Serious color question for pros

Eric Philippsen · From: Central Florida USA

All humor aside, I’ve heard that the color of a steel can make a difference when you’re in a band backing an artist. Put another way, as a sideman it’s “not about you”. It’s about the artist, of course, the one whose name is on the marquee. Using, say, a bright-colored steel on stage, versus a black one, could detract the audience’s eyes away from that artist. And that’s not ideal. So, some pros have said that’s why a black-colored steel is their first choice for live work.

Is steel color a consideration as a sideman?

Henry Matthews · From: Texarkana, Ark USA

I’m not a pro but I can say that I don’t like flashy instruments. I wouldn’t think it would distract anyone watching but does distract me playing. I like solid color steels either black or plain rosewood. I don’t even like the guitars with the two tone front aprons with the big V on them but on the other hand, it’s just personal preference I’m sure. I also don’t care for all the extra effects units some people use. Not knocking their sound because most sound great but just give me a steel, volume pedal and amp and I’m happy. Maybe I’m just lazy😊
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Henry Matthews

D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes.

Rich Peterson · From: Moorhead, MN

I doubt that it is a factor. The steeler is sitting down and looking down (no eye contact with the audience.) The only people who notice him are other steel guitarists.

Only being slightly sarcastic.

Edward Dixon · From: Crestview Florida

It's never happened to me but if "an artist" ever wanted me to have a particular color, brand, or style guitar I would ask "the artist' to pay for it.
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"Faith don't need no second opinion."

Lee Warren · From: Nashville, Tennessee, USA

Hi Eric,
When playing a tv date some years ago (I forget which one), I came out of the dressing room to find that a stage hand had applied black gaffer tape across the front of my light blue Emmons..
Apparently, the shows director felt it was ‘too bright’ for that situation.
That’s the only time in nearly 3 decades of shows where I ran into an issue relating to the colour of my guitar.

Mike Vallandigham · From: Martinez, CA

Lee, man, I would have knocked the crap outta that guy.

Never touch a man's piece. Ever.

Herb Steiner · From: Spicewood TX 78669

I've been in a few theatrical situations in which my guitar was deemed distracting to the audience.

Typical situations: Amp on/off lights (black tape), Telonics volume pedal blue light (tape), and my chrome pedal bar reflecting stage lights into the audience (dark towel over bar), all of which are completely understandable to me and just part of the gig.

The greatest majority of my professional guitars have been black, lest I stand out like a marshmallow in a raisin box. Basic black is the default color in gear and clothing for the working sideman/journeyman musician, anyway; it makes no statement whatsoever to distract the audience from wherever the boss wants it to go.

When I was on Johnny Bush's band, we had way cool uniform shirts; bib front western with Texas flag embroidery on the right sleeve. So the de rigeur outfit was either the black shirt or the blue, and blue or dark jeans. We did a "Texas Legends" TV show for TNN in '95 with Willie, and Johnny took the 12pc. big band with horn section. We all 12 dutifully wore the blue shirt with the dark blue jeans, hats and boots. That is, except for the trumpet man. He also wore the blue shirt, but chose to pair it with BAGGY BRIGHT WHITE parachute pants (I refer to the above mentioned "marshmallow" comparison). So when the camera shifted to the horn section... Laughing

We didn't do the big band gigs that often, but I don't recall Shane being on any of them after that. Laughing

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My rig: Infinity and Telonics.

Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?

Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

Hey, I'm hardly playing with 'big stars', LOL. And I try as hard as I can to steer clear of divas who would be sufficiently insecure that they would worry whether or not my teal green Zum or my electric surf green or pink paisley Stratocaster 'upstages' them. I have had band members or bar managers occasionally remark that I was over-dressed in a sharkskin or Western suit with a fancy hat for a bar gig, but these were just comments that I ignored.

I have, occasionally, had someone ask me to do something to subdue something on one of my pedal steels. I think in each case it was just the chrome or the shiny aluminum neck, which was reflecting the stage lights in a weird way for the front-of-house. That was definitely the issue with my flat-black-mica Franklin that I used on an Always, Patsy Cline show. We figured something out together - it's no big deal. But I have steels and especially guitars in all kinds of colors and finishes, and I don't recall anybody, ever, asking me to change the color.

But I would totally jump on anybody who had the audacity to put gaffer tape on any of my guitars for any purpose without discussing it with me first. I occasionally take a valuable vintage guitar out to a gig, and that shit would not go with me at all! Together, we can fix bloody near any issue. But for someone to take that on themselves by screwing around with my stuff would be a big problem.

Rick Myrland · From: New Orleans

If chrome is at times too reflective, why doesn’t a steel company produce a “sideman” all matte black version and eliminate anything shiny?
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Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

Jon Snyder · From: Nevada, USA

I wondered about the underside lighting being a distraction that some artists would not want on stage. After all, they are paying the bills. The lighted keyboard however seems like a great idea.

Thomas Stone · From: San Francisco

I've opted for dark wine red aprons and black top.

