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"Excellent value and quality. Would..."
Excellent value and quality. Would recommend this to anyone. Price was great!
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I received this according to my plan, and I received what I expected. The quality is outstanding and highly recommended.
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"A loud, characterful resonator with striking looks and surprisingly usable electronics."
Review of Harley Benton Custom Line CLR-ResoElectric
When I first spent time with the Harley Benton Custom Line CLR-ResoElectric I was looking for an affordable resonator that could cut through a band while still being playable for fingerstyle and slide. My perspective is that of a player who gigs small club shows and records in a modest home studio, so I wanted a resonator that sounded authentic unplugged but also translated well to an amp without spending a small fortune.
First Impressions
Right away the CLR-ResoElectric makes a statement - the chrome-plated, engraved body with a gold-coloured cover plate is eye-catching in a way few instruments at this price manage to be. The neck felt pleasantly slim and immediate; my first few strums across standard tuning and open-G showed the single-cone resonator delivers the brassy, projecting voice I expect from a traditional reso, and the built-in lipstick-style pickup gave me enough signal to experiment with effects and amp saturation without losing the instrument's character.
Design & Features
The CLR-ResoElectric is built around a chrome-plated steel body and a single 240 mm cone about 30 mm deep - that construction gives it the strong acoustic projection and metallic bite resonator players seek. A gold-coloured cover plate and matching gold-coloured lipstick pickup and control knobs add to the visual identity, while the mahogany neck and wenge fretboard provide a warm, slightly dark feel under the fingers that contrasts nicely with the cone's brightness. The instrument uses a maple/ebony biscuit bridge, DLX die-cast tuners, a 628 mm (24.7") scale, 19 frets and a 42 mm nut width, which together produce a familiar, comfortable geometry for players coming from both acoustic and electric backgrounds.
Build Quality & Protection
Structurally the CLR feels solid for the price point - the chrome body is robust and the cover plate sits flush and tight with minimal buzz if strings and cone are set up properly. I did notice some cosmetic variances and small finish irregularities on the chrome surface on my sample, which is not unusual for plated bodies, but nothing that affected playability or tone. Hardware like the DLX tuners and the biscuit bridge felt dependable; I would still store the guitar in a case rather than rely on the finish to resist dings during transport.
Playability & Usability
The mahogany neck with wenge fingerboard makes the CLR comfortable to hold and play for both fretted work and slide - I found the nut width and scale length suited my hands for standard and open tunings. String action out of the box required a modest setup to suit my slide preference; once adjusted, intonation and fret access were fine within the 19-fret range. The controls are straightforward - volume and tone for the lipstick pickup - which is exactly what I want on stage when I need to make quick adjustments.
Electrics & Amplified Sound
The lipstick-style single-coil provides a clear, present amplified voice that keeps the cone’s character while adding enough midrange to sit in a mix; it has some single-coil brightness and pick attack but without excessive hum in my testing. Through a clean tube amp I got that classic resonator presence - attack, sustain and a detectable metallic overtone - and through a driven amp it became raw and cutting in a pleasing way. It’s not a high-end piezo system and it won’t replace a purpose-built studio mic for pure acoustic recording, but for live use and DI tracking it’s more than competent.
Real-World Experience
I used the CLR in rehearsals, a small house gig and a brief bedroom recording session - unplugged it projects well enough for duet situations and in a band it sat nicely when miked or when I ran the pickup to a small amp. Slide work really sings on the guitar thanks to that cone and the maple/ebony biscuit bridge; fingerpicking also benefits from the cone’s focused resonance. On the gig the pickup allowed quick tone sculpting and I was able to dial in a sound that cut through without sounding thin.
The Trade-Offs
There are compromises - the chrome body makes the instrument heavier and the plated surface shows marks more readily than a wooden top, so it needs careful handling. The pickup is useful but not a substitute for a good microphone if you’re chasing a fully natural acoustic resonator tone in the studio. Also, setup matters more than on many guitars - action and cone-to-bridge relationship can require a bit of tweaking to eliminate unwanted buzz and optimize intonation for slide playing.
