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"Ask Bud!"
Question:
Many newer model steels offer tunable splits or compensators. Would you explain the difference between tunable splits and the "feel" stops or half-stops often used on 2nd string lowers? What are the tunable splits intended to accomplish? How well do the different brands of pedal steels stack up?
Answer:
To answer your question about the difference between tunable splits and half-stops (feel stops, etc.), I can say the following:

Half-Stops:
Half-stops are normally found on the 2nd string on the E9 neck: D# to D to C# (-1/2, -1). These typically control one (1) string only and are used with 1 knee lever at a time. Half-stops can be used on pedals, but we do not recommend it because it is harder to feel the stop with your feet and it makes the action stiffer. Most modern steels implement half-stops in 2 different ways:

Separate pull bar (bell crank), rod and tuning nuts with its own unique location (11th or 13th lower "finger"). This method was first used on the MCI. Presently, it is used on both the Remington and the Carter.


The 9th string (D) lower (C# or -1/2) engages only when string 2 (D#) goes from D to C#. Zumsteel, Mullen & others use this method.

Both methods are tuned with tuning nuts in the endplate (same as pedals & knee levers).

Splits:
Splits allow you to use a pedal and a knee lever that operate the same string together at the same time. Example: Pedal 2 raises the 6th string (G#) 1/2-tone (+1/2) to A; Knee lever lowers full tone (-1) to F#. In this example, a split would allow you to use both the pedal and knee lever together, resulting in a 1/2-tone lower (G) and it would be accurately tunable.


Compensators:
There are three (3) types of Compensators:
Tuning Compensators: are extra "pulls" that allow you to be in tune when using the pedals or knee levers.. A typical implementation is to flat the two (2) F#'s (strings 1 and 7) about 1/8 of a tone when the "A&B" pedals are used (E9 to A6).

Return Compensators: are extra rods typically attached to a fixed point, such as a cross-brace. These make sure any string that both lowers and raises will return true. Not all steels use or require this type of compensator.

Detuning Compensators: are mechanisms that apply pressure to the changer to reduce an excessive "drop" in pitch that occurs due to mechanical stresses caused by using the pedals and/or knee levers. Very few steels use this type of compensator.

As to how well the different brands stack up, I recommend that you talk to the various manufacturers, try out the different makes, and talk to other players who use or have used those products. And, I suppose, just like anything else in life, your own personal preferences will shape your outlook and opinion of what is a good steel, as well as a good deal.

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Maybe I'm missing the boat entirely, but I'm just trying to understand what a "compensator" is - and from the descriptions given it seems like it's just something added to make up for mechanical defects.

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Bobby Lee
Sysop
From: Cloverdale, North California, USA
posted 15 March 2002 09:01 AM profile send email edit
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There are several meanings of the word "compensator" in pedal steel lingo.
First, a compensator pull is one that pulls a string by a small amount to bring it in tune with notes that have been changed my the pedals. The most common of these is the technique of lowering the F# strings slightly on the A or B pedals, to bring them in tune with the A major chord.

Another kind of compensator is used to bring a return back to pitch. This is most common on the E strings, where the lower change typically returns sharp (the "hysteresis" effect). Keyless guitars don't have this problem, so they don't need this kind of compensator.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (F Diatonic) Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6)

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