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Topic: Pull-offs on Dobro/Reso?? |
Jim Fogarty
From:
Phila, Pa, USA
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Posted 17 May 2023 3:55 pm |
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Pull-Offs
Simple.....but important....question.
How are you muting the lower string(s) on pull-offs. Example, pulling off the 2nd fret on the G string, how do you keep the D string from sounding? Are you using fingers behind the bar, or your right hand....or?
Just curious how everyone does it.
Thanks! |
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Paul Seager
From:
Augsburg, Germany
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Posted 20 May 2023 1:54 am
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I thought about this and realized I didn't know so after some playing analysis I can only say it depends!
In the example you give I seem to using my thumb if I pluck the G with my finger or my palm if I pluck with my thumb.
I know that I subconsciously pick-block a lot (but ask me to demonstrate and I'm useless!) I also palm block. I guess I adapt to each phrase as I learn.
My own pull off problem is on the lower frets of the hi D. I always seem to get a metallic rattle. I tried to cure this with a mute but to no avail. I now know that if I hold my bar at less of an angle it helps but still not quite there at speed!
_________________
\paul
Bayern Hawaiians: https://www.youtube.com/@diebayernhawaiians3062
Other stuff: https://www.youtube.com/@paulseager3796/videos |
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Jim Sliff
From:
Lawndale California, USA
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Posted 23 May 2023 1:30 pm
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I've been playing resophonics for over 40 years - it's never been an issue. I just picked up my Appy and there basically isn't any significant sound from lower strings on pulloffs - and most are played so quickly the left hand off doing something else before you'd notice it.
If you watch Jerry Douglas he does pulloffs with the bar almost flat on fast songs, and there's no time to do any blocking. You hear the picked note and the "pulloff" (essentially a "lift" off a vibrating string) because it's already moving - and makes a far more significant tone during the lift.. I use the same method.
I find heavy bars and vertical end (like the Stevens) or with an odd bottom curve (like the very heavy Asher) to be very difficult to use on any quick tunes.
I had Charlie make me a stainless bar with straight 2 5/8"x 7/8" radius bottom; 65 and 55-degree angles on the ends, 2 1/8" grooved top; and a thin 3/8" center inset curve. He makes the different angled ends as switching back and forth also reduces fatigue.
But with it short and light Hammer-ons and pulloffs are so effortless I don't notice any "stray" notes like you describe. And normally pulloffs are played on faster tunes where adjacent string vibration is SO incidental it's not noticed.
If you do slow pulloffs to see if there's issue you might hear something - but it doesn't get noticed in bands with everyone playing at speed.
I think you're worried about q problem that just isn't there.
_________________
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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