The Magic Of A&B Pedals

Bill Hankey · From: Pittsfield, MA, USA

The prominence of tone bending, is the key to the elusive blending of melody lines, that are pleasing to the ear. Combined with the E-F and E-Eb changes, the A&B pedals can be transformed into mechanical magic. My steel features both full tone raises of fourth and eighth strings on the knee (RKL). Suspending the heel by lifting offers advantages in the quest for the pedal's tonal capabilities. This translates into better musical expression for audiences small or large. I've added "short" pedals between and above the A&B pedals for lowering fifth & sixth strings. For me, those changes are handily placed on the floor pedals.

[This message was edited by Bill Hankey on 11 October 2006 at 05:29 AM.]

Fred Glave · From: McHenry, Illinois, USA

I'd like to see that.

Bill Hankey · From: Pittsfield, MA, USA

Fred G.,

I'd be delighted to show you. All that remains is to present photos that will be taken soon. The lowering of the fifth string works like magic. No bar slants are needed for steel ride parts in "Together Again" or "The Other Woman", for example. The short pedals serve to form a homogenous cluster of a uniform pedal arrangement. It is more effective than one might imagine.

Ricky Thibodeaux · From: Dallas,Texas

I gotta see that.

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Charlie McDonald · From: out of the blue

I can see a second rank of pedals to be lifted with the toes. Lowers could easily go on such a pedal bar.
I like your ideas, Bill.

Stephen Dorocke · From: Tres Piedras, New Mexico

Together Again can be played with the A and B pedals without any bar slants. What I believe you're referring to, during the steel break, instead of slanting the bar to lower the 5th string, slide the bar down a half step and raise the 3rd string with the B pedal. That'll git 'er done.....

Bill Hankey · From: Pittsfield, MA, USA

Stephen D.,

I think your instruction to back up the bar 1/2 tone is how the original recording was played. However, the song flows like honey in zero weather, and the (A) pedal magic is superior, I feel, to the (B) pedal alternative. The 5th, 1/2 tone lower, also works wonders with with the 8th string 1/2 tone lower.

Robbie Daniels · From: Casper, Wyoming, USA

Vance Terry of San Francisco had that many years ago. He had Chuck Wright build him a tiered pedal system and played it heel and toe method and was quite effective, of couse Vance Terry was unmatched in talent anyway.

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Carter D12, MSA D12, MSA S12, 1956 Rickenbacker D8, Evans FET 500LV, Evans SE200

Bill Hankey · From: Pittsfield, MA, USA

Robbie D.,

It will be interesting to learn more about Vance Terry. Experience dictates that whatever he played, it wouldn't hurt to try to examine further, if possible, what he actually played. Close up pictures would be helpful, to facilitate a look see. My short pedals feature an exclusive design, which makes something similar more interesting to check into.

Bill Hankey · From: Pittsfield, MA, USA

Charlie M.,

Thanks Charlie, for your interest. I once read that there are just a few qualified piano tuners in the country. Have you ever seen or heard this statement in the past? The article referred to 3 tones, with one tone temper tuned, I believe. Other than that, the short pedals are pressed downward on my steel guitar. Your suggestion of a lifting style of pedals could never be ruled out, if unfamiliar stresses upon leg muscles cause no problems. We push and shove south, east, and west on the steel guitar, what's the harm of shoving north? Perhaps, in time the muscles for that lifting action would strengthen. For now, the soft touch brought about by combining the "Golo" with short pedals, is an excellent addition, realized by utilizing resourceful measures. There is so much activity in this steel guitar column, that suggestions of worth, are at times short-lived. Touting a favorite instrument, appears to be highly regarded as the ultimate subject matter, no doubt never to be equaled in this lifetime. Luckily, I've landed on some innovations, that have eliminated the bothersome retuning routine, found in common changer mechanisms.

[This message was edited by Bill Hankey on 12 October 2006 at 02:05 AM.]

Charlie McDonald · From: out of the blue

The more I think about a set of pedals to lift, the worse an idea I think it is. Always looking for a better mechanism (on my part) is a diversion from learning to use the pedals I already have.

There are many great piano tuners. But like steel players, one actually meets very few. A tuner meets more great musicians than other tuners. That's been the fun of it, for me.
That, and I can find more ways to tune a steel guitar than most folks.

All the rules are just there to break.

Bill Hankey · From: Pittsfield, MA, USA

Charlie M.,

Judging by the time on your reply, it appears that you are early to rise. The attunement of an instrument requires a good ear for harmonic pitches. Chet Atkins was a master of fine tuning an instrument. It can backfire though, in a nonconsensual gathering of whoop-de-do h--l raisers. More than one bandleader has been known to raise his/her proverbial eyebrows, in consternation, for lesser attempts to formularize harmonic balance. Usually, the front man is engaged in concentrating on the P.A., but the worm can turn suddenly, should any distraction evolve into an attention grabber. Woe is he, who becomes subject to reprimand, for causing a stir in the name of properly tuned instruments. (Harmonics included)

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