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Dobro (/doʊbroʊ/) is an American brand of resonator guitars owned by Gibson and manufactured by its subsidiary Epiphone. The term "dobro" is also used as a generic term for any wood-bodied, single-cone resonator guitar.

Key Information

The Dobro was originally a guitar manufacturing company founded by the Dopyera brothers as the Dobro Manufacturing Company. Their guitar design, with a single outward-facing resonator cone, was introduced to compete with the patented inward-facing tricone and biscuit designs produced by the National String Instrument Corporation. The Dobro name appeared on other instruments, notably electric lap steel guitars and solid body electric guitars and on other resonator instruments such as Safari resonator mandolins.

History

[edit]
Dobro–style tenor guitar, 1934

The roots of the Dobro story can be traced to the 1920s when Slovak immigrant John Dopyera, instrument repairman and inventor, and musician George Beauchamp were searching for more volume for Beauchamp's guitars. Dopyera built an ampliphonic (or "resonator") for Beauchamp, which was patented in December 1929.[1] In mid-1929, Dopyera left the National String Instrument Corporation to start the Dobro Manufacturing Company along with his brothers Rudy and Ed, and Vic Smith. National continued operating under Beauchamp, Barth et al.[1] Dobro is both a contraction of 'Dopyera brothers' and a word meaning 'good' in their native Slovak, but also in many other Slavic languages. An early company motto was "Dobro means good in any language." In 1930, the Dobro company name was changed to Dobro Corporation, Ltd., with additional capital provided by Louis and Robert Dopyera. Dobro was, during this period, a competitor of National.[1]

The Dobro was the third resonator guitar design by Dopyera, but the second to enter production. Unlike his earlier tricone design, which had three ganged inward-facing resonator cones, the Dobro had a single outward-facing cone, with its concave surface facing up. The Dobro company described this as a bowl-shaped resonator.

The Dobro was louder than the tricone and cheaper to produce. In Dopyera's opinion, the cost of manufacture had priced the resonator guitar beyond the reach of many players. His failure to convince his fellow directors at National String Instrument Corporation to produce a single-cone version was a motivating factor for leaving.

Since National had applied for a patent on an inward-facing single cone (US patent 1808756),[2] Dopyera developed a design that reversed its direction: the guitar's bridge rested on an eight-legged cast aluminum spider sitting on the perimeter of the cone (US patent 1896484),[3] rather than on the apex of the cone as it did in the National design.

"Spider"-shape resonator detail

In the following years, both Dobro and National built a wide variety of metal- and wood-bodied single-cone guitars, while National also continued with the tricone for a time. Both companies sourced many components from National director Adolph Rickenbacher, and John Dopyera remained a major shareholder in National. By 1932, the Dopyera brothers had gained control of both National and Dobro, which they merged to form the National-Dobro Company. By the 1940s, National-Dobro had been purchased by Valco.[4] Valco ceased production of Dobro-branded guitars after World War II; however, the Dopyera brothers continued to manufacture resonator guitars under various other brand names.[5]

In 1964, the Dopyera brothers revived the Dobro brand name. They sold the name to Semie Moseley in 1966. In 1970, the Dopyeras' Original Musical Instrument Company (OMI) yet again reacquired the Dobro name.[5] In 1993, the Gibson Guitar Corporation acquired OMI along with the Dobro name.[6] The company became Gibson's Original Acoustic Instruments division, and production was moved to Nashville in 2000.[5] As of February 2012, Dobros were manufactured by Gibson subsidiary Epiphone.[7] As of January 2023, Dobros were not listed on Epiphone's website.[8]

The Dobro was first introduced to country music by Bashful Brother Oswald, who played dobro with Roy Acuff starting in January 1939.[9]

The first and second prototypes of the Dobro created by the brothers reside at the invention's birthplace of Taft, California, in a museum about the town's oil production history.[10]

On June 19, 2019, a 1933 Dobro Resonator Guitar Model 27, owned by David Gilmour, was sold at auction for a record $112,500.[11]

Epiphone Dobros

[edit]

Existing and past models of resonator guitars manufactured by the Gibson Company are:[7]

  • Hound Dog
    • Round neck
    • Deluxe round neck
    • Deluxe square neck
    • M-14 metal body
  • Gibson's Phil Leadbetter resonator series

