How to. Develop good touch, picking

Jim Morris · From: Cincinnati Ohio, USA

Hello everyone I am looking for any knowledge that I can pick up in the area of technique. I have always believed that if one is willing to pick up Knowledge from multiple sources they will be that much better off. Having said that my private instructor has told me several times that there are certain technique things that will come and develop in time. Things like touch and how hard to strike each string and how to develop equal striking pressure on the different strings. I have only been playing since April so I am very new and I was wondering if anyone could give me any tips or advice on how to make my playing sound more like what I hear on albums. Thanks in advance for any help you can give me.
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Edward Rhea · From: Medford Oklahoma, USA

Listen to your personal instructor...he's exactly right!!
Good luck on your journey Jim, you're very fortunate to have a "hands on" teacher/mentor!
_________________
â€œTONESNOBâ€

Jim Morris · From: Cincinnati Ohio, USA

Thanks Ed. There is a reason that patience is a virtue. Of course we would all like to wake up one day and play like one of the greats we have listened to so much I guess I just need to slow down work on the basics as I am being taught. Thanks again
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Bob Hoffnar · From: Austin, Tx

Jim,
I sought out as many one on one teachers as possible. I would go to steel shows and find a legendary player and offer them money to show me how they pick and hold the bar. What I would do is track down great pro level players and see if they would do a skype session with you. It is not as good as in person but it is close.

After years of doing this I found that all the greats pretty much arrived at the same place to get a sound that they could control and express themselves with.
I would skip youtube and standard online lessons for the information you want. Much of it is real garbage or aimed at a more general just get going approach. Go straight to the pro players for the depth you are talking about.

It is good to get the perspective of a few different players that have a tone you are into. It will be more easy to focus your practice on what works for your goals.
_________________
Bob

Jim Morris · From: Cincinnati Ohio, USA

Please don't get me wrong the private teacher I have is an excellent picker I am just trying to gather as many tips as possible.that being said, a top tier pro in the industry has told me he does skype lessons, and that is something I am considering ON TOP OF continuing my in-person lessons. The person teaching me now as I have already said is tremendously talented and learned the Jeff Newman way of learning so I have total confidence in him. As I said I just tried to pick up knowledge tips and pointers from as many places as possible. As far as the YouTube videos they are fine in their place if you ask me but nothing takes the place of someone who has experience showing you personally.
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

David Mason · From: Cambridge, MD, USA

I like multi-prongedness when possible, exercises that attack at least two things at once. In fact I don't even like EXERCISES, or at least work through things that sound musical - scale fragments as opposed to two octaves up-and-down scales =
1-2-3, 2-3-4, 3-4-5 in threes and fours, upward licks moving up and down the scale, downward licks etc.

One insty-groovinator for multiplicity is to work on playing the EXACT SAME LICKS on various different string combinations, that'll work out tonal issues, blocking (muting) issues, learning the neck better. I inflict it on six-string students specifically for speed: It's easy to work up one single lick to a great deal of speed, but as soon as you veer off that one position your speed disappears to mush. The "secret" is to allow each note the exact same length, and slow it down as much as you need to, thereby making "speed practice" applicable in different places. And ditto for your tone quest. Granted for some steel-guitar-specific, "signature E9" licks that's a waste of time*, but the principle of it will still open up as many inquiries as your brain desired. You're really only as fast as your slowest lick. (And as toneful as your wors.... aw no. Not that!) Rolling Eyes

It's easy to hear people who DON'T do this! UP the neck to-> diddle-diddle, DOWN the neck to-> diddle-diddle... but where's the diddle-tween-diddle? Crying or Very sad

*(Don't tell nobody, but there are better things to do than play ALL exercises in EVERY key too! Saxophone, pianer sure. Not guitars.)

Jim Morris · From: Cincinnati Ohio, USA

When I was learning to play reso (dobro), I figured out that it wasn't playing the lick as fast a spossible, it was playing it CORRECTLY as fast as possible, timing and what not.... Muscle memory and building the muscles in the hand and forearm your not used to utilizing is key I know. The thing I'm trying to pay attention to is having an even attack on each string. Example, when I pick 3&5, 5 rings louder after a few seconds than 3. Granted, one is wound and thicker, but I know if my technique were better and my attack was developed, it would sustain more evenly. And. As I said earlier, I'm trying not to pick strings so hard and aggressively now...paying more attention to the quality of the tone, as well as intonation.

Seems like the picking from playing reso would translate to PSG more, but alas, it seems to be totally different to me anyway....maybe it's due to the strings being much thinner and more flexible. Thanks for ur tips Dave!!
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Brian Gattis · From: Georgia, USA

PRACTICE

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

I think this is the summation of technique, tone, touch articulation. Notice how very little the whole hand moves,,,but yet accomplishes the EXACT thing it is supposed to. Jeff always said it's like snapping your fingers,,,Emphasis on "snap"

https://www.youtube.com/watch?v=gY53zX4D9ik

Jim Morris · From: Cincinnati Ohio, USA

Sonly I've noticed that with so many grrat players. Seems as though they sometimes don't even move....they just kinda flick their fingers slightly and that's it. I totally undwrstand.

I practice at least 3 hours everyday but I agree....practice. make a me think of the 10,000 hour philosophy. Definitely further along than I was 2 months ago. I luke to record myself and listen just to see how I sound. I listened to my very 1st rec or sing the other day and man I csnt believe it was THAT bad!!! Lol
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Lane Gray · From: Topeka, KS

I'd spend some of your practice time playing sans amp, listening to the sound of the strings themselves. You'll get better at getting uniform volume out of your strings
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Kevin Fix · From: Michigan, USA

Many years ago when I started I did practice about 2 maybe 3 hours a day. I learned by ear with no outside help. No courses or internet. I put a old Merle or George Jones LP's on my record player and would play along with the slow 3 chord songs. It's great now. When I want to learn any new songs I just go to You Tube. Plug in the head phones and play.

