Do You Use An "Expression Pedal"!

Reece Anderson · From: Keller Texas USA, R.I.P.

The volume pedal is an integral part of the marvelous musical expression capabilities of the steel guitar.

The words “volume pedal” suggests the pedal is to be used for increased or decreased volume levels. However, when one thinks of it as an “expression pedal”, it provides a totally different mental picture.

It has been my experience that having a different mental image other than that of a “volume pedal”, will achieve remarkable results.

I believe most who have the mental image of the pedal as an “expression pedal” have mastered the art of its use, while those who consider it a “volume pedal” have yet to experience the marvelous advantages it can offer while being an extension of the musical soul.

Frank Parish · From: Nashville,Tn. USA

Interesting topic Reece. When I played the drums I worked with a lot of B3 or just Hammond players. I never heard one call it the volume pedal but instead it was the expression pedal. I worked with these guys 6 or 7 nights a week and a lot of matinees so I got my head full of the organ and it's capabilities. I always notice when you come across a player of any instrument that plays with no dynamics or just mechanically. I find myself using the volume/expression pedal much like I heard it back then. There's a lot more uses of the volume pedal than just sustaining a note or getting more volume.

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

I actually call mine a "Tone Pedal".

EJL

-Opting for Momentum-

Paul Graupp · From: Macon Ga USA

Frank; I'm with you ! When I was working at Channel 5 in Raleigh, NC; we had a guy on staff who did the kids show. His name was Paul Montgomery and he was a local jazz musician at night. He was a B3 man and gave me the same impression of the pedal that you and Reece share.

My favorite recollection of him was his having me come onto the children's show and explain my guitar to them as they gathered round it. Tom Vollmer in PA recently told me he was involved in those kind of shows and they can be very rewarding.

Regards, Paul

Richard Gonzales · From: Davidson, NC USA

Reece- Can you give a few words on the interaction between the expression pedal and the expression when picking softly or hard.
Or do you always pick softly and let the pedal do the expressing?

John Cox · From: Texas, USA

Curly Chalker comes to mind, I have his "More ways to play" album and on a few songs he uses the volume pedal as an expression pedal.

J.C.

Carl West · From: La Habra, CA, USA (deceased)

Reese, Although I never thought of it the way you described it, I totally agree with you on the word expression, volume and use. It seem as if it's always been there and a way to smooth strings, chords and get the most from one's playing. Johnny Cox hit it on the head with Curly Chalker.

Carl West
Emmons LaGrande

Larry Bell · From: Englewood, Florida

Volume is only one aspect of expression.

Chalker was mentioned. His 'gutting' technique that manually compressed the sound is an example. He would start near wide open and then choke it down after the initial peak and even out through the duration of the note, much like a compressor.

Day was a master of milking all the soul out of a steel guitar. One component of this was his use of the volume pedal for dynamics. You could hear a pin drop when he played the first line of 'I Love You Because' and could get pretty rowdy when playing an uptempo C6 tune like 'Watermelon Man'.

And then there's Emmons. He uses everything every way possible. The steel guitar, and the volume pedal and any effects he chooses, become an extension of his soul.

Yes, I love to learn from the masters on the use of expression, whether it comes from the volume control, hands, or just from the heart.

And I'd be remiss if I failed to mention that Reece Anderson is one of the most soulful players ever.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

Gene Jones · From: Oklahoma City, OK USA, (deceased)

I've called mine an expression pedal for years......ever since I realized that using the word "volume" scared both the horses and the soundman!

....as for the Chalker "gutting" technique...the contemporary player who has that ability mastered is David Wright!
www.genejones.com

[This message was edited by Gene Jones on 14 July 2003 at 10:00 AM.]

Pete Burak · From: Portland, OR USA

I use a Cry Baby Wha pedal instead of a volume pedal (not in the jimi hendrix sence what-so-ever).
The sublte change from the bass end to the treble end actually tricks the human ear to percieve a change in volume, when if fact there is none.
Simply a change in "expression".
All sence of volume "swell" and "dynamic" so inherent with the instrument is done with right and left hand technique.
This also allows me to have alot of time to use both feet/knees on the pedals/levers with no worries about that pesky "volume" pedal (i.e. How many threads have we read where folks don't like to use there right foot on the pedals or don't want to add more right knee levers because it interferes with their volume pedal work.)