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dobro

View on Grokipedia
from Grokipedia
The Dobro is a type of acoustic featuring a single metal —typically aluminum—mounted inside the body to project and amplify , allowing for greater and sustain compared to standard guitars. Invented in the United States during the late , it was designed primarily for lap-style playing with a or slide, producing a distinctive metallic tone that has become iconic in American roots music. The instrument originated from the collaborative efforts of Slovak immigrant brothers John, , and Emil Dopyera, along with musician and inventor George D. Beauchamp, who sought to address the limitations of acoustic guitars in projecting sound to large audiences before the widespread adoption of electric amplification. first developed the concept in the mid-1920s, filing a for a tricone design on October 12, 1926, in collaboration with George D. Beauchamp, which led to the formation of the in 1927, but conflicts led him to leave and form the Dobro Manufacturing Company in 1928 with his brothers to produce the improved single-cone model. The name "Dobro" derives from "Dopyera Brothers" and also translates to "good" in Slovak, reflecting the family's heritage. Dobro guitars gained prominence in the 1930s through their use in country, bluegrass, , and Hawaiian music, with early models often featuring square necks for lap playing and ornate designs like floral engravings on spun-metal bodies. In 1934, Dobro merged with National to form the National Dobro , consolidating production, with facilities in and , until the operations wound down in 1937 amid the , after which the brand continued under subsequent manufacturers and was revived post-war. Today, "Dobro" is often used generically for single-cone guitars, though it remains a registered associated with high-quality instruments valued for their resonant projection in both traditional and modern acoustic settings.

Overview

Definition and Characteristics

The Dobro is a specific type of , originally a brand name derived from "Dopyera Brothers," the Slovak immigrant inventors who developed it in the to address the need for louder acoustic instruments. It features a single inverted aluminum cone housed within the body, which serves as the primary sound , distinguishing it from other designs like the tricone models. This cone-based system allows the Dobro to produce a distinctive metallic resonance without relying on electronic amplification. Key characteristics of the Dobro include its square-neck profile, optimized for lap-style or slide playing, where the instrument is positioned horizontally on the musician's lap. It typically employs a six-string configuration tuned to open G (GBDGBD), though variations exist, and the raised string action facilitates bar slides over the frets. The body is often constructed from wood with a metal coverplate over the , contributing to its portability and durability for performance settings. Unlike standard acoustic guitars, the Dobro's design prioritizes projection and sustain, yielding a bright, twangy tone ideal for genres requiring unamplified volume. Acoustically, the Dobro operates through the vibration transfer from the strings to the spider bridge, which uses a metal frame with legs to channel vibrations to the cone's rim via a central wooden disc. This cone then resonates rapidly, pushing air through the coverplate's openings to amplify the sound far more efficiently than a traditional guitar top, enabling audibility in ensemble environments like early country music bands. The single-cone mechanism provides a focused, midrange-heavy output with enhanced sustain, though it requires precise setup to balance tone and playability.

Relation to Resonator Guitars

Resonator guitars emerged in the 1920s as an innovative solution to amplify the volume of acoustic guitars, enabling them to project sound more effectively in ensembles alongside louder instruments like banjos, horns, and pianos. These instruments incorporate one or more metal cones within the body that vibrate in response to the bridge's transmission of string energy, enhancing acoustic projection without electrical amplification. The primary types include single-cone designs, which use a single large aluminum cone typically around 10.5 inches (27 cm) in diameter; tri-cone models, featuring three smaller cones for distributed ; and wood-body variants, which employ either single- or tri-cone systems but produce a warmer, less aggressive tone due to the softer body material. Dobro represents a key subset within the single-cone category of resonator guitars, distinguished by its emphasis on a brighter, more piercing tone that cuts through mixes with a distinctive "" quality. This tonal profile has made Dobro instruments particularly influential in genres such as bluegrass, where the sharp resonance supports fast-picking and slide techniques in band settings, and Hawaiian music, which adopted resonators for their melodic clarity and sustain in slack-key styles. Dobro's single-cone mechanism drives this signature sound by channeling vibrations through a spider bridge to the cone for efficient energy transfer. In the evolution of resonator types, single-cone designs like Dobro marked an advancement over earlier tri-cone models by simplifying the amplification method with fewer components, resulting in a louder output suited to rhythmic and aggressive playing. Tri-cone resonators, by contrast, offer a smoother, sweeter with greater complexity due to the interplay of multiple cones, appealing to melodic applications but at the cost of higher production complexity. Dobro's wood-body further enhanced its practicality, providing advantages in affordability through reduced material and manufacturing costs compared to metal-bodied tri-cones, as well as improved portability from the lighter weight that facilitated travel for touring musicians.

