder ) and costly.

But just to satisfy my own curiosity I will go in there with the specific intent to check em out

Doctor Proctor - Posted - 02/25/2016:  04:05:59

quote:

---

Originally posted by kimbro

 

Hey Guys,

 

I was reading this thread and thought I would record some samples for ya to listen to. This is my 87 OMI 60 DS Dobro. I bought this about 5 years ago off ebay for 550.  . Took it to Steve Smith for a new setup. It was all original when I got it. Steve replaced the old plastic nut with a new bone nut, put in a new Scheerhorn cone, and a new set of maple ebony saddles and it made a huge difference all the way around. Tone, volume and playability. I think it sounds pretty darn good. I recorded this for my benefit as well to see how it sounds on a recording since I had never recorded it since Steve did the setup. You'll have to excuse my sloppy.  There are some pictures of the guitar on my home page if ya feel like looking of when I got it.

 

Stringer, maybe this will give you some idea of what they can sound like with a good setup. I know it's not like hearing it in person but it's something anyway.

---

Mine was purchased from the second owner for $400 30 yrs ago.  It had never been played until I started playing it 18 months ago.  I was gonna replace the cone but I couldn't get the old one out(didn't know how) . This was before I joined the hangout . So I moved into a L body and never looked back until recently when  I did replace the cone. I keep it tuned to D and play it semi regularly.

with a good setup they can sound good BUT once you get hooked on the the big body sound

But they have  a good sound as can be heard in Kimbro's recording

otdobro - Posted - 02/25/2016:  04:33:44

I have a 1975 OMI which I bought new and played exclusively until around 2005. It has the stamped cone that is still glued in. Even has the original saddle inserts and nut. It does not lack volume, and is very well balanced. The only OMI's I have seen with a lack of volume had the original spun cones.( Back then you didn't know which you were getting until you looked inside.) I have had 2 others, a 1976 and a 1987, and liked both of them. The 1976 model 60DN I had Junior Barber set up with a Quarterman QC-4 It was a great Axe. The 1987 He also set up, only with a QC-1 cone. I didn't care for the modern sound it made, but it was a good instrument.

kimbro - Posted - 02/26/2016:  04:34:40

Hey Joe.  What is your big body guitar? Just curious as to what brand you have.

   KIm

Doctor Proctor - Posted - 02/26/2016:  16:45:51

I built it.

It is a solid mahogany almost full dreadnaught with mostly BEARD  parts and  a Quarteman cone and  Grover tuners . It had  a LEGEND at one time.

The  answer  to whole cone debate is  ( which ever one you get you will like it ).

  I started it jan 2015 . I have been playing it since late July of last year and " finished" it  early November. I played it natural for 2 months while I was deciding on a color (blood red)

  It sounds great / it looks ok . I am still trying to tweak  the look .  I will show it to you guys soon

I am starting another one out of HONEY LOCUST which is very orange and a little harder than maple

or maybe PADAUK

I have also built a 6 string slide dulcimer

THE LOOKS

any/every body that sees it  thinks/says WOW .

BUT I look at  it hours at a time and see every little thing I would /will do different/better

kimbro - Posted - 02/27/2016:  04:11:06

Joe,

  That's awesome man. Can't wait to see it. I didn't know you were in to building. If I had the time and tools to do it, I would love to try to build one, but it will probably never happen, lol.

   KIm

Doctor Proctor - Posted - 02/27/2016:  13:52:38

 I did pretty good for a first  attempt .  

  I'm   anxious to find out if  it was a fluke or did I find a way to  catch lightning in a bottle

we'll see soon enuff

I'm not really into the building  thing / but if I can do it again and get a good result  then I will do it again and again.

DeaconBillG2006 - Posted - 03/03/2016:  11:41:23

I know there are a lot of resos out there today, but I am one who prefers the actual Dopyera made OMI Dobros. I prefer the Spanish neck because I do all kinds off music and having a spanish neck and carrying a nut-raiser when I need to go "Hawaiian" works best for me. The current prices on OMI are reasonable, considering that the guys who invented them made them. When I got mine in 1975 as a direct order from OMI, there were Dobros and some Japanese made Orpheums and that was IT. The wood on every Orpheum I've run across looks like house sheeting, and does not hold finish and ends up sounding like an old trashcan. I've seen a plethora of them out there but not worth the time.