Final Verdict
Overall, the Custom Line CLR-ResoElectric delivers exceptional value - especially if you want real resonator character with the option to plug in and play live. It’s not a boutique boutique-level instrument and it shows in some cosmetic and setup quirks, but the combination of a loud, authentic single-cone sound, a playable neck and usable electronics make it a standout option for blues, bluegrass and slide players on a budget. I’d recommend it to players who want an affordable, roadworthy resonator that looks and sounds like a resonator should while offering plug-and-play flexibility.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Does it sound authentically resonator-acoustic unplugged?
- Yes - unplugged the single 240 mm cone gives a brassy, projecting resonator tone that I found authentic for blues and bluegrass contexts.
- How usable is the built-in pickup for live gigs?
- I found the lipstick single-coil very usable live - it captures the cone's presence and can be dialed into a PA or amp without sounding thin, though it won’t fully replace a mic’d cone for the most natural acoustic recordings.
- Is the neck good for slide playing?
- Yes - the neck profile, nut width and scale length made slide work comfortable after I set the action to my preferred height.
- How heavy and portable is the guitar?
- It’s on the heavier side due to the steel plated body, so I’d recommend a sturdy case and be mindful of transport, but it’s still manageable for gigs and rehearsals.
- Does it need a setup out of the box?
- In my experience a modest setup - adjusting action and checking intonation - improved playability and eliminated minor buzz, so plan for a setup session.
- What tunings work well on this instrument?
- I used standard, open-G and open-D tunings - it handles open tunings well and the cone responds beautifully to low tunings for slide.
"A loud, characterful resonator that punches well above its price point."
Review of Harley Benton Custom Line CLR-ResoEl. Bundle
I've spent a few weeks playing the Harley Benton Custom Line CLR-ResoEl. across rehearsals, a couple of recording passes, and some late-night slide practice, and it's the sort of instrument that makes you rethink what a budget resonator can do. I came to it wanting a loud, showy reso with usable electrics for small gigs and recording - what I found was a heavy, chrome-bodied guitar with an unexpectedly musical voice, a handy lipstick pickup, and a finish that turns heads whenever I wheel it out.
First Impressions
When the CLR-ResoEl. first landed in my hands I noticed the weight - the chrome-plated steel body gives it a satisfying heft that immediately signals "resonator" before you even pluck a string. The engraving and gold-coloured cover plate make it look more expensive than it is, and the wenge fretboard and mahogany neck feel solid and well-shaped under my hand. Out of the case the action was playable, the nut width felt comfortable at 42 mm, and the overall setup only needed small tweaks to suit my preferred action for slide work.
Design & Features
The CLR-ResoEl. is built around a chrome-plated steel body and a single 240 mm cone set into a gold-colored resonator cover - that single-cone biscuit arrangement gives the guitar its focused, punchy midrange. The neck is mahogany with a wenge fingerboard, 19 frets and a 628 mm scale, while tuning stability is handled by DLX die-cast machine heads. Electrically it ships with a gold-coloured "resonator" lipstick single-coil pickup, a volume and tone control with gold knobs, and a maple/ebony biscuit bridge that keeps the acoustic-to-electric transfer fairly true to the resonator character.
Build Quality & Protection
The chrome finish is visually striking but also prone to showing fingerprints and smudges - I spent a fair amount of time wiping it down between takes. Structurally the body and neck feel robust; there's no obvious rattling or loose hardware, and the DLX tuners do their job reliably. The gold-covered plate and engraved body are cleanly executed for the price, though if you expect hand-beaten boutique metalwork you'll notice this is a manufactured finish rather than artisan distressing.
Playability & Usability
I found the neck profile to be comfortable for both fingerstyle bluegrass passages and slide work - the 42 mm nut width gives enough room for thumb-over or fingerpicking without feeling cramped. The action out of the box was playable and lowered easily where I wanted more slide glide, though heavy string gauges will push the action up and can make fretting more taxing. Because the instrument is heavier than a typical acoustic, playing standing for long sets requires a solid strap and a bit of acclimating for shoulder fatigue.
Sound & Electronics
Unplugged the single-cone resonator voice is immediate - focused mids, a metallic edge in the attack, and surprising sustain for a single-cone design. It cuts through a mix without sounding thin, which is exactly what I wanted for bluegrass and country rhythm work. Plugged in, the gold lipstick single-coil captures the character well and responds nicely to amp tone shaping, though it lacks the micro-detail and airy top end you'd get from a well-placed microphone or a high-end piezo system; for direct-to-PA use it is convenient and musical, but I preferred blending a mic with the pickup when recording for the best balance.
