While I'm responding to a post by Mr. Duplan, let me give a plug to his band, the Kahuna Cowboys Jug Band. I'd seen them mentioned here a number of times before but hadn't had the pleasure of hearing them 'til Dana sent me a copy of the CD a couple of weeks ago. What a fun album! Great mix of Hawaiian and country standards, along with some terrific original tunes in the same style. Dana's playing, on National tricone, Bigsby and Fender steels, is so sweet and clean throughout, and the production is first rate. Listening to this one has really helped brighten those cold winter
mornings on my drive to work. You definitely want to see these guys live if you get the chance!

[This message was edited by Ian McLatchie on 27 January 2003 at 07:14 PM.]

For those of you that do not know what a National New Yorker is. It is basically retangular shaped with several levels of indentations longitudenally making up the body. And where these indentations started they alternated black and white colors to the top. If one stood it up on end, it kinda mimicked the Empire State Bldg. Thus its name.

In addition the model I had used colored roman numeral fret markers. Also, the tone control knob was like the old Fender amp pointed vol and tone control knobs and it was on the right end of the guitar. I am not sure but the tone control may have been especially wired as they had printed 3 different tone modes around the knob. Back then I was a kid and knew nothing about electronics. Or anything else for that matter. Some say that is still the case. I suspect there is some merit to that.

The Volume control was in the standard place just in front and to the right side of the picking fingers. The pu was similar to the Ricks in that the pu up coil was wrapped by a "tunneled" magnet assy. So pole pieces were used within the coil to direct the magnetic flux lines; instead of individual magnets; like others used then; as many present pu's use today.

Oh how I wish I had that guitar. It was a beauty.

"Ve grrow too soon uldt, un too late schmart!"

oh well,

I've seen Nationals that would seem to contradict those exact dates, but if you prefer the string-through design, you're more likely to find it on a Supro, Oahu, Silvertone, et al.

I have also had a couple of post-war, late '40s and early '50s Nationals, that to me did'nt sound anywheres near as good as the pre-war model. One of them was a '48 New Yorker and the other was a triple 8 console model. I'm not saying that the post-war models did'nt sound good, because they did, but they just did't sound "as" good to me.

As mentioned by one of the other posters, the pick-up cover on the New Yorker can get in your way, but you can take it off and that solves most of that problem. I took the cover off mine the day I got the guitar and it's been in the case and no problem since then.

I think the New Yorker would be an excellent choice, and compared to the Bakelites and Gibsons etc., the price is quite reasonable. You should'nt have to take a loan out on your house to get one. I see them (including the pre-war models) selling on Ebay for $300 to $500.

I own a Chicagoan string-through. It has great bass end & positively roars. I keep it in an "E7th" tuning & schlep it like a poor man's double neck along to jams where there will be alot of straight rock songs in "E" & "A" or straight 12-bar. My other axes are in 6th tunings.

It's tone is somewhere between the sweeter Magnatones and higher-end Nationals on one side & the darker sounding Rick's & Epi's on the other. My Chicagoan does not 'moan' & doesnt 'cut through' the mix like a Fender, but sounds great for what I want out of it.

If I have a knock on the Chicagoan, its that it has narrower string spacings than my Rick's, my 1936 Epiphone, & my Frypan. It also has a longer scale length, so I dont play it as much as my other guitars.

This model has a much better sound and tone than my pre war models.

[This message was edited by HowardR on 28 January 2003 at 04:41 AM.]

Howard, In all my years I have NEVER seen that model Natiional. Wow, it is indeed gorgeous. You must be proud as a peacock to own that incredible instrument.

I thought my National built in the early 40's was beautiful, but man, that really takes the cake.

May Jesus bring you joy always,

I wouldn't brag about the tone.
Distorted thru a POD or Boogie PreAmp it has a good modern-heavy sound. Clean it's weak.

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Brad's Page of Steel
A web site devoted to acoustic & electric lap steel guitars

I haven't been down to take a close look (or listen) but will be happy to pass along my inexpert opinion once I have.

[This message was edited by Russ Young on 28 January 2003 at 05:25 PM.]

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Greg Simmons
Custodian of the Official Sho~Bud Pedal Steel Guitar Website

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Brad's Page of Steel
A web site devoted to acoustic & electric lap steel guitars

Is it a "late-model" (1956-64) Dynamic?

Edited by Brad Bechtel to resize this discussion.

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Greg Simmons
Custodian of the Official Sho~Bud Pedal Steel Guitar Website

[This message was edited by Greg Simmons on 31 January 2003 at 07:03 PM.]

As for the string spacing, that seems to be variable. The D-8 consoles were built to be 8-strings, so the spacing is quite comfortable. However, the 7- and 8-string New Yorkers I've played (along with a number of 8-string Supros) seem to be built for 6 strings and, thus, are uncomfortably "cramped", in my opinion.

My National New Yorker and D-8 have their controls comfortably located and I've long since acclimated myself to the plastic pickup covers (you can always take them off). The long and short of it -- these are GREAT sounding guitars and are still relatively inexpensive. Better get 'em now before they're all gone or more expensive than a Carribean cruise!

John Borchard

[This message was edited by John Borchard on 03 February 2003 at 02:04 PM.]

Congratulations! What is the string spacing measurement? Is it 7/16 (wide); 3/8 (narrow) or less (impossible)?