the sound is in the right hand

Ted Barnhouse II · From: Missouri, USA

Ok I have checked what has been written so far but I have some questions. I am probably considered to be between a beginner and intermediate player. I've always heard that the sound is in the right hand. If that's true why is there so much attention given to the "toys" to improve our sound or get the sound we want instead of the right hand? Are there exercises we should be doing that would improve it. I've heard players over the years that seem to sound the same no matter what equipment they had. It seems sometimes like what ever you start with is the way you will be forever except you improve on the execution of the songs, faster etc. So what do ya think?

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I'm in the camp that believes your sound (tone) is not ALL in the right hand. Much of it is, but you make a valid point about the electronics. If it was ALL in the right hand (I also will include the left hand), why do some players constantly go through and try different amps. They shouldn't matter. So and So's Little Walter should not sound any better than any other amp, regardless of price or age of the amp. This not a slam on Little Walter. They are great amps. I just needed a high dollar example.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 55 years and still counting.

Paul Sutherland · From: Placerville, California

It is far less controversial to suggest that one piece of equipment is better than another, than to suggest that one technique is better than another. So most of us tend to avoid starting those fights that can never be won.

The right hand is very important, but everything has an effect on the total product.

Regarding your question as to whether there are specific exercises to improve the right hand, the answer is yes. They break down mostly into the palm blocking versus pick blocking techniques. However, there are those that reject all such categories/labels and say do whatever feels natural. Good luck with the later approach.

The Jeff Newman Alpha Right Hand course is pretty much the gold standard for palm blocking. For pick blocking look at Joe Wright's various courses.
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It don't mean a thing if it ain't got that swing.

Hal Braun · From: Eustis, Florida, USA

I think it is equally important to recognize that not everybody is looking for the same tone. I am not that interested in the clean steel amps with lots of headroom and I am sure that not only will I never sound like BE or Lloyd or even Richard or Ted.. That I am ok with that and want my own.

That tone will be a combo of my guitar, my pickup, my tube amp and my fingers and bar.. Learning to play this darn thing is tough enough without trying to sound like someone I am not. 😊

Dylan Keating · From: Montreal QC

The way I interpret what people mean when they say tone is all in the right hand is that "guitars and effects won't make up for bad technique." Being able to play well is more important than the gear you use, and that's true for any instrument. I really liked The Right Hand Alpha course from Jeff Newman. And William Litaker teaches right hand technique on his weekly broadcast.
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"Steel a little and they throw you in jail, Steel a lot and they make you King."

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Right on Hal. Great post.

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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 55 years and still counting.

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

My take - it's not ALL in the hands, not ALL in the steel, not ALL in the amp, or ALL in any one thing. It's the whole enchilada that matters - everything from brain to hands to picks to strings to pickups to changer to body to cables to gizmos to amp to speaker to room acoustics to ears, which feedback to brain.

But I do basically agree that in players in beginning stages probably are not wise to focus overly on the equipment. If a steel sounds good and plays comfortably and well - enough so a player can profitably woodshed like crazy for a goodly period of time - that's more important than anything. To me, any amp that can produce a reasonable clean tone will tell me at least whether my basic sound, intonation, and execution are going in the right direction.

Once you get past the basics, I think it's reasonable to start worrying about equipment. I also agree with Hal that there is not just one "desirable tone". I personally like a bunch of different ones, and use different approaches and sometimes different equipment.

Ian Rae · From: Redditch, England

Jason Putnam · From: Tennessee, USA

Tone is in the instrument and equipment. Ability to make pleasant tones with that equipment is in the hands.
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1967 Emmons Bolt On, 1995 Mullen PRP 3x5,Nashville 112, JOYO Digital Delay, Goodrich Volume Pedal, Livesteel Strings

Ian Rae · From: Redditch, England

That is spot on and very profound.
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Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

Ken Metcalf · From: San Antonio Texas USA

Another way to say it's all in the hands is...
The first 10 years are the hardest.
After that it is merely difficult.
Smile

Ted Barnhouse II · From: Missouri, USA

You guys are awesome this is exactly what I wanted very good comments. Learning to play this thing is like trying to lose weight with videos, at some point you have to do more than watch the videos. Thanks to all!

Ian Rae · From: Redditch, England

Jamie Mitchell · From: Nashville, TN

Ned McIntosh · From: New South Wales, Australia

"Tone" is hugely contentious when it comes to pedal-steel, and we have all witnessed the ferocity of arguments from time to time on the subject so I won't rehash old ground. There are plenty of threads a search will turn up for those who wish to do the research.

I will add, however, that as a playe we are mostly in what I call the "near-field" of our instuments, that is we are close to our amplifiers, or we have foldback.

What we hear isn't necessarily what is headr by someone thirty feet away, in a room with carpets, furnishings, a ceiling and walls and curtains and a hundred other things which will modify the sound once it travels beyonf the near-field.

The same happens to violinists who are well aware how the instrument sounds "under the ear" is not how it sounds in the middle of the concert-hall. Bluegrass banjo-players likewise are hearing what is coming out sideways from their instrument and not what the audience well out to the front of the instrument is hearing.

Also, we all need learn to like what our own tone is when we play well. We can't all be Emmons, Hughey or Franklin...but we can be ourselves on the instrument.
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The steel guitar is a hard mistress. She will obsess you, bemuse and bewitch you. She will dash your hopes on what seems to be whim, only to tease you into renewing the relationship once more so she can do it to you all over again...and yet, if you somehow manage to touch her in that certain magic way, she will yield up a sound which has so much soul, raw emotion and heartfelt depth to it that she will pierce you to the very core of your being.

Dave Grafe · From: Hudson River Valley NY

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Lane Gray · From: Topeka, KS

I can't speak for anyone but myself and the guidance I got from Mike Auldridge.
My path was:
1) learn to make this machine give me the notes I wanted.
2) learn more about which notes it wanted to give me.
3) learn to play it reflexively (without thinking "how do I play what I'm thinking").
4) learn to make items 1-4 come out with better tone.
I've been playing since 1980, and only in the last 6 years have I gotten happy with my tone.
And the tone that makes me happy comes from a SIMPLE rig.
Steel - Goodrich volume pedal - amp.
Amp means, in decreasing fondness of tone:
Super Twin Reverb into closed-back 15 cab
Ultralinear Twin, stock two 12s with above closed-back 15 as extension cab.
Threeway tie for third, reissue Twin, Session 400 and Session 500.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Charlie McDonald · From: out of the blue

Tom Quinn · Posted 21 Aug 2015 4:07 am

It's all in the hands, period. But you can't sell hands and you can sell amps and toys. Garbage in, garbage out and nothing will ever change that.

If you want to be good on the steel, you need to be able to palm block, pick block, play in tune, play with pop, have an excellent ear and be able to be humble enough to put in the time to get where you want to go.

Otherwise you are kidding yourself and anyone who plays with you or listens to you.
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I need an Emmons!

Jim Bob Sedgwick · From: Clinton, Missouri USA

The secret is in your A$$. I say this because you will sit on it until you learn to develop good technique and tone. This will take literally thousands of hours. Smile

Tom Quinn · Posted 21 Aug 2015 6:32 am

Jim Park · From: Carson City, Nv

I agree that the playing style and compentecy is in the hands, But equipment must play a part, otherwise nobody would pay the prices that Franklins, Zums, and PPs are commanding, and everybody would play Mavericks thru PigNose amps....... Just sayin

Hal Braun · From: Eustis, Florida, USA

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