Here is some information about others that play these cool slide guitars that I got off another website (which I should reference here but cannot at the moment find the window it is contained in):

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Weissenborns
and related Hawaiian guitars can be found in the hands of a variety of contemporary musicians. Here’s a rundown on the instruments, strings, and tunings used by seven prominent players.
Mike Auldridge plays a Weissenborn Style 1 and strings it with D’Addario phosphor bronze single gauges (a custom set, “somewhere between medium and light,” with a .014 on the first string). He tunes to open E (E B E G# B E).
Bob Brozman’s Hawaiian instruments include all four styles of Weissenborns (his Style 2 is a Mellotone brand, with a thin body), as well as a Hilo. He tunes to C (C G C G C E), B (B F# B F# B D#), G (D G D G B D), and D sus (D A D G A D). As for string gauge, he comments, “I don’t want to say what I use because it might be misused. People will tear up their guitars if they use the strings I use. Let’s preserve the instruments.”
Jerry Douglas plays a Weissenborn Style 1, a wall-hanger in its previous life, and tunes it to open D (D A D F# A D). He uses D’Addario phosphor bronze strings with gauges of .014, .016. .026, .036, .044, and .060.
Ben Harper’s road instruments are a Weissenborn Style 4, Style 2, and teardrop, and a Kona “Style 4.” He uses D’Addario phosphor bronze lights on instruments tuned with a D or higher on bottom and mediums for tunings with a C (or lower) on the bottom. His tunings include low G (D G D G B D) and a secret tuning that he uses in three different keys–one for each of three instruments.
Greg Leisz plays a Weissenborn Style 2, Style 1, and teardrop model with an original metal tailpiece (anyone seen another?). He uses phosphor bronze light strings and tunes to open D (D A D F# A D).
David Lindley’s “A-Team” Hawaiians are two Weissenborn Style 2′s, one Style 1, a thin maple and spruce Style 2, and a Kona Style 3. A Bronson Brazilian rosewood square-neck sometimes substitutes for the Kona. For strings, he uses Guild bronze lights or mediums, depending on the tuning. Instruments tuned with the sixth string lower than D have .059 Darcos (“I have a nice stash of these,” he says) on the sixth string. Lindley’s tunings include F (F C F A C F); G (D G D G B D); an open-G variant, G G D G B D (used on “The Jimmy Hoffa Memorial Building Blues”), with a mandocello sixth string tuned an octave below the fifth string; C6 (C G C G C A); and D6 (D A D A D B).
Sally Van Meter has a Weissenborn Style 1, a Kona Style 4, and a Hilo Model 640. She uses phosphor bronze strings with gauges of .014 (“maybe a .015 or .016 on the Weissenborn, depending on the tuning,” she says), .016, .026, .036, .046, and .056. She plays in open D (D A D F# A D) but says, “My Weissenborn seems to have a preference for Eb [Eb Bb Eb G Bb Eb].” She also experiments with modal tunings and high G: G D G B D G.
For amplification and recording, almost all the players interviewed use the Sunrise soundhole pickup (Sunrise Pickup Systems, 8101 Orion Ave. #19, Van Nuys, CA 91406). Much of the Sunrise’s mystique follows David Lindley’s sound and his declaration, “It’s got magic stuff in it!” Manufacturer Jim
Kaufman identifies the Sunrise’s “magic stuff” as its quick response, sonic imaging, pole pieces that make an audible difference when adjusted, and ability to move with the guitar’s top.
For microphones, Lindley and Harper favor vintage tube mikes like the AKG C-12 and M-50, while other players mention high-end Neumanns, like the U-67 and U-87. For live performances, Bob Brozman mixes a Sunrise with workhorse Shure SM-57 mikes “because that’s what everybody has, so I adapt.”
–Ben Elder

Anonymous added these pithy words on Dec 15 06 at 7:25 pm