Reece Anderson · From: Keller Texas USA, R.I.P.

Eric W....You comment is very interesting indeed and on topic. Perhaps you would consider sharing why you consider your pedal to be a "tone" pedal?

Richard G....It is never my intention to vary from my natural right hand interaction, regardless of how the expression pedal is being used.

I have always believed in the importance of consistency, and also believe it to be a blue print for success. Any variance I might make contrary to consistency, would provide me the potential of having a musical train wreck.

Larry B....Thank you for your very nice comment.

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

Well Mr A, I actually think of it as controlling the "tone", and I mean that in the REAL SENSE rather than the pages of blather I've read about "that word".

As Larry B, mentioned "gutting" is a technique using it as a tone control. I have, as I'm sure others do a thing I do where I pick the string barely muted, and let it ring, though it is less "edgy". Without a pot control it wouldn't carry or sustain. Also on the muted "violin" pizzacatto, or the less muted "Steel Drum" right hand effects, it also allows you to bring forth the TONE a person is looking for.

Having watched many top players, I invariably see a "reflexive" reaction, though sometimes barely perceptable of a slight lowering of the volume apon attack. That being different from the "bad habit", or what you see when an intermediately skilled guitar player tries to "ape" "pedal steel".

I was taught to try to play without your foot on the pedal at all when you can, as an awareness raising excersize. I'm sure we've all done without it entirely once or twice, and it is a rather rude awareness raising experience. I honestly do it at least once a night, and not just when Im using the right foot on the C6 #7 pedal with the left running #5. It's good "therapy".

I do though think of the volume pedal as something that controls my "TONE" inasmuch as it facilitates right hand techniques, and allows the tone of a decaying or string to ring forth. It is not just a "sustain tool".

I suppose "expression" is correct, in fact I'm sure it is. I've just never thought of it that way.

At least that's what I've gotten out of it from my observations and OTJ experiences.

Thanks for asking, AND answering "our" questions. Input here from you, Mr Emmons, and Mr Franklin lately have helped me a lot, ( know there are others too) and I'm not just saying that. You seem to have the prize for humbly humorous interactions, when called for, and answering things that others of your caliber would simply possibly "turn off", and I think we all appreciate that. I know I do.

Thank you.

EJL

PS. being a veteran of a lot of Musical Train Wrecks, sometimes those are the most memorable. The trick is to be on the right side of the Train.

Also I suppose I could call it the "End Pedal". I can kill it almost instantly If I find I'm the only one playing "after" the end.

I LOVED that William Shatner thing telling Mr Paisley how he liked "that part" the best in his latest video. Everybody needs to check it out. It really needed doing.

Sometimes that's my favorite part too....

Maybe even the best part of some of my posts...

[This message was edited by Eric West on 14 July 2003 at 11:00 AM.]

Rex Thomas · From: Thompson's Station, TN

Hey Reece, for youngsters startin' out

I'd like your advice & comments:
When I started back in the late sixties, someone gave me volume, expression, C; both, pedal advice that to this day I feel was wise; before you try any tricks, 1st try to hold the vol. ped. steady so that when you're playing the volume is consistent & to 1st shoot for sounding as if there's no vol. ped. hooked up. On this advice, I found that once I started "getting cute" with the vol. ped. that I had good control, no surprises in levels, whether prolonging sustain, gutting, etc. And over the years I found that live & recording engineers were much less likely to come at me with a compressor. Yikes.
What are your thoughts, Reece?

Boomer · From: Brentwood, TN USA

Maurice - Boomer here. My best to you and Theresa. RE: "Expression Pedal", the only one I use is technically referred to as the "Blame Shifter". i.e. When I make a musical mistake, the "Blame Shifter" kicks in, drops the misplaced musical note one octave, thus allowing me to blame the bass player

Love, Boomer

Jody Carver · From: KNIGHT OF FENDER TWEED

Maurice
Although it has been a few years,do you recall the name of a Joe Monte from Sheepshead Bay Brooklyn?? If you do then I have a story to tell,its not a short story

none of mine are. But before I get invloved
search your memory and post the answer.
Thanks.
edited for spelling.

