The Masters Touch!

Reece Anderson · From: Keller Texas USA, R.I.P.

The “touch” of all steel guitar masters throughout our instrument’s relatively brief history, is unique to each of them individually. Were a master player to sit behind another master players guitar, a difference in the sound itself between each would be heard. (excluding style)

With this in mind, I thought it would be interesting and hopefully helpful to some, to consider the dynamics of “touch” which are unique to each individual. Each of us must find that which is most comfortable and natural feeling if we are to reach our full potential and create our own unique musical signature.

The best approach, and I believe the most logical way to achieve this, is to first identify, then consider and experiment with the dynamics and components of touch.

The actual touch to which I’m referring too within this thread, is comprised of only the hands, ………..which poses the question, “why is it that another person can sit down to any persons guitar with the same equipment set exactly the same, in the same environment, yet sound different”? The answer to that question is, it's "the touch of the hands".

Here is a broad view of the dynamics involved………..

Finger pick tip angle relative to string at entry point.

Positioning of the pick on the finger(s).

Mass/weight of the finger picks.

Thumb pick mass/size.

Positioning of the thumb pick on the thumb.

Pull pressure of the finger picks.

Push pressure of the thumb pick.

Weight and size of bar.

Pressure applied to the bar with the left hand index finger.

Bar positioning relative to strings being picked.

Configuration and positioning of “trailing” fingers of the left hand.

There is much that could be said about each dynamic, and there is much that could be said about string dampening, bar vibrato, thought process and etc., but within this thread I’m addressing primarily that of pick and bar string contact. I of course welcome suggestions for additional dynamics while remaining on topic.

I’m of the opinion that after each interested individual has been made aware of the components, experimented and decided upon that which works best for them relative to each dynamic, they will have the knowledge, direction and potential of becoming “one with the instrument” and achieving their unique “touch”.

Marino Galli · From: Switzerland

THANKS REECE !!!

YOU ARE THE ONE AND ONLY!

Greetings From Switzerland

Your Big Fan & Friend in Switzerland

Marino

PS:-I hope we meet one day!

Elton Smith · From: Texas, USA

Hey ,Reese.The touch,I can't express myself yet with a steel guitar,but I can with a six string.I guess it may be the touch,but it comes from how I want it to sound.I believe when you hear a musican play,you also hear what they are thinking.I hear that sound I want and my fingers know what to do to get it.This reminded me of a girl I met once after a show that fell in love with me.I told her that I could not do to her soul what that old gibson guitar could.And ment it.
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Twayn Williams · From: Portland, OR

Ignoring notes and equipment, I just boil it down to:

- listen closely to what sound you're producing
- adjust how you're hitting to change what you DON'T like
- adjust to accentuate what you DO like
- lather rinse repeat

It ain't rocket science, but it does take a lifetime Mr. Green

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Ken Byng · From: Southampton, England

Another intelligent thread Reece. I believe that the bar hand possibly contributes as much as the picking hand if not more to good tone. Certainly picking the string with confidence or authority is a big factor, but for me the control of the note by the bar movement/vibrato/pressure plays a major part in the musicality of a steel player.

Lastly the position on the string where it is picked - sometimes known as the 'sweet spot' - is another important factor. I have watched guys like you, Paul F and Tommy W at close range picking the strings with confidence but also dynamic feel. Paul has alluded to touch in another thread where he has used Jerry Byrd as a reference point. Not a bad one to use at all.
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Billy Tonnesen · From: R.I.P., Buena Park, California

Reese:
I think I was blessed in the early years of having good touch and feeling. I agree it is all in the Hands, but the hands are also transmitting what is coming from one's Brain. It is how you want it to sound in your own mind. Really good players are very fluid in moving up and down the neck with the Bar and where they pick the strings in relation to the Bridge depending on how sharp or how mellow you wanted a passage to sound.

Billy T.
West Coast

Rick Nicklas · From: Verona, Mo. (deceased)

Reese, I think that having a great tone/touch comes from knowing that "All of the feelings that are projected from the brain through the fingertips have generated a tone from the amplifier that brings a euphoric agreement of all the senses after hearing it played". This seems to be apparent when watching the faces of all the greats while they perform (with the exception of "Theawfulest").

Billy Carr · From: Seminary, Mississippi, USA (deceased)

I agree with Maurice Anderson 110%. One of the true masters himself!

Roual Ranes · From: Atlanta, Texas, USA

Just to emphasize this point.
I borrowed Reece's personal guitar one time. I had the same type amp and used the same settings and never did get it not to sound like me.

Mike Neer · From: NJ

I think touch with regard to tone is one of the things we never stop working on. That goes for both left and right hand touch.
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Joe Miraglia · From: Jamestown N.Y.

