What do I deserve?

Bill Llewellyn · From: San Jose, CA

I've got a very nice 1973 MSA U12. It's better than anything I'll ever get out of it with my skills. I know, I've heard David Wright play it. Maybe it's too good for me.

I've got a MIDI setup that could do the score for a movie production (well... it's not that good, but it's pretty capable), but hasn't and never will. I could never get that out of it. Maybe it's too good for me.

I've got an aging Goodrich 120 pedal that I recently changed the pot in. It sounds fine, but I've though of the Hilton pedal as a replacement. Then I thought to myself, maybe that's too good for me.

I considered buying a Nashville 1000, but realized that my little Roland Jazz-Chorus 50 does just fine. Why unseat it? Maybe the 1000 is too good for me.

No guys, this isn't an inferiority complex, it's (I think) a sense of practicality gnawing at me. Sometimes, with the gear I've got, I feel like a horse and buggy driver trying to drive a Mazaratti. Ever get that feeling? As if maybe one's gear quality should somehow match one's talent, and not outpace it--as if doing so would be some kind of waste of resources. I LOVE owning and using high quality stuff, but you don't need a baseball bat to swat a mosquito.

Whaddya think?

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Bill, steelin' since '99 | Steel page | My music | Steelers' birthdays | Over 50?

[This message was edited by Bill Llewellyn on 21 March 2003 at 05:46 PM.]

Ulf Edlund · From: Umeå, Sweden

I've got an old primitive student model with a dull tone. I don't think it's good enough for me.
My Twin with JBL's has lost its beautiful tone and sounds like a transistor radio. I've had it serviced but repairman couldn't find anything wrong with it. I don't think it's good enough for me.
I'd much rather be in your situation.

-Uffe

Jim Smith · From: Midlothian, TX, USA

Bill, I'll be glad to take your MIDI rig off your hands.

I've sent you an email anyway.

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Jim Smith jimsmith94@attbi.com
-=Dekley D-12 10&12=-
-=Fessenden D-12 9&9=-
-=Emmons D-12 push pull 9&4 (soon to be 9&9)=-
Stereo Steel rig w/Boss GX-700
IVL SteelRider w/JV-880

Ray Montee · From: Portland, Oregon (deceased)

Been there; Done that! (several times!!)
WHY NOT DOWN-GRADE?
Don't get rid of your current equipment.
Just get an old Rickenbacher "PREWAR" six or seven string lap steel. Find an old Fender
twin-reverb (1965-1970's)to go with it. This is just a couple of pieces of low cost, old junque that no one else will ever miss/want?
Put your foot volume pedal up on the shelf for another day. Lock yourself in your room and don't come out until you're happy with what you're doing. Have them slip food and drink in under the door. Talk to no one. No TV; radio or cell phone.
If this don't work go back to the expensive gear that you've obviously selected with good taste and care. YOU ARE WORTH IT! IT JUST DOESN"T HAPPEN OVER NIGHT. Don't clog your mind with a thousand DIFFERENT and conflicting suggestions and/or famous picker styles. Pick a straight line track and follow it to its conclusion. Remember those famous pickers are playing "themselves" so quit trying to learn what everybody else is doing. PLAY YOURSELF!! Big reward here!
I don't care if you're a beginner; a wanna-be; a younger person or whatever; contrary to what some have said about me here on the Forum. Dig just a little harder, faster and deeper. The "GOLD" could be just one shovel scoop beyond where you've stopped.

Joerg Hennig · From: Bavaria, Germany

I absolutely disagree with calling an old Fender Twin Reverb "junk". Some of the world´s greatest steel players have played some of their best music with them and some still do to this day. Ulf, if yours doesn´t sound as good as it used to there must be a solution for the problem. Maybe you should have another repairman look at it, one who´s specialized in those babies. They require a little more care than solid state amps, don´t you know.
Bill, I´ve played through a Roland Jazz Chorus once because there was nothing else around and I think it´s safe to say that those SUCK for steel. By all means, get something more suitable. It doesn´t have to be a Nashville 1000 right away, just try to find something with lots of clean headroom (100 watts and up) and possibly a 15" speaker.

Regards, Joe H.

[This message was edited by Joe Henry on 21 March 2003 at 10:23 AM.]

Ulf Edlund · From: Umeå, Sweden

Joe.
Yes i know, Fender amps are a bit special when it comes to service, and i will call in more doctors. It's bad timing though, since i'm trying to finance a new steelguitar.
Bill, it's not a question of deserving. If you bought and payed for the stuff you therefore deserve to play it.
But if you decide to downgrade i'll be more than willing to make a trade.