Jody

[This message was edited by Jody Carver on 14 July 2003 at 12:49 PM.]

Reece Anderson · From: Keller Texas USA, R.I.P.

Eric W....Thank you for your courteous and insightful explanation.

I want to also thank you for your very kind words.

Rex T....Very good question. I'll try to explain my approach to the expression pedal relative to playing through an amp.

I set the amp volume level so that while my pedal is about half depressed I have achieved the volume level necessary for me to hear myself and be heard. This procedure dedicates the top portion of the expression pedal for sustain, dynamics, emotion and etc.

My focus is to instantly know the point of reference on my pedal, which again, for me is about half way down.

Were this not to be consistent, the volume would vary dramatically and interfere with the overall expressive control of the instrument.

Reece Anderson · From: Keller Texas USA, R.I.P.

Boomer....My great friend, you don't need a "blame shifter" pedal cause you don't make mistakes.

I found a picture a few months ago of you, Teresa and I when we were playing with T.J. in Ft.Worth. Surely you remember that job!

Teresa and I send you and yours our very best.

Jody C....The name Joe Monte is honestly familiar. So let's hear the story, and don't beat me up too bad if I'm in it!

Your stories are a treasure trove and a virtual warehouse of interesting information to many of us and what this forum is all about, so keep em coming.

Jody Carver · From: KNIGHT OF FENDER TWEED

Maurice
With your blessings I will tell the story.

I started studying steel guitar from a friend
of my dad.His name was Joe Monte. Joe was a fine musician and his knowledge of harmony and theory was unsurpassed. He taught at Julliard Univerisity in New York City for a while,but his love for music kept him playing
guitar as a livelihood. And he no longer kept his position as proffesor at Julliard.

I warn you, this may be longer that you would
like,but since I feel this should be told,I would appreciate all of you bearing with me as you have done many times before.

I started taking lessons from Joe Monte,he did this as a special favor for my dad and this is the story and it is in part about you.

I would often take recordings of my favorite
steel players to Joe's home which was a three
subway ride for a young fellow. I couldnt wait for the day of week when I would go to take my lesson.

I would take recordings of Joaquin, Boggs and other great players for Joe to listen to
he would always comment on how fine they played,but explained that in his kind of work
the steel guitar had to be a large part of the group and not just another instrument.

By that he meant,he worked with groups that consisted of bass,sax drums & piano, and the
steel guitar played a major role and not just
playing a chorus here and there.

His place in the group had to be more than just steel fills and glissando's,he had to
fill the room with chords and then some.

Joe was aware of my admiration for those western swing greats I mentioned,but told me how important it was to concentrate on chord
structure and the how and why's of chord construction and tone.

My head was tuned to Spade Cooley and Tex Williams and Bob Wills like some many others
and that more than likely includes you as well Maurice.

I would often times listen to Joe as he played his Gibson console grande and then his
Multi-Chord guitar and his Gibson Harp guitar
He amazed me with his playing,so full and tasty and Yet,I was hung up on another style
that was my favorite.

As I studied with Joe,it became more than a lesson,it became a close friendship and I would spend hours on end at his home working
on chords structure and theory,but all I had to work with was a little ole Supro guitar.

Joe was staff guitarist at Radio City Music Hall in NYC and would often play parts on the steel when needed. His playing was excellent,his tone was exceptional,his straight guitar playing was second to none in NYC,but Joe had something few others had.

He had his steel guitar. I rememeber his playing the Ice Capades in NYC Rockefeller
Plaza and heard his full chords filling the arena.

He emphasized on the use of a volume pedal and explained it in this manner.

He told me that the brain (I didnt have much of that) gives a signal to the hands which execute the technique and tone, and the hands then depend on the tone and use of the volume pedal which he reffered to as an extension of what the hands and brain were doing. I scratched my head as he told me this and said to myself..What is this all about?.

He went on to explain that the volume control
was not in fact to increase or decrease the output of the guitar,but to add feeling and treat it as an important part of the guitar and amp as a whole.

Joe worked at the Rustic Cabin years ago with
Tommy Dorsey when a young kid from Hoboken NJ
sang with the Dorsey Orchestra.