Maurice--I agree with your comments about achieving tone. What are your thoughts about fingers and hands themselves? The length, size and weight should be considered. Even the shape and structure of the hand and fingers has a possible factor. I have small hands and short fingers--one reason I took up steel guitar rather than regular guitar. Some players like to extend their pinky finger about the first string. My fingers are to short to do that. I am 5 foot 6 inches. I know you and many steel players are taller than I am. I may be off base, but can height effect playing also--reaching pedals and knee levers. Joe

Christopher Woitach · From: Portland, Oregon, USA

I also believe that the number of picks one uses can have a profound effect on the touch. In a conversation with Herby Wallace, who uses three picks, he explained that he "pinches" (a small rake) two or more strings with his thumbpick to get the four (and more) note chords, a pretty common move, I believe. Someone like you, who uses four picks, can get a very different sound, if you choose, although I know you use many different techniques, including big strums, thumb and middle finger, etc. One thing that is pretty amazing to me is how you have developed such evenness of touch with all these variables - something I can do on a standard guitar, not so much on the steel guitar, as of yet.

For me, since I am so accustomed to hybrid picking on the standard guitar, I use my ring finger quite often, which can have a very different sound. I imagine those who use no picks, or just a thumbpick, can have an altogether different touch.
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Tommy White · From: Nashville

Great topic Reece.
I have been using the same brand of bar for 40 years. I have 3 of them. Every so often I'll want to try and/or upgrade to a different bar and everytime I do, it screws up my pitch, tone and dexterity , especially slants, for days. Then ,when I switch back to ol' reliable , it only takes a song or two to regain the technique that is in my comfort zone. I've also discovered it makes no difference what guitar I play, the magic for me is in that bar. I wish it weren't that way, as I know there are better, smoother and more balanced bars available. I have a drawer full of various brands and sizes. It is interesting to me that I can put on new or a completely different set of finger picks and after a few minutes decide on what touch or attack is familiar and comfortable...for me , it's all in the bar. Maybe I need therapy.

Tommy White · From: Nashville

Edited for seemingly lack of interest. Smile

Ken Higgins · From: Canyon Tx

Tommy, thanks for your candid comments. Very intersting.

Reece Anderson · From: Keller Texas USA, R.I.P.

For me, the secret of developing the “touch”, lies within the correct understanding of all applications/dynamics, which then becomes relevant to the unique perception of each individual.

Marino G….Thank you for your comment. I will look forward to having the pleasure of shaking your hand.

Elton S….You are absolutely right in that one’s mind must “hear” the sound they’re looking for. However, (in my opinion) one must first understand and experiment with all dynamics in order for the mind to comprehend exactly how to make the necessary adjustments to the hands, so as to achieve that which is “heard” in the mind.

Twayn…..You are also exactly right in that one must listen closely to the sound when they’re playing.

You then said: “adjust how your hitting to change what you don’t like”, which is true. To me the key word in your comment is “adjust”……. and to do that, one must be able to analyze immediately not only what to adjust, but how to indentify and achieve the necessary adjustment/dynamic.

Your further commented: “adjust to accentuate what you DO like”, is also correct in my opinion. However, (again in my opinion) without an understanding of dynamics, the hands don’t know how, or what to adjust, therefore the mind can’t comprehend what they must do to reproduce that which they DO like.

Ken B….I appreciate your comments, which leads me to a question, if you don’t mind. “Is it possible you are perceiving your bar as making the greatest contribution to your sound, because your right hand and thought process is working in accordance with and adhering to your personal dynamic perception, thereby providing the feeling/perception, that everything is “playing into your bar, and the sound is coming out of your bar”?

Another great point you made is in locating the “sweet spot” for right hand location on the neck. I have found that for me, the “sweet spot” on most guitars is likely at the 24th fret while placing the thumb to the left of the 24th fret and the fingers to the right. There’s variances of sound when moving the right hand either up or down the neck for different effects, but generally speaking, around the 24th fret is the “sweet spot” for consistency.

Billy T….You are indeed blessed to have achieved good touch and feeling without experimenting or analyzing the dynamics in force.

Billy C….I’m humbled by your kind comment, Thank you.

Roual R….You have a great memory, and thank you for your comment.

Mike N….Your comment is right on in my opinion. Striving for improving on touch is a lifetime pursuit, as it should and must be if we are to continually improve.

Joe M….Thank you for your comments. I’ll be happy to share my thoughts about any dynamic if you would care to be specific about which you wish me to address.

Christopher W….As you know, I’m a believer in the use of three finger picks. My feeling many years ago was….”I’ve got a finger going along for the ride while making no musical contribution, so why not put a pick on it”.