-Uffe

Jesse Pearson · From: San Diego , CA

Bill, I think we all go through a stage in the beginning and really spend alot of money on the best and newest gear we can, in the hopes that it will make us sound great or make learning that much easier, but as we have all found out, it's like putting the horse before the cart. I have since built up a really great music book library on alot of different styles and instruments. I value my music books beyond all possessions. Knowledge and diligent study, like all education, will make you more successful in any field you choose. I just won the bid on a 1938 hawaiian guitar book on e-bay last night.
Learning to copy someone great note for note is good for your ear and tech. All famous players have their favorites that they can play note for note. I have found that after about 4 months your own personality starts to come through pretty strong even though you learned a song note for note at first. Learning note for note is good at first to help you master your instruments, after a while you can pick up a song in a couple of minutes and sound pretty good without doing it note for note. I have four cheapo lap steels tuned to different tunings that I'm trying to master. One day I dream of owning a pre war Bakelite when I can do it justice and afford it's high cost. I know Ray is a master of JB's style and I know he can play JB note for note if he wants to. That's something anyone into steel would be proud of and I respect that. If you already have good gear, that's cool, do it justice and study hard when you can.

Jon Light · From: Saugerties, NY

Bill--this seems pretty simple to me. If you have (and keep) a good head on your shoulders and don't fall for the trap that better gear is all that stands between yourself and excellence (a fun crutch but rarely the issue), then there is nothing wrong with taking what competence you have achieved and making it sound better with better gear. That Peavey will sound much more gratifying than the Roland. More gratification yields more inspiration. Which yields more fruitful practice and more hope that you can steadily and surely and continually grow and improve. Sky's the limit, man.
We had a mandolin picker sit in with us recently. He told me all about his collection of $3000 axes with names I've never even heard of. Then I heard him pick. He couldn't barely keep up. Now that was silly. But you are not talking about wanting a new MSA and an Anapeg and a new Standel. There is absolutely nothing wrong with treating yourself to some proper tools of the trade. And there is absolutely nothing wrong with pampering youself, if that's what it feels like to you. Just so long as you avoid the trap I mention at the top.

Eric West · From: Portland, Oregon, USA, R.I.P.

"Deserve's got nothing to do with it kid."

-William Munny- (Unforgiven)

No. I think at a certain point, you're allowed to get any kind of steel or amp you want. It's still a free country.

Here's why I have a ragged old Sho~Bud:

If I'm playing like crap, I can always blame it on my equipment. It IS about the best a guy could ask for, but it really doesn't look like it. The Peavy Amp turns on every time I push the button and isn't as heavy as the 500, or I'd still be lugging it around. You'll need about 200watts to drown out any guitar player, vocalist, or rythym section, and a line out is nice. Preferrably Low Z balanced.

If I've got 12,000$ worth of stuff sitting there, and can't play in tune more than half the time, on time, or blow half the licks I try, except on certain nights, or with certain bands, I'm kind of "out of excuses" now aren't I?

Hmm..

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Eric West
'78 Pro III Sho-Bud
'75 MSA Red Baron
'63FLH 90cid Panhead
-Peavey: When it's *not* about "The Sound"-
"You can Smart Yourself Dumb.
Why Can't you Dumb yourself Smart?"-Me
Some people play music out of love for it. Some for the money. I play it mostly out ofSpite.
-Me_
"At my age, sometimes I run out of Adrenaline, but I've still got plenty of Gall.." -Me-

David L. Donald · From: Koh Samui Island, Thailand

The level of your tools can effect how far your work can ever prgogress.

If you're not Michael Shumacher you won't drive a Ferrari 365 like he would, and it' may not be nesessary to own one, but if you can afford it, it sure is fun. ( if you don't try to race Mike LOL)

It may be much more practical and safer to have a Mercedes, you may not drive it to it's potential, but in a tough sitiation it sure is nice the car helps you out.

Mike S. in a VW bug...is limitied by how the car performs.. he will drive it better than you... but not that much better.

These same analogys can apply to a PSG or other instrument. You may not need, or play up to, a MSA Millenium, and you may not NEED it, but if you have it it likely will help you play better.

If you have a nice Mullen, Emmons, Fessenden, Sho-Bud etc, it may also be above your level, but it won't hold you back.

Play a Maverick, Lil Buddy, "Starter" etc and you can only rise to the level of the instrument.. sure Paul Frankiln Lloyd or Buddy will smoke you on it, but they can't play to their level on it either.

If you have good solid workingmans tools, you can build a good product as best you know how.
It doesn't have to be a masterwork, just nice an pleasing should be enough.
With a dull chisel... all you do is make gouges. IMHO.

Bill Llewellyn · From: San Jose, CA

Thanks for all the good comments, guys.

I think part of the problem I have is that the PSG takes soooo much time and progress is anything but fast. That means what I hear coming from my MSA doesn't hold a candle to what could come from it. Big contrast! And since I spend almost all my music time trying to get somewhere on steel, the MIDI gear languishes. That makes me feel guilty, especially since MIDI used to be my primary musical focus (see the "My Music" link, below). I've done a couple homebrew CDs, and peole have been asking for a third. I gotta get back to it somehow.

All in all, I must agree with the assertion that you don't want your gear to limit your potential. Quality tools for a quality job.

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Bill, steelin' since '99 | Steel page | My music | Steelers' birthdays | Over 50?