He told me something that nowadays most all of us are aware of.Tommy Dorsey used his method of what he reffered to as "breath control" to bleed out those trombone embellishments,and how the young vocalist who
had a thin voice would listen to Dorsey and
adapt that to his singing. The rest is history,that young man became the greatest pop ballad singer ever.

Joe used that technique of Dorsey's in the use of his volume pedal which was a Epi-Rocco
pedal,which in addition to volume was probably one of the first ever with a tone control unlike the Fender and Bigsby pedals which came about much later on.

Joe worked with me on the proper use of the pedal,this went on for what seemed forever.
Tone he would say,use your pedal as though you were taking a breath,inhale the notes and then exhale the notes you played.

Somewhat familiar,,somewhat like Dorsey did with his trombone and Frank did with his voice. I then had the feel,Joe would smile and say..you got it kiddo,

.

As time went by,would often stop by Joe's house to spend the day with him,he was always
wonderful to me and proud as well as I was then doing all the staff work at RCA Decca Columbia etc,and he was proud to say that it was he who as he put it,,brought out the talent that was in me and NEVER took credit for "teaching me".

Joe admired great steel players,but back here
there were very few who could match Joe's talent and ability on steel guitar.

His love was full chords and tasty playing and clean execution and most of all, the use of the volume pedal which was the key to tone
and feeling.

I took an LP to Joe's one day back in the early 1970's maybe earlier than that,he listened and I explained that this steel player was from Texas,as we listened he would stop the record player and say,listen to that fellow play,what a sound,what a great tone and his use of the "volume pedal" is exactly what I have told you all these years Jody..whats this fellows name??? I replied "Maurice Anderson" and the LP Title
was "MODERN STEEL GUITAR" which had Bill Miner on drums,Jess Hudson on Piano, Mac McRay on Bass, Jack Pierce on Fluegelhorn and Tom Morrell on Trombone.

Joe was so impressed with your playing and I gave him your LP and he was so happy.

He would often call me, and in the backround was Tangerine,Body and Soul and he would stop and say,,Jody this fellow knocks me out.

Somehow he got in touch with you and you wrote him back thanking him for his praise and kind words of your playing and when I saw this thread I couldnt resist telling you about this man,I know its long and to some maybe boring as well,but since I dont have your e mail address I wanted all of these people to know how much you were admired by one of the finest musicians in New York City.

Joe played guitar with Tommy Dorsey,Billy May
Nelson Riddle,Carmen Cavalarro,Sammy Kaye and most of all he was a wonderful human being.

A week earlier I didnt know it would be the last time I would see him,I went to visit he and his wife and he was listening to "what else?? Modern Steel Guitar and with a shortness of breath said to me,,Jody,this is the finest steel guitar player I have ever heard and I have heard them all. He said Jody
if I knew I had time left I would buy an MSA guitar but time is running out on me,but it gives me great pleasure to listen to Maurice Anderson play.

Joe's daughter called me a few days later to
tell me that her dad passed away,the day of his passing was July 14 1985. Today is July 14 2003 and I have here a volume pedal that Joe left for me as well as your Modern Steel Guitar LP. Joe's daughter told me her dad wanted me to have this and always remember what he taught me about the proper use of the pedal.

I have his picks and bar. He left his instruments to his grandchildren for their rememberance of their Grandpop Joe.

I know this is sooooooo loooooooong,,but in remeberance of my friend Joe Monte and the fact that YOU started this thread I had to tell this story.

Maurice,I wish you nothing but the best with your new endeavor and I wish you the best that life has to offer and most of all,my friend Joe thought you were "tops" and thats
good enough for me.

I hope you receive what your rightfully deserve among those GREATS like yourself and realize that dream come true.

Im pulling for you and I'm sure Joe is as well..and thanks to my friend Paul Graupp for the nice liner notes on your LP.

Joe would have loved to have had the pleasure
of meeting you.

My best to you and remember..the volume pedal is like taking a breath,It come's natural after a while,,I know,my friend Joe
Monte taught that to me.