Real-World Experience
I used the CLR-ResoEl. in a small band rehearsal and on a couple of home-recording passes - in the rehearsal it sat easily in the pocket alongside mandolin and acoustic guitar, delivering the classic reso bite for rhythm and slide fills. In the studio I tracked both pickup-only and miked takes; the pickup gave a usable, immediate sound straight into an interface, while the miked cone retained more nuance and a rounder low end. For open tunings and slide playing the guitar is joyful - the sustain and midrange focus made it easy to find vocal-like tones that sing on longer notes.
The Trade-Offs
The main compromises are weight and the pickup's limitations - if you want a featherlight stage instrument or a mic-like acoustic top-end straight from the jack, this won't replace a well-miked National or a boutique electro-acoustic. Setup helps a lot - lowering the saddle or swapping to a lighter string set can tame some playability issues. Also, cosmetic fingerprints and the shiny chrome finish demand a little maintenance if you care about looks.
Final Verdict
If you need a resonator that looks the part, roars when you dig in, and gives you usable direct output for small gigs or recording, the Harley Benton CLR-ResoEl. is a hard instrument to beat for the money. It's not a boutique Dobro in every sonic detail, but as a practical, often-surprising workhorse it delivers real tone, reliable hardware, and an electrified option that is more than just cosmetic. I recommend it to bluegrass players on a budget, slide enthusiasts, and anyone who wants a showy, loud resonator without the boutique price tag.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Is this guitar loud enough acoustically for bluegrass sessions?
- Yes - unplugged it's notably loud and cuts through an ensemble, thanks to the single 240 mm cone and steel body.
- Does the lipstick pickup sound usable for gigs or recordings?
- Absolutely usable for small gigs and direct recording; it gives a punchy, mid-forward signal though I often blended it with a mic for more natural tone in the studio.
- How is the setup out of the box - did you need major adjustments?
- Out of the box it was playable with only minor tweaks - a small saddle adjustment and string choice were enough to tailor the action to my slide preferences.
- Is a case included with the bundle?
- In my experience a case is not included as standard - the manufacturer lists a compatible case option separately.
- Would you recommend it for a first resonator for someone new to the instrument?
- Yes - it's a forgiving, affordable way to learn resonator technique and slide, and it sounds like many pricier instruments in its sweet spots.
- Does the chrome finish require special care?
- It shows fingerprints easily, so I wiped it after sessions - a light polish cloth keeps it looking sharp without extra products.
"A compact, punchy resonator with surprising versatility for the price."
Review of Harley Benton Custom Line N-150CE Black
I came to the Harley Benton Custom Line N-150CE Black looking for an affordable resonator that could handle slide work, loud open chords, and plugged-in gigs without sounding thin or brittle - and that is exactly the brief this guitar seems built for. I mainly used it for blues and country slide parts, a few small jams, and some plugged-in bedroom recording, so I tested both its unplugged metallic character and its amplified behaviour through an amp and a DI.
First Impressions
The N-150CE’s satin black finish and chrome cover plate give it an immediate, slightly sinister presence that made me want to pick it up and play slide lines right away. Out of the case the action was a little high for fast fretted work but ideal for slide - the U-shaped Okoume neck and Purple Heart fingerboard felt substantial and comfortable, and the 43 mm nut width provided enough room for clean slide intonation. Build-wise it looked honest for the money - solid Sapele body, neat ABS binding and chrome hardware - though the factory setup needed minor tweaks to suit my preferred string height.
Design & Features
The N-150CE is a mini-jumbo with a cutaway, built around a Sapele body with a metal cone and a spider-style bridge system - that construction gives it that characteristic resonator ring and sustain. It ships with a Purple Heart & Maple bridge, Purple Heart fretboard, a bone nut, dual-action truss rod, and DLX die-cast tuners - the scale is 635 mm with a 43 mm nut, and there are 20 medium-jumbo frets which are comfortable for both fretted work and slide playing. Electrically it uses a Rising P3004 mini-humbucker with simple volume and tone controls, so plugging in is straightforward and retains a good amount of the resonator character.
