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Topic: Where do you pick? |
Neal Vosberg
From:
Tennessee, USA
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Posted 5 Feb 2018 12:36 pm |
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| Being a longtime Telecaster player, and having poor form, I always relied on the bridge to be there as a resting place for my picking hand when playing any melodic phrases, or just not strumming. Now on steel I pick block but end up using the top of the changer fingers as my resting place. It's not like I picked right at the pickup, but pretty close. I was lamenting last night about how elusive that springy, lighter than air tone was that you hear in so many pads. My tone was always on the treble side, and often sour. Then I did it, I just picked halfway between the 12th fret and the changer. Doors opened. Are you "supposed" to be there as your home base area? I'm wobbly playing there without my wrist rest but the tone is great. |
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John Swain
From:
Winchester, Va
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Posted 5 Feb 2018 12:38 pm
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| Yes, around the 24th fret. |
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Fred Justice
From:
Mesa, Arizona
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 5 Feb 2018 1:22 pm
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| This can be subjective; some things you just have to decide for yourself. You pick where it's easiest for you, and where you get the best sound. Keep in mind that this may vary from player to player, and from guitar to guitar. |
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Alan Cook
From:
Kent,England
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Posted 5 Feb 2018 1:27 pm
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Watch Paul Franklin play the solo in this video, he plays around the 24th fret but he is constantly moving his right hand with his left as though they are connected with an elastic band. You can see it best when the camera moves to the front view.
Alan.
https://youtu.be/8fScolqR-_Y |
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Bill Miller
From:
Gaspe, Quebec, Canada
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Posted 5 Feb 2018 1:43 pm
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I pick all over the place depending on the tone I'm after and what the song is. eg. If I'm attempting a Buck Owens tune I move closer to the changer to get that thinner, more treble tone. I may move around even within the same song, finding the tone that seems to suit the phrasing best.
I've noticed some players playing chords starting farther from the pickup on the bass strings and angling towards the pickup as they progress through the treble strings. It's all about tone, matching what you hear in your head with what you can get out of your guitar. |
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Ian Rae
From:
Redditch, England
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Posted 5 Feb 2018 2:45 pm
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| Alan Cook wrote: |
| Paul Franklin ... plays around the 24th fret but he is constantly moving his right hand with his left |
Too close to the bridge is thin and hard work - too far away feels and sounds flabby. The sweet spot moves according to how long the string is. It's the same with fiddle players - the bow retreats towards the bridge as the fingers advance.
On the steel, if you are still picking at the 24th fret when the bar comes up to the 12th, you'll be hitting the string right at the centre. Thus gives a distinctive reedy timbre that lacks the even harmonics. If you care for it, fine...
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Kevin Fix
From:
Michigan, USA
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Posted 5 Feb 2018 4:05 pm Where to pick.
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| Neal, Like the guys say, 24th fret. Once in a while I will pick close to the bridge just for a moment just for a particular tone I want in part of a song. By doing this I don't have to tweek on my amp settings for a song. Mostly vintage country I will use that effect of picking. I work for a vintage country group doing county fairs and festivals so I use this method often. Buck Owens stuff etc. |
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Jim Sliff
From:
Lawndale California, USA
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Posted 5 Feb 2018 7:03 pm
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| Quote: |
| Are you "supposed" to be there as your home base area |
IMO absolutely not.
Using one position for your picking hand limits both tone and dynamics. This is true not just on steel but any string instrument played with (a) pick(s).
Whether playing 6 string, pedal steel, dobro, banjo, bass, whatever, I may lightly brush the edge of my hand against unplayed strings, or the bridge - but I never physically rest it on those parts nor use any "fixed" position for more than a couple seconds at a time.
And each individual instrument requires a different approach - not just 6 string vs steel, but Strat vs Les Paul (for example), as do changes in string gage, musical style and so on.
I suggest not getting too comfortable with any one position, and if you already are try to break free from it. You tone will likely improve and your pick dynamics most certainly will (if you use a compressor this is a good time to eliminate that as well - most stompbox types have a very negative affect on dynamics).
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
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