Our mutual friend Herby Wallace is most certainly one of the masters, and it’s no surprise he has achieved a technique most cannot duplicate. For example…..when I’m using 4 picks for four notes, (strings) and each with a string between the four, I would never be able to use only two fingers picks and a thumb pick, pick a string with my thumb, then skip a string with the thumb, and then play the remaining 3 notes using the thumb and 2 finger picks, and make it sound like the four notes were played simultaneously.

Thank you for your comments……….

Tommy W….I’ve been playing and teaching and just got back to the forum to respond. I apologize to you and everyone else if it may have appeared I was being non responsive to the participation and comments within this thread. The participation of everyone is greatly appreciated.

I can’t imagine anything that would (in your words) “screw up” your playing. I dare say, that when you “think” you’re screwing up, few if any of us would ever hear it. You're a true master.

If I may impose on you, when and if you have the time, and ask you a few questions concerning your bar and bar hand, your response would be appreciated.

For instance....would you mind sharing your bar dimensions? Do you add a lot of downward pressure to your bar with your index finger? How much of your middle finger is in contact with the bar? Do you at all times maintain a constant pressure across the length of the bar while on the strings? Where do you maintain the position of the bullet end of the bar in relation to the strings you’re playing? Is there a space maintained between your middle finger, your left ring finger and your little finger?

I appreciate your taking the time to participate within this thread. All comments are important and of great interest to many of us.

Reece Anderson · From: Keller Texas USA, R.I.P.

Reece Anderson · From: Keller Texas USA, R.I.P.

Reece Anderson · From: Keller Texas USA, R.I.P.

I'm so sorry for the triple post. There was a long time delay and I wrongfully assumed the time for post acceptance had expired.

Robby Springfield · From: Viola, AR, USA

Another element to consider is the actual position of your hand. I find that when all is working properly, my hand position will adjust slightly to achieve disired results. The further towards the bar hand, the more mellow the sound.
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Reece Anderson · From: Keller Texas USA, R.I.P.

Robby....Thank you for your participation and your very interesting comment. Am I correct in assuming you're saying your right hand could be comfortable in different places on different nights? What is the farthest (fret) you play "down" the neck with your right hand?

As for me, if I move my right hand closer to the bar, I begin losing my perspective of string locations and touch!

If I'm correct in my assumption of your comment, that which you're able to do and still maintain control of touch, is amazing to me, as is your playing.

Christopher Woitach · From: Portland, Oregon, USA

Reece

After looking over your list again, I decided to try an experiment. I tried on some lighter gauge finger picks - no surprise, the sound was indeed different. Slightly bigger surprise, my facility was increased, which, although off topic, is still interesting to me.

Sound-wise, using the same touch, I lost some of the darkness I love so much (most players would NOT like my tone!), but it was clearer, especially when playing quicker.

I will continue this experiment - it's interesting to be a beginner on an instrument again, where the technique hasn't completely solidified.
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Ken Byng · From: Southampton, England

Robby Springfield · From: Viola, AR, USA

Reece, no actually what I'm saying is that my normal position puts my thumb pick on the 17th fret. Funny, after all these years I had to sit down at my guitar and look to see where I place my hand. From that starting point, I will vary slightly depending on what needs to be done. For example, the 10th string on E9 sometimes might sound more audible and stand out if I pick a "little" closer to the pickup. I don't pick my hand up and move it, it's more in the wrist for most things. There are times, if your looking for more of a Mooney sound, you could go towards the pickup.

I rarely pick past the 24th fret. There is a sweet spot where accuracy is at it's best and I think that is part of what gives players their distinct individual sound. It's on those times where there are no mental distractions and everything takes place naturally, "the slight movement", that I seem to be at the top of my game.

I just thought I would throw the hand placement in the pot because I believe that is another focal point of one's sound.
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Reece Anderson · From: Keller Texas USA, R.I.P.

Christoper....I think your exploration of different dynamics is a great thing to do. No matter what you learn, going through the process of elimination will be of benefit to you.

If I may, I would suggest you use the different finger picks extensively and allow your fingers to adjust before you give up on them. Providing the right hand time to fully explore pick pressure and weight, might allow you to have increased facility, and also achieve the tone you were getting with heavier picks.

I'll be interested in knowing the outcome.

Ken B....Please forgive my unclear question. What I was trying to ask was, "do you have the perception that the dynamics of the hands flow as one into and out of the bar ? If so, that is an interesting analogy and poses the possibility that using the bar as a positive mental focus of dynamics, could be an advantage to the perception of specific players.

I agree with you that the energy of the vibrating strings through the bar provides much of the tonal qualities. That being said, do you agree the bar mass, weight, weight added to the bar with the index finger, and pick pressure, is part of your perception ?

I regret I could not get back to my computer in time to have read Tommy's post which he deleted. I have no doubt it was very enlightening and insightful..

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