Bob Hoffnar · From: Austin, Tx

Jim,
You got the right idea. Absolutely stick with your live teacher ! Tracking down other players is for perspective about particular issues you want to get deeper with.
_________________
Bob

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

Yeah,,,,Jeff milked 7 1/2 minutes out of that on a strange guitar,,,,truly a master player,,,AND teacher!!!!

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

This thread prompted me to dig out my old (probably haven't looked at in 20+ years!) "Right Hand Alpha" course. I'm amazed at how much study,,and knowledge must have been put into that course,,,Jeff truly had a burning desire to TEACH steel guitar. His "peaked knuckle" and "crease line" concept is evidence in many of the great,,,Emmons,,(yes Doug, Gary Carter. Jeff did a lot of analyzing to put that course together. Unfortunately a lot of us just want to learn enough to get by,,,especially if a better idea requires some change of habits,,,or a little difficult.

If the OP is serious about touch and tone,,,I would highly encourage a look at Right Hand Alpha by Jeff Newman.

Jim Morris · From: Cincinnati Ohio, USA

Yeah I actually was searching for the JEFFRAN site, which last I checked, was not up. That is one course I have been steered toward already by my mentor. He is teaching me with a Newman style instruction, so this is a course we have talked about some

Does anyone know when Melissa will have JEFFRAN back up and running.....I heard the hiatus was temporary, but wasn't told how long it might be.
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Pete McAvity · From: St. Louis, Missouri USA

Heya, Jim. Melissa is in the process of getting the site up & going. She just sent me a catalog in the mail last week after I sent her an email inquiring about the site. Reach her at:

Melissa Newman Greer
615-879-4911
Jeffranmusic@gmail.com
_________________
Excel Superb D10, Sarno Black Box or Freeloader, Goodrich L120, Boss DD5, Baby Bloomer, 1965 Super Reverb chopped to a head, feeding a mystery PA cab w/ a K130.

They say "thats how it goes". I say "that ain't the way it stays!"

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

Being prompted to watch the video again after 20+ years....and making a few subtle adjustments, it's amazing what a difference in feel and tone! Jeff was an "analyzer",,,down to splitting hairs!!!,,,LOL

Jim Morris · From: Cincinnati Ohio, USA

Awesome I will contact Melissa via email and request a catalog.

Jeering you day that 20 years the course is STILL helping givese even more confidence in the course. And your summation of Jeff Newman makes me feel like I'm being less of a pain, I quiting about EVERY little detail I can think of. I am by no means Jeff Newman, but I feel like his thirst for knowledge and understanding of technique is what I am striving to reach!
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

J R Rose · From: Keota, Oklahoma, USA

If I may add my thoughts I would say do not be afraid of the guitar. Just get in there and pick it. Learn your string combinations and just do what you can do. Learn what your pedals and knee levers do and just go for it. Play along with some of your favorite songs. Just do what you hear and can do. Make it fit the tempo and song. When you learn more then you can work on doing what some pro has done. Go anywhere you can to watch and listen to someone on stage. Learning to play the licks of all the greats is one thing but making them fit in with a band on stage is another. You will have to be you and make it fit. Good Luck, J.R. Rose
_________________
NOTHING..Sold it all. J.R. Rose

Jim Morris · From: Cincinnati Ohio, USA

JR, you echoe what my mentor told me, listen to as many guys as you can. Then play like you. He also said playing a lick or run is one thing but knowing how that lick is made up and applying it to other situations besides the one you learned it in is quite another.

If I'm not mistaken, this is what Jeff Newman always taught.... Learning the application of things and not just learning a lick. Adting the lick to fit into other songs and spots. I mean it's one thing to tell a guy press this pedal at this fret at this moment in a song...it's quite another to realize what you are playing and how you can use that elsehwere.

Your advice is one I'm definitely following. I'm trying to work on economy of motion....when I watch the pros play, it is as though the right hand bare
Y moves....that's what I'm trying to get down, on top of keeping my elbow in and my hand in the curled position to achieve "that pro sound".

I must say there's a whole lot more to the right hand than I previously realized!!!
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Jim Morris · From: Cincinnati Ohio, USA

Well as far as the reasoning for my original posts goes, I will have the right hand alpha course come Thursday, thanks to my mentor so this, along with all your suggestions and tips, will help a lot.

I don't know what all the video covers so forgive me if I ask something I will soon find out, but I was told to pick the strings around the end of the fretboard for a full tone. However I have read to play as close to the pickup as you can. Is this subjective...a taste thing, or is there a certain place you SHOULD play? I have seen many comments on videos that say, "play closer to the pickup for a better tone ".....thoughts? ?
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Charlie McDonald · From: out of the blue

The closer you pick to the midpoint of the fretboard, the more full of lower harmonics.
Picking at the pickup/bridge will lessen lower harmonic content.

Everybody may have their sweet spot, but the range of picking area should be exploited for the tone that suits the song.

Jim Morris · From: Cincinnati Ohio, USA

Thank you for explaining that to me. I don't know a lot about harmonics or overtones things like that I only know what sounds good and I do realize on certain songs and certain voicings I need to move closer to the pickup and then other times I need to move further up on the fretboard. But like you said everybody has a sweet spot. I guess it's just like holding the bar everybody has a little something they may do different there is no right or wrong way I guess it is pretty subjective as long as it sounds good
_________________
1981 Emmons P/P, P2P Bad Dawg 1x12, Benado Steel Dream, Goodrich L120 volume pedal & BJS bar

Forum Index > Pedal Steel		Next oldest topic :: Next newest topic