I can breath a little better now,whew
this was a long one,but I did it for two people I admire..Joe Monte & Maurice Anderson

Thanks for hanging in with me. edited to add
that all those years,Joe Monte never took a penny from me for his knowledge and hours of hard work trying to help me. I know he would
have loved to have been here to read this.

Good Luck Reece.

Jody

[This message was edited by Jody Carver on 14 July 2003 at 07:02 PM.]

Ray Montee · From: Portland, Oregon (deceased)

PERSONALLY, I consider all pedals associated with my dbl-10 Emmons P/P to be "EXPRESSION PEDALS".
At no time have I found any need to stomp on the pedals to affect a pitch or chord change. I feather them in and out, depending on what I'm attempting to create musically.
In contrast, I've watched long time players stomp so hard on their pedals that the pedal bar actually sags. You want to worry about cabinet drop, watch some of those fellows.
In fact, just take a look at some of the pedal rods on the guitars of "STOMPER-pickers". Badly bent or mishapened.
A lot of B.Emmons older work is an excellent example of what I'm referring to. His pedal changes are barely perceptible, even to a well trained ear of a professional steel guitarist.
Same with the volume pedal. If a listener can hear all the fluctuations from soft to very loud, to moderately loud, etc., then it isn't being used properly.
The guitar is a finely tuned musical instrument altho' some players have yet to discover this fact. It's not just a piece of expensive machinery.
Set the mood and then "express yourself" by playing with control and a sensitive touch, regardless of which pedal you're using at the time. That's how I see it from where I sit. What say you?

David Wright · From: Pilot Point ,Tx USA.

What a great thread Maurice! I agree with you one hundred percent. But what I've found that works for me (in conjunction with the expression pedal)is my right hand and right foot work together for the gutting technique that Gene mentioned earlier. I also feel that Curly is one of the best examples you can use when discussing the expression pedal and it's impact. Gene you do me a great honor by mentioning my name with his in the same sentence. Thank you!

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DavidWright.us
Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300

Reece Anderson · From: Keller Texas USA, R.I.P.

Jody Carver....You have no idea how much your post means to me. To be perfectly truthful, it was very emotional for me.

I'm honored beyond words by you're informing me that something I created touched the heart of your dear friend and contributed to his enjoyment and happiness.

Music transcends earthly boundaries while touching the heart and revealing the soul.

Marco Schouten · From: Amsterdam, The Netherlands

Jody,

thanks for your memories, what a wonderfull story!

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Steelin' Greetings
Marco Schouten
Sho-Bud LLG; Sho-Bud Pro III Custom; Guyatone 6 string lap steel; John Pearse bar; Emmons bar; Panther amp

William Steward · From: Grand Cayman, Cayman Islands

Maurice, as a relative novice to these instruments, I have been trying to absorb some of the techniques or sounds that make them unique. I love the old recordings of Jerry Byrd, Speedy West, Leon McAuliffe and Don Helms simply because there is no question that another instrument could have made those sounds with their glissandos and wobbly melodies. One of JB's techniques mentioned in another recent thread was a do-wah sound (like the beginning of the steel break in Honky Tonkin'). Jody was probably pulling our leg about a do-wah "button" but I was wondering if it is possible to get this effect simply by manipulating an 'expression' pedal. I am thinking of canniballizing an old volume pedal and adding a tone pot, maybe to try what Pete Burak does...my 'wah-wah' pedal has a bit too much expression. Interesting comparison to the organ - I could not play organ without an 'expression' pedal. I forgot it one night and spent all night with my left hand on the volume knob.

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

thanx fer startin' a great thread Reese :
i prefer usin' a dignified Expression pedal than just a common VP
thanx for puttin' me on the right track

yeah Jody C,
as usual your memories and posts make it so worthwhile

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Steel what?

[This message was edited by CrowBear Schmitt on 15 July 2003 at 05:43 AM.]

[This message was edited by CrowBear Schmitt on 15 July 2003 at 01:07 PM.]

Al Marcus · From: Cedar Springs,MI USA (deceased)

In the very early days, we used to call it the "Expression Pedal". First used on Hawaiian music, which was popular in those days.

Jody remembers the" Rocco Tone Expressor", of which I had one for years. A very good unit.

Reece has brought up a good post on this