[This message was edited by Bill Llewellyn on 22 March 2003 at 08:21 AM.]

Ulf Edlund · From: Umeå, Sweden

Quote:"what I hear coming from my MSA doesn't hold a candle to what could come from it."
Look at it this way. How fun would it be knowing it doesn't get any better than this?
I really don't see the problem with having quality equipment.
Compared to regular guitar a PSG is also a machine, and a better machinery will allow better playing. A better guitar could give me a better sound but it would not make me a better player but a better PSG would allow me to improve my playing.
And last but not least, it's much more fun!

-Uffe

David Biagini · From: San Jose, CA, USA

"And since I spend almost all my music time trying to get somewhere on steel, the MIDI gear languishes. That makes me feel guilty, especially since MIDI used to be my primary musical focus".

That's called "addiction".

Bill Llewellyn · From: San Jose, CA

Uh oh.

Mike Perlowin · From: Los Angeles CA

Bill, you're absolutely right. Instead of buying that Nashville 1000 amp for yourself, you should buy it and give it to me.

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I'm not fat! I'm horzontally enhanced!

David L. Donald · From: Koh Samui Island, Thailand

I think the midi tools should be used to help increase you PSG techinque. Make a chord progression; even just 2 or 4 measures, and play to that at varying tempos. You can find a lot of ways around your steel like that. IMHO.

Reggie Duncan · From: Mississippi

My gear is probably better than I am. I started off by borrowing a guitar to play. Then, the group I was with bought me one. I tried out with a pro group and they were going to let me use a LDG they had. I didn't take the job. After that, I ordered a 1979 Emmons Original from Sam Ash. I was 20. I still play that guitar today. And, I might have been more worthy of it back then, as sometimes I don't think I have advanced very far in my playing. I listen to things I played back then and I wonder how I did it! Of course, there are things I do now that I never dreamed of back then. Maybe when the kids get grown and gone (I'm not rushing it!)
I will have enough time to focus on the instrument more, and do it justice!

Don Walters · From: Saskatchewan Canada

My attitude has always been, about anything I buy, "get the best you can afford"!

In terms of steel/amp/accessories, I believe I was successful in getting equipment that pretty much assured that any bad sounds are my fault!

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Don Walters
Carter D-10, 8p/6k
Session 500 with Lemay Mod

Pete Grant · From: Auburn, CA, USA

Get a professional rig and approach steel like a pro. A really good PSG will really inspire you to play great stuff. Sometimes the significant difference between a great player and a good or OK player is in all the little subtleties. Compare Emmons' kickoff to Someday Soon to the Trisha Yearwood one. It's almost the same notes, but one is dynamic, makes you grin and say, "Yeah!"; the other, is, well, you decide. The point is that a good steel guitar rig will inspire you to perceive--then play--with more depth. Discover how much shape and depth you can put into one phrase.

Try out a Webb and check out Gallien-Kruger amps. The Webb circuit design was inspired by G-K. I'll write you off-list about my experience with Peavey, lest I tip any sacred cows here.

I took a MIDI rig to a country gig one night. I used it on a couple of tunes, and said to myself, "Gee, Pete, you sound just like a keyboard!"

HowardR · From: N.Y.C.-Fire Island-Asheville

David Biagini · From: San Jose, CA, USA

Bill is describing an interesting situation that I also find myself in. We both attained a satisfying level of competence on another instrument before taking up pedal steel. But spending time on the PSG takes time away from our other instruments. And people want to hear us play our other instruments which, by the way, we still get much enjoyment out of. But the PSG keeps calling. If only there was more time...

JERRY THURMOND · From: sullivan mo u.s.a.

A friend of mine always wanted a Selmer Sax but they cost a few thousand, so he always settled for some thing less, he is retired an ok with money, so I told him when you die an you are laying there in your coffin, I will tell all your friends you always wanted a Selmer Sax, but didn't want to spend the money so you left all your money to your kids. The very next day he orderd a new Selmer, we only live one time, we should treat or self to any thing we want as long as we can afford it. If you worked to get the money you deserve to get to spend it. Jerry

David Cobb · From: Chanute, Kansas, USA

Reminds me of the saying, "I don't want to die rich, I want to live rich."
With that in mind, Bill, you deserve anything you can afford.
Go for it and enjoy.
Ain't never seen a U-haul hitched to a hearse.

Eric West · From: Portland, Oregon, USA, R.I.P.

Yup. Here's a take off on the Harley Davidson COmmercial I got a kick out of:

( kids sitting around Grandpa on the front porch listening to his "story" with rapt attention).

Grandpa: "Yeah, those Fessenden Steel Guitars. Tone you'd die for. Beautiful as the Arc of the Covenant. Played like am Old Sho Bud, Built like a fine Stadivarius...

Kid: " So Grandpa. Did you have one? "

Grandpa looking wistful..:

"No, I bought vinyl siding for the house instead.........."

Buy It.

Next year you might have smallpox..

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