History

Origins and Invention

The Dopyera brothers, including John, Emil (Ed), Rudolph (Rudy), Robert, and Louis, were Slovak immigrants who arrived in from the in 1908. In the early 1920s, established a workshop in focused on repairing and building stringed instruments, such as banjos and fiddles, alongside his brothers Rudy and Emil. This venture laid the groundwork for their innovations in acoustic amplification, driven by the need for louder instruments in emerging ensemble music scenes. In 1925, musician commissioned to design a louder guitar to project over larger bands, leading to the development of the concept. , featuring three small aluminum cones beneath the bridge to amplify sound; he filed a for this design on October 12, 1926, which was granted as U.S. No. 1,762,617 on June 10, 1930. This innovation was first commercialized through the , co-founded by Dopyera and Beauchamp in 1927, but internal disputes over credit and design control prompted John and his brothers to leave National in late 1928. In 1928, the Dopyera brothers founded the Dobro Manufacturing Company in to pursue their independent vision. Seeking a simpler and more efficient alternative to the tri-cone, they developed the single-cone , which used one larger aluminum cone inverted and facing outward for enhanced volume and reduced production costs. Dopyera filed for a on this single-cone design on February 1, 1932, receiving U.S. Patent No. 1,896,484 on February 7, 1933. The company's earliest prototypes, introduced late in 1928, included wood-bodied models like the Triolian, marking the debut of the Dobro's signature louder, sustained tone.

Company Evolution and Key Events

In 1934, the Dopyera brothers gained in both the Dobro Manufacturing Company and the amid ongoing financial and legal challenges facing the latter. This culminated in a merger in January 1935, forming the National Dobro Corporation under the leadership of Louis Dopyera, which consolidated production of guitars from both lines. The merger resolved prior disputes between the two entities, stemming from competing designs for systems developed by and his brothers after their departure from National in 1928-1929; these tensions had led to lawsuits over rights. Following the merger, National Dobro relocated its headquarters from to in 1936 to capitalize on the city's established manufacturing hub and reduce shipping costs for components. By late 1936, production was shifting gradually to , with operations continuing in both locations until 1937, streamlining efforts during a period of output for wooden-bodied models. However, internal family dynamics contributed to a partial split, as departed the company in 1932 to pursue other inventions, leaving brothers , Emil, and Louis to oversee the merged entity. World War II severely disrupted operations, with production halting in 1941 as metals essential for components were redirected to the war effort; this affected not only National Dobro but also licensees like Regal Musical Instrument Company. Post-war revival began in 1942 when the remaining assets were acquired by former executives Victor Smith, Arthur "Al" Frost, and Louis Dopyera, who reorganized the firm as Valco (Valco Company) and resumed limited manufacturing alongside a growing emphasis on electric instruments. Despite initial recovery, the rise of amplified guitars eroded demand for acoustic resonators by the late 1940s. By the , intensified competition from solid-body electric guitars contributed to Valco's financial strain, leading to the transfer of the Dobro name and tooling to Emil Dopyera in 1959 and eventual bankruptcy in 1968. The trademark briefly passed to in 1966 before returning to the Dopyera family, who established the Original Musical Instrument Company (OMI) in 1967 with production starting in 1969 in . This revival, led by surviving brothers Emil and Rudy along with relatives like Ron Lazar, focused on reintroducing high-quality wooden resonator guitars to meet renewed interest from folk and bluegrass musicians.