Dobro had a number of very innovative variations such as dreadnoughts, engraved wooden, 12 strings with spanish necks, 8 and 10 string square necks, and so forth. There is a guy on Reverb who has listed what he thought was a 33, but it is a 36-1 - engraved brass body with a spider resonator, blonde neck (as the -1's usually were). I think he was asking $1200 but might have come down to about $850 for it when I last checked. It's actually in beautiful shape - circa 1979 or so. The -1 models with the spider resonator are some of the smoothest sounding metal bodies on the planet and applicable to almost any kind of music. They are also rare as most metals were shipped with biscuits. First saw a -1 in 1973 and played it for 3 hoursnin the shop and was smitten, but needed to get a new electric as my band was working 5 nights a week. Ordered my -1 finally in 1975. The brochure (which got lost in my last move 9 years ago) had a price list on the back and the -1 was a no-cost option. They are a lot louder than the wood bodies and A LOT smoother sounding than biscuits, and similar to a tri-cone. They are very responsive gems if you can find one. I have prices lists from the mid 80's and they still offered the option at that time, but they also started offering tricones at that time, about 10 years before Gibson bought the name. At that time, they were only producing about 250-300 units a year total for all models. About 1976 or do, OMI made a Model 1000-1 demo model that was gold plated engraved extravagantly and the neck looked like solid rosewood. Actually saw it and played it at a Mike Auldrige personal appearance at that time. What ever happened to it is a mystery. 

The Model 27 was not a good candidate from the beginning as it had no soundholes on the shoulders. The 27 had the poinsettia cover and that was a selling point then. The Cyclops is also a bit on the soft side with only one sound hole but louder than a 27.  A guy I play music with in church has a 74 model 60S. I installed a pickup for him and therefore saw inside it. Construction was good, but I thought how the neck was attached was a bit (???). Still, It has a great sound - it growls better than a National. I think you have to try them if you can, but some of the bargain brands I've run across, such as the Fender metals, have no volume and are shallow sounding. I've even tried some new Nationals that disappointed me, others are outstanding. In my preference, the Nationals have thick necks and thick bodies that are uncomfortable for me playing long into the night.  I started on a borrowed 1933 Duolian so I think that today's Nationals beat the old ones hands down. I think you really have to try anything and everything to decide what you like and if you think an old or a new is worth the energy and the money.

DaveInAL - Posted - 03/03/2016:  13:43:37

quote:

---

Originally posted by DeaconBillG2006

 

 

The Model 27 was not a good candidate from the beginning as it had no soundholes on the shoulders. The 27 had the poinsettia cover and that was a selling point then. 

 

 

---

I'm not sure what you mean by "no sound holes on the shoulders"  My 27 looked like the one in the link at Artisan Guitars.  It had the two traditional screened holes behind the cone and the poinsettia coverplate.  

artisanguitars.com/vintage-197...k-id-9275

cousin lum - Posted - 03/03/2016:  14:04:49

With the advancements in cones,spiders,saddles,nuts and cnc system involvement in guitar building some would say this is a better time for making a reso. guitar. I would want to test any guitar made in the 70s or in 2016 before buying. There are many factors to consider in a reso. guitar and some can not be seen. Maybe the ear test is more important. My first reso. was a mod.60 and it is very special. You have a great question.

Doctor Proctor - Posted - 03/03/2016:  15:30:52

I think it depends on what you want to do.  When I started 20 months ago  I tried to take stock 1980 DOBRO into a jam session and hang in there with a  really good banjo player  with a $7000 Granada

. It did not work out and I later learned that is WHY  TIM SCHEERHORN did what he did. His goal was to make something that could hold its own in an acoustic setting.

We had a guy playing a Scheerhorn and he had no problem cutting thru the MIX.

Once upon a time their wasn't many options . But now you can get china guitar for $300  or  a $10,000 + Wishlist and lottsa options in the  3-4 grand range

it is shame that GIBSON let DOBRO become a import

MarkinSonoma - Posted - 03/03/2016:  15:35:04

quote:

---

Originally posted by DaveInAL

 

quote:

---

Originally posted by DeaconBillG2006

 

 

The Model 27 was not a good candidate from the beginning as it had no soundholes on the shoulders. The 27 had the poinsettia cover and that was a selling point then. 

 

 

---

I'm not sure what you mean by "no sound holes on the shoulders"  My 27 looked like the one in the link at Artisan Guitars.  It had the two traditional screened holes behind the cone and the poinsettia coverplate.  

artisanguitars.com/vintage-197...k-id-9275

---

I guess it depends what Deacon means by "soundholes" and "shoulders."  As you show in the linked photo Dave, the Model 27 definitely has two holes, and they are covered by screens. Most refer to these as screen rings. 

What the Model 27 historically does not have are the three very small holes in an "arc" between the screen rings. 

DaveInAL - Posted - 03/03/2016:  15:45:45

I guess it depends what Deacon means by "soundholes" and "shoulders."  As you show in the linked photo Dave, the Model 27 definitely has two holes, and they are covered by screens. Most refer to these as screen rings. 

What the Model 27 historically does not have are the three very small holes in an "arc" between the screen rings. 

---

None of my current instruments has the three small holes, although my James has three round inlays in that area as a nod to the original three holes.  I don't think any of my instruments suffers in the volume department without the three small holes.