Just enough to add a little color and individuality, but definitely not flashy.

Clyde Mattocks · From: Kinston, North Carolina, USA

The the early days of television, they would spray some kind of aerosol on our chrome to dull the glare. Of course we didn't like it. Eventually they stopped doing that.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro

Roger Rettig · From: Naples, FL

I picked black for my Emmons because it's my personal preference. Having said that, and as happened with Herb, I have had the pedal-bar taped over because it was catching the lights and drawing focus. That's occurred in TV studios as well as theatrical productions.

I recall meeting Weldon at the Opry and remarking on his then-new Emmons LeGrande (mid-'90s?); it was an eye-catching pale green or even a light-blue (not sure if it was Emmons' teal-colour - I believe it was even brighter than that) and he said: 'I wanted to see the steel stand out for a change.'

I remember James Burton expressing some reserve when Fender called him, offering him the first pink-paisley Telecaster. James liked it, but worried in case Elvis might think JB was trying to upstage him!

As if! Hard to imagine anybody upstaging Elvis Presley and, as it turned out, he loved the guitar and urged James to use it from then on.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Brint Hannay · From: Maryland, USA

I read an interview somewhere where Burton said he brought out the pink Paisley Tele onstage without warning Elvis, and when Elvis saw it he did a big double take and said "Where did you get that guitar?!" Fortunately, as Roger said, Elvis loved it. It took some nerve to spring that flashy guitar on the boss like that, but, after all, he was James Burton.

Don Downes · From: New Hampshire, USA

Clyde, when I was a photographer I would spray any mirrors in sight with hair spray to diffuse any glare from the flash and also eliminate any reflection that would take away from my subject. Of course, I cleaned the mirrors after the shoot. Very Happy

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Ken Metcalf · From: San Antonio Texas USA

I am not a pro but If I don't know I will bring a white shirt and a dark shirt just in case.
Color coordination does cost extra.
All my steels are black with lights.

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MSA 12 String E9th/B6th Universal.
Little Walter PF-89.
Bunch of stomp boxes

Wayne Baker · From: Altus Oklahoma

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Johnie King · From: Tennessee, USA

Kenny Davis · From: Great State of Oklahoma

When the Buck Owens Ranch shows were being taped in Oklahoma City in the mid 60's they put red gaffer tape on Tom's pedal board to reduce glare. Funny, they did nothing to the sparkle tele's, bass, and Willie's drums. Or - All the sequins and rhinestones that literally played total havoc on the cameras.

I've been playing "out" since 1973. I've done television, APC stage shows, and many live concerts and clubs. I have never had anyone require or suggest I do anything to any of my equipment to alter it's look. I do recall a request for certain attire when appearing with Leroy VanDyke on a couple of tv shows. I wore boots, jeans and a western shirt at the White House, but it was an outdoor gig. I probably would have dressed a little more formal if it was inside!
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Best lyric in a country song: "...One more, Moon..."

Bill Ford · From: Graniteville SC Aiken

What Dave Mudgett said.

I can work with anyone but ask before touching my stuff, that includes moving anything.
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Bill Ford S12 CLR, S12 Lamar keyless, Misc amps&toys Sharp Covers
Steeling for Jesus now!!!

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

For the most part, I don't think stars, promoters, or the audience in general give a hoot about what color some stupid instrument is that some unknown guy is playing in the dim light on the side of the stage. Laughing

Maybe one in one hundred would notice, and probably far less than that would even give it a second thought. As far as distracting attention from the "star", I'm pretty sure that would be a non-issue. And if it was, well...then...

...they really aren't much of a "star", are they?

Dale Rottacker · From: Walla Walla Washington, USA

Been reading this with a bit of interest and not really sure how I feel about it.

My first Pro lll was solid Black and I loved it... my first Mullen had Black Aprons and a Grey top and I loved it. My first Rittenberry was also ALL Black and I loved it.

Over time my thinking has evolved some, in that I love seeing Black on the top of the guitar when I'm sitting behind it. But I'm also a big fan of color and contrast. This has led me to a place where I don't want to give up either Black or Color, so now I want Color on the Aprons and Black on the Top.

Who among us hasn't heard statements on how stoic or emotionless the steel player is, compared to a how expressive a guitar or bass player gets to be dancing around the stage. I'm not Rusty Young or Jim Heep able to play standing up leaning my guitar over or twirling it over my head playing my hottest licks.

In conclusion, the Black on top is for me, and the Color on the front for those looking at the guitar from the audience. As for the artist you're playing for, perhaps there are some intimidated by color and the possibility that some of their attention is taken away, and for them play the Black guitar. But for an artist who is unintimidated by a little pazazz, and who appreciates the visual of your guitar as well as how you play it, then bring out the color.

And there's my 2 bits Wink

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Dale Rottacker, Steelinatune™
https://www.youtube.com/@steelinatune
*2021 MSA Legend, "Jolly Rancher" D10 10x9
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*1977 Blue Sho-Bud Pro 3 Custom 8x6
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