Design and Construction

Resonator System

The resonator system in a Dobro guitar centers on a single inverted , typically measuring 9 to 10 inches in , mounted horizontally inside the body beneath the soundhole. This , spun from lightweight aluminum alloy, functions as a diaphragm similar to a speaker , amplifying string vibrations through rather than electrical means. The is secured at its outer edge to a wooden ring or "" attached to the body's top, allowing it to vibrate freely when driven by the bridge. Sound production in the standard Dobro design begins with the strings' vibrations transferring energy to the bridge, which connects via a multi-legged metal "spider" assembly resembling a spider with eight legs contacting the cone's perimeter at multiple points along a W-shaped cross-section. This design, rooted in Dopyera's work, distributes vibrations more evenly across the cone, resulting in a warmer, more sustaining tone with greater volume compared to other single-cone systems. Key innovations in the Dobro's resonator system stem from patents filed by Rudolph Dopyera, including U.S. Patent No. 1,896,484 granted in 1933, which detailed the single-cone configuration with an inverted resonator driven by a bridge assembly for improved acoustic projection in stringed instruments. An alternative variation, the biscuit bridge used in some single-cone resonator guitars, rests on a small wooden "biscuit"—a rounded disc approximately 1.5 inches in diameter—positioned at the cone's apex. This direct central contact causes the cone to flex and propagate resonant waves outward, projecting the sound through the body's soundhole with enhanced volume and a distinctive metallic . The biscuit bridge design yields a bright, percussive attack with quick note decay, often likened to a banjo-like twang, due to the efficient but localized energy transfer to the .

Body Styles and Materials

Dobro guitars typically feature wood bodies constructed from or , providing a warm tonal quality and often incorporating f-holes on the top for enhanced acoustic projection, while some designs utilize open-back styles to facilitate . These bodies are generally built from laminated woods like three-ply for structural integrity, with binding on the top and back in multi-layer patterns such as white/black/white ivoroid for aesthetic and protective purposes. Early Dobro models from included metal body variants, such as nickel-plated in the M14 Leader or German silver in the M15 Professional and M16 Artist, reflecting an evolution toward predominantly wood construction by the mid-20th century to achieve a more balanced, organic sound distinct from the brighter tone of metal-bodied resonators. Neck configurations vary to suit different playing approaches, with square-neck designs tailored for lap-style performance—allowing the instrument to lie flat across the player's legs—and round-neck options enabling conventional upright playing similar to standard acoustic guitars. Necks are commonly crafted from mahogany, basswood, or walnut in higher-end models, joined to the body at the 12th or 14th fret for optimal string tension and resonance. The resonator cone integrates into the body via a spun aluminum or steel component covered by a nickel-plated or chrome-finished plate, enhancing projection while the surrounding hardware, including tailpieces and bridges, uses durable chrome plating for longevity. Fretboards on Dobro guitars usually consist of 22 to 24 frets made from materials like rosewood or padauk, with a scale length of approximately 24.75 inches to support clear intonation across the range. Setup emphasizes high string action, often around 3-4 mm at the 12th fret, to accommodate slide bars without fret buzz, which contributes to the instrument's distinctive sustain and volume. This configuration, combined with the lightweight body—typically weighing 6 to 8 pounds—enhances portability, making Dobros suitable for both stage and travel use.

Manufacturers and Brands

Original Dobro and Dopyera Brothers

The Dobro Manufacturing Company was established in 1928 in , , by Slovak-American immigrants John, Rudy, and Emil (Ed) Dopyera, along with other family members, after disputes prompted their exit from the where they had previously contributed to development. John Dopyera, the primary inventor, focused on refining the single-cone design to enhance volume and sustain, while Ed Dopyera managed business operations, including sales and distribution. Production commenced in a modest facility on Santa Fe Avenue, emphasizing wood-bodied guitars suitable for lap-style playing. During the late 1920s and 1930s, the company ramped up output in , achieving a production scale of over 600 guitars per month in its early years, translating to thousands of units annually to meet growing demand. Key models included the affordable Model 27, featuring a body with f-hole screens and a coverplate, which became Dobro's bestseller due to its balance of tone and cost, appealing to working musicians. To expand capacity amid rising sales, Dobro sourced unfinished guitar bodies from the Regal Musical Instrument Company in starting around 1931, assembling 60 to 100 instruments from initial shipments before the full company relocation to in 1936 for closer collaboration and cost efficiencies. Marketing efforts targeted Hawaiian steel guitar enthusiasts, whose lap-playing style popularized the instrument's resonant projection, as well as the burgeoning scene in the American South, where Dobro guitars provided the loud, distinctive twang essential for ensemble performances. Brochures and endorsements highlighted the guitars' portability and volume for , radio broadcasts, and traveling shows. However, internal family tensions, particularly between inventive John and business-oriented Ed over production priorities and control, escalated alongside external legal battles with National, culminating in a 1935 merger that resolved immediate conflicts but sowed seeds for later brand divergences.

