I'm a builder that is revisiting building resonator instruments. They have been a passion of mine every since I became involved with them around 2000.
I'm looking into sources for resonator parts, and while I have found some (old friends), there doesn't seem to be a good source for soundwells. I'm looking for the thicker soundwells. I don't need the cutouts, as I have patterns for both parallogram and circular.
I have an opportunity to produce my own. If there was a market for them, that would be a big incentive.
Thank you for your time.
My gut tells me right off that there isn't much of a market for soundwell guitars anymore.
One of the reasons John Dopyera designed the original Dobros with a soundwell was for strength. I have seen a photo in the past, don't recall where, Dopyera was standing on as I recall three Dobro bodies stacked on top of each other to demonstrate their strength. The soundwell apparently kept them from caving in. Reminds me a little bit of the old Timex watch commercial: "takes a lickin' and keeps on tickin'"
Have you ever read the excellent interview Rob Anderlik did with Tim Scheerhorn did 10 years ago in February, 2015? If not, you should.
This one paragraph stands out when it comes to discussing the original soundwell Dobro design:
"The other reason for wanting to design my own guitar was that I wanted to create an acoustic guitar out of a dobro, whereas the Dopyeras wanted to button it up by gluing the back to the top with a soundwell. No movement at all in the guitar except for the mechanical parts moving in the resonator. I didn’t want any of that. I wanted an acoustic guitar as much as I could. So the voice characteristics of these species of tonewoods really came out."
https://squareneckjournal.com/2015/02/19/a-conversation-with-tim-scheerhorn/
Rick, if you're kicking around the idea of building soundwell dobros, you must have a reason why you think it's a potentially good idea and I'm sure we would all like to hear it.
I have plenty of additional thoughts on the subject but I won't "hog the microphone" for now.
I’d agree with Mark, feels like a “niche within a niche” market for soundwells.
Seems many players seeking the vintage sound seek vintage resonators (as opposed to new soundwell builds). I’m sure there are exceptions of course.
Pretty sure Beard still offers a soundwell option in their Vintage R model. Not that they’d publicize this, but it would be enlightening to know what % of new R buyers opt for the soundwell option.
As I’m sure you know, the vast majority of modern players (including the top recording/touring players) are using open body, and usually L/E body type resonators. For better or worse (better, IMO), this defines the modern standard for the moment.
That old school soundwell tone is cool though…
Edited by - JC Dobro on 02/17/2025 07:18:52
Retired luthier Gregg McKenna would post here periodically, and also on the old Reso-Nation forum. He built quality guitars, the handful I came across in person were sort of on the "beefy" side, built to tolerate abuse along the lines of OMI Dobros. And he was big on soundwells.
But Gregg would go through periods were sales weren't up to his expectations and he would post about it now and then. I remember some of us encouraging him to build some open body guitars because ths is what players were more interested in with modern dobros. And so he did build some in that style.
If you look at the websites containing the more affordable Asian import dobros, without tracking down names, a theme that runs through many of them in their website marketing spiels is that they are building "traditional style resophonic guitars with soundwells to capture that vintage vibe."
They don't get it - I have even emailed a few of them over the years informing them that they're for the most part, missing the boat. They might make flattop dreadnoughts that are almost carbon copies of historic Martin designs, so I guess they assume that players all want "traditional" when it comes to a spider bridge resophonic guitar. One import company that makes some soundwell guitars, but came out with an open body design is Recording King when they worked with the late Uncle Phil and introduced his Leadbetter signature model. (Though I think someone dropped the ball with the narrow for a reso 1 3/4" nut). And Phil's model has been a very good seller for RK.
I do have to say that the circa 1936/37 Regal-built Model 37 I bought from Steve Toth a little over a year ago has been getting as much playing time as my #1 guitar large body guitar (Clinesmith). Steve did an excellent job on the setup and the Quarterman cone really gives it a great sound. There is just something about a very good example of a prewar Dobro in comparison to many of the OMI Dobros in the decades beginning with 1970 that leaves some (not all) of the more modern Dobro brand guitars in the dust. But as Jamie wrote, the vast majority of modern pro players want large body open design guitars.
I've heard of builders using drum shells or banjo rims.
I have three dobros, all with soundwells, but what got me into the instrument were Oswald and Josh, who played guitars with soundwells, so I didn't think it could be a bad thing. I think I'm in a minority within what is a very niche community though. As a whole reso/Dobro players seem to be less obsessed with historical styles and instruments than say, mandolin players, banjo players, or flatpickers. This can lead to what I'd charitably describe as some very "interesting" aesthetic choices in high-end resos, whereas many mandolin/guitar/banjo luthiers are more likely to be trying to copy the 1920's-1930's instruments.
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