Build Quality & Protection
For the price point the N-150CE feels surprisingly robust - the satin finish is even and the chrome cover plate is fitted cleanly without rattles. I noticed tidy binding work and the Purple Heart fingerboard fitted well to the neck; the only thing that caught my eye was a slightly rough fret end on one side which a quick fret-file from my luthier kit smoothed out. Hardware (machine heads, bridge) is competent but not premium - it does its job reliably, though I’d pack a light-case rather than throw it in an overloaded gig bag for travel.
Playability & Usability
The U-shaped Okoume neck gives the guitar a roomy, substantial feel that I liked for thumb-over chords and slide; the 43 mm nut is slightly wider than modern steel-string acoustics but felt natural for fingerstyle and slide work. The action out of the box leans towards the higher side - great for slide but a little fatiguing for rapid fretting - and my main adjustment was shaving a tiny bit off the saddle and truing the nut for better open-string clarity. The cutaway helps access the upper frets and the controls are unobtrusive, so onstage use is straightforward.
Sound & Electronics
Unplugged the N-150CE has the classic resonator voice - metallic, loud, and very present in the midrange, which makes slide lines sing and single-note runs cut through a mix. The spider-cone combination delivers good sustain and a satisfying chime on open chords, and palm-muting or fingerpicking gives a surprisingly warm underside to the metallic top end. Plugged in through the mini-humbucker the guitar retained much of that character but with less raw metallic air - it’s great for amp-driven blues and recorded DI takes where you want the resonator personality without excessive feedback. The simple volume and tone controls keep things easy, though advanced players may wish for an onboard EQ.
Real-World Experience
I used the N-150CE in a few arrangements - unplugged during a small acoustic set, and plugged into a tube amp for a blues jam - and it performed admirably in both contexts. On acoustic gigs the brightness and sustain meant I didn’t need heavy strumming to be heard, and the amp'd tone sat nicely behind a small combo, though I did dial back top-end a bit to avoid harshness. The guitar is also fun to use in the studio for adding color - a short mic on the cone plus the DI from the pickup gave me two very usable tones to blend.
The Trade-Offs
The most obvious trade-offs are that the factory setup favors slide and the hardware is serviceable rather than premium - expect to spend a bit of time on setup to optimise action and intonation for pure fretted playing. Also, the mini-humbucker gives a pleasing amplified character but it’s not a full acoustic pickup replacement for players needing pristine, mic-like unplugged tone when recording. Finally, while the satin finish is attractive, it will show dings and scuffs more readily than thicker gloss finishes if you’re rough with gear.
Final Verdict
The Harley Benton Custom Line N-150CE Black punches well above its price for players wanting a real resonator voice with the convenience of a cutaway and a plug-in option - it’s especially strong for slide players, blues and country players, and anyone chasing a distinctive mid-forward resonator timbre for recordings. If you want gold-plated hardware or out-of-the-box low action for shredding, this isn’t that guitar, but as a versatile, affordable resonator with good sustain and a useful onboard pickup it represents very strong value.
by Musicngear Verified Community ReviewsHelpful Tips & Answers
- Is the N-150CE good for slide playing?
- Yes - I found its spider-cone design and slightly higher factory action excellent for slide, delivering clear sustain and a ringing tone that really sings.
- How is the plugged-in tone from the onboard pickup?
- The Rising mini-humbucker gives a solid amplified sound that keeps the resonator character while reducing excessive harshness - perfect for amp-driven blues and DI recording.
- Does it need a setup straight out of the box?
- I recommend a light setup - I adjusted saddle height and smoothed a fret end to get ideal action and playability for my style.
- Is the build durable enough for gigging?
- For small to medium gigs yes - hardware and binding felt reliable, though I’d protect it with a decent case for heavy touring.
- What playing styles suit this guitar best?
- Slide blues, country rhythm, and single-note resonator leads are where it shines; it also makes a great colour instrument in the studio.
- How’s the neck profile and nut width for fingerstyle?
- The U-shaped neck and 43 mm nut are roomy and comfortable for fingerstyle, though wider than many modern steel-strings so expect a slightly different feel.
- Would I need to change the strings?
- I kept the factory D'Addario YB-EXP16 for my sessions and they worked well, but players can swap to heavier gauges if they prefer tighter slide tension.