Epiphone and Post-War Brands

Following , the National-Dobro Corporation, reorganized as Valco in 1942, ceased significant Dobro production amid material shortages and shifting market demands. Valco briefly continued limited Dobro production in the late 1940s but shifted focus to electric guitars, eventually transferring the Dobro name, tooling, and remaining inventory to Emil Dopyera, one of the original founders, in 1959. This transfer marked a transitional phase, as Dopyera aimed to revive the brand during the burgeoning revival of the 1960s, though initial output remained sporadic. In 1966–1967, the Dobro trademark was sold to of Guitars, who produced a small number of Dobro-inspired instruments using salvaged parts before 's in 1970. That year, the Original Musical Instrument Company (OMI), founded by Ed and Rudy Dopyera (Emil's brothers), reacquired the Dobro name and began full-scale production in , emphasizing faithful reproductions of pre-war designs with models like the Style 27 and 33 series. OMI's efforts sustained the brand through the and , coinciding with renewed interest in resonator guitars in bluegrass and . Gibson acquired some Dobro hardware from Valco in the immediate post-war years and experimented with resonator prototypes in the , but never entered full production at that time. Japanese manufacturers, including brands like and , produced unlicensed copies and reproductions of Dobro-style resonators during the 1970s and 1980s, often marketed as affordable alternatives amid the "lawsuit era" of . These imports helped popularize the design globally but lacked official endorsement from U.S. rights holders. The Dobro trademark faced ongoing disputes, including early post-war conflicts over patent infringements between former Dopyera associates and Valco, which delayed revivals. A significant revival occurred under OMI, but legal challenges persisted; in 1993, Gibson Guitar Corporation purchased OMI and the Dobro trademark outright, relocating production to Nashville and integrating it into their Original Acoustic Instruments division. Gibson later enforced the trademark aggressively, suing independent luthiers for using "dobro" generically, before transferring manufacturing to its Epiphone subsidiary for models like the Hound Dog series in the 2000s. As of 2025, Gibson continues production under the Dobro brand. This acquisition solidified Gibson's control but sparked debates over the term's generic use in the resonator guitar community.

Usage and Cultural Impact

Playing Techniques

Dobro guitars are primarily played in a lap-style position, with the instrument placed horizontally across the player's lap, typically with the neck pointing to the right for right-handed players. The square-neck design ensures the guitar remains stable without rolling. Playing involves holding a steel slide bar in the fretting hand to press down on the strings above the frets, producing notes through a sliding motion rather than traditional finger fretting. Common slide bar types include the bullet bar, a cylindrical steel tool with a rounded end for smooth gliding and ease of grip, and knife-edge or beveled bars, which provide sharper contact for precise intonation and techniques like pull-offs. A for Dobro is open G (GBDGBD from lowest to highest ), which allows the player to form major chords by barring the slide across all strings at any , facilitating fluid slide melodies and harmonies. Intonation is controlled by the slide bar's position relative to the frets, often requiring slight slanting of the bar to align notes across multiple strings. Techniques such as hammer-ons—quickly pressing the bar down to sound a note—and pull-offs—releasing the bar to let a ring from a higher to lower pitch—are adapted for slide play, adding expressiveness and mimicking vocal inflections through applied via bar pressure and movement. Essential accessories enhance control and tone production. Players typically use a pick on the right hand's and metal or fingerpicks on the index and middle fingers to pluck strings with clarity and volume, as the resonator cone amplifies these attacks. For added stability during extended play, a leg riser or padded block is placed under the right thigh to slightly elevate and angle the guitar, reducing strain and improving access to the strings.

Notable Musicians and Genres

The Dobro resonator guitar found its early roots in 1920s Hawaiian music, where its loud, projecting tone suited the demands of performances in ensembles. It gained prominence in the 1930s through 1950s , bluegrass, and music, becoming a staple for its distinctive slide sound in live broadcasts and recordings. Later, the instrument influenced Americana styles, blending its resonant twang with roots-oriented rhythms in post-war ensembles. Among the most influential Dobro players was (Beecher Ray Kirby), who joined Roy Acuff's band on the Grand Ole Opry in 1934 and remained its resonator guitarist for over 40 years, popularizing the instrument in mainstream . contributed to the Hawaiian music revival in the late 20th century, rediscovering 1920s recordings like those of the Tau Moe Family and adapting resophonic techniques to slack-key and traditional island styles on vintage instruments. emerged as a bluegrass innovator in the , expanding the Dobro's role through advanced phrasing and integration into progressive ensembles, earning recognition as one of the instrument's foremost virtuosos. The Dobro's cultural reach expanded through mail-order introductions in the 1930s, with models sold via catalogs under various brands, making it accessible to rural musicians nationwide. A key milestone came in the 1950s when Buck "Josh" Graves joined and ' Foggy Mountain Boys, incorporating the Dobro into bluegrass lineups and adapting rolls to its strings, which solidified the instrument's place in the genre.

