This chromed brass tonebar features a larger radius for added sustain and vibrato, a re-designed body for a more comfortable grip, and new side angles.
The Lap Dawg Tonebar is designed for progressive players, featuring a larger radius for added sustain and vibrato, a re-designed body for a more comfortable grip, and new side angles. It delivers better speed and clarity for hammer-ons and pull-offs.
Chromed Brass – 5.1 oz. 3/4 diameter x 2.85 long.
Guitar Steel SP2
Its design suggested by Peter Grant, the extra mass (for tone) and double cutaway (for control) make this a versatile bar for various styles of resophonic and lap steel guitar. 5.8 oz.
Our guitar steels are designed by musicians with the special demands of today’s playing styles in mind. They offer unique design features not found on any other bars, including cutaway ends for improved control, and a semi-bullet tip which facilitates movement across the strings.
Solid Stainless Steel
• Resists nicks and scratches far better than a plated bar.
And if it ever should get a nick or scratch, it can be buffed out, unlike a plated bar.
• No plating to wear off.
Any plated bar will wear down, and people end up replacing them. A stainless bar will remain as good as new indefinitely — outlasting a drawer full of worn out plated bars.
• An incredible value at its price.
Solid stainless steel bars typically cost double the price of the SP or RR steel.
It is a change we have long been considering. It is a significant product upgrade, plus it makes sense on other levels. Quality control problems have increased over the years, as plating shops must comply with higher standards in their use of chemicals and disposal of waste. No one wants to come down on the wrong side of an environmental issue, and while stainless steel might not leap to mind as a stereotypical green solution, in this case it is. By moving away from plating on this product, we are endeavoring to be part of the solution rather than part of the problem.
Round nose tonebars for pedal steel, Dobro and Hawaiian-type guitars. Made of high-quality stainless steel for long life. The 918 Professional was Designed specifically for Jerry Byrd, Premier Hawaiian Guitar Player.
- For pedal steel, Dobro and Hawaiian-type guitars
- Made of high-quality stainless steel for long life
- Stainless Steel
- 4.5 ounces – 3/4″ diameter X 2-3/4″ length
- MADE IN THE USA
Round nose tonebar for pedal steel, Dobro and Hawaiian-type guitars. Made of high-quality stainless steel for long life.
A bold and brilliant step in the evolution of the guitar steel. Its handle is crafted of fine hardwood for optimum comfort and control; the playing surface is machined of stainless steel for maximum durability.
The GS Steel represents the most significant step yet in the evolution of the guitar steel.
- The stainless steel edge is designed for clean pulloffs.
- The wood grain provides a good grip for best control.
- The hardwood handle is weighted for proper balance.
- The contoured top allows your hand to be in a relaxed, natural position.
At first it may seem like a gimmick …not what you’re used to. But when you think about it for a few minutes, and especially after you try one, it really makes sense!
That’s what I thought when I first saw a picture of Gary Swallows’ new concept in guitar steels at the Nashville NAMM show in July of 2002. My first reaction was that players would not accept it because it was too different. But when I met Gary, and he let me handle some of his beautiful hand made bars, I immediately realized that the pictures didn’t do them justice. These things look and FEEL so nice that someone would want to own one whether they play an instrument or not. Within minutes I became a believer in the concept of a guitar steel made of two materials: wood for the handle, and stainless steel for the playing surface.
We spent quite awhile talking about his bars, and I learned just how much thought and care he had put into their development. The history of guitar steels has been an evolution away from the “found object” towards a more specialized, ergonomic tool. I soon realized that he had made not only the next step in that evolution, but the next two or three steps at once. Besides his creative use of materials, he had sculpted the shape of the tops of his bars so that your hand lays on them in the most amazingly relaxed and natural position. He had carefully considered every angle, every surface, every radius. From its edge, designed to deliver the clean pulloffs that today’s players love, to the weighted, counterbalanced handle, this bar is about as far from a “found object” as you can get.
Before we left Nashville, I told Gary that I was interested in becoming involved in the production and marketing. Shortly thereafter he sent us some prototypes. Now it was our turn to get to work. Our job was to devise production techniques which would not compromise the attention to detail that Gary had given each bar that came out of his workshop. Collaborating closely with Gary on a couple of design refinements (we always have to put our own touch onto these things), the GS1 was born.