Modern Production and Variations

Current Manufacturers

Gibson Brands International acquired the Dobro trademark in 1993, establishing itself as the primary producer of officially branded Dobro resonator guitars through its . As of 2025, current models under this ownership include the Dobro Hound Dog series, such as the Hound Dog Deluxe square-neck , which features a single-cone design and is manufactured to maintain traditional Dobro tone and construction standards. These instruments are produced in facilities adhering to Gibson's protocols, emphasizing durable materials like laminated bodies and chrome-plated hardware for reliable performance in live settings. Independent manufacturers also contribute significantly to the Dobro-style market, with Gold Tone Instruments leading in affordable, high-volume production of square-neck resonators. Gold Tone's Paul Beard Signature series, designed in collaboration with resophonic expert Paul Beard, utilizes spun aluminum cones and bodies to replicate classic Dobro projection and sustain, with annual production supporting widespread accessibility for beginners and professionals alike. For Weissenborn-style replicas—a related hollow-neck variant often adapted for lap playing—makers like Richard Wilson Guitars offer handcrafted models using Hawaiian koa wood, prioritizing tonal authenticity and structural reinforcements over mass output, resulting in limited runs of premium instruments. As of 2025, Dobro-style guitars are widely available through major retailers and online platforms, with entry-level models starting around $500 and premium versions reaching up to $3,000, reflecting variations in materials and craftsmanship. Distribution occurs via specialty music stores like and digital marketplaces such as Reverb, ensuring global access without reliance on exclusive dealerships.

Contemporary Adaptations

In recent years, hybrid Dobro designs have incorporated electric pickups to blend traditional resonator tones with amplified capabilities, enabling greater versatility in live and studio settings. For instance, the Dobro Hound Dog Deluxe round-neck model features a Fishman Classic 4 pickup that captures the instrument's natural acoustic resonance while allowing for effects and volume control, making it suitable for contemporary performances. Similarly, the Dobrato resophonic guitar integrates a B-bender mechanism and vibrato system into a classic single-cone body, producing a full-bodied sound with tonal variations inspired by pedal steel techniques, as utilized by artists like Mike Campbell and Jason Isbell. Boutique luthiers have advanced custom adaptations, such as Beard's Vesper cone and , which apply an innovative surface treatment to the traditional aluminum Legend cone for improved tonal clarity, sustain, and durability without altering the core design. These custom builds also extend to 12-string variants, like those from the Royall Resonator Company, which combine the jangly resonance of doubled strings with the instrument's signature projection for richer textures in modern acoustic ensembles. Additionally, some luthiers incorporate elements in resonator bodies or necks to enhance stability and resistance to environmental changes, as seen in composite designs from Emerald Guitars that adapt principles for lap-style play. Contemporary Dobro adaptations have influenced fusions, notably through Indian classical musician Vishwa Mohan Bhatt's , a modified that pairs the instrument's slide capabilities with ragas and for hybrid Hindustani performances. As of 2025, recent trends show integration into and pedal steel crossovers, with artists like employing Dobro for atmospheric layers in new folk recordings, while custom hybrids like the Hudson Hudsonator combine cones with pedal mechanisms for seamless genre blending. Digital modeling has further expanded accessibility, with software libraries such as IK Multimedia's The Resonator offering sampled Dobro articulations—including slides, bends, and strums—for virtual instrument production in workstations.

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  55. https://beardguitars.com/
  56. https://royallguitars.com/product-category/resonator-guitars/12-strings/
  57. https://emeraldguitars.com/models/solace/
  58. https://thebluegrasssituation.com/read/you-gotta-hear-this-new-music-from-josh-shilling-talia-rose-and-more/
  59. https://www.youtube.com/watch?v=Ncmofd3JIb8
  60. https://www.ikmultimedia.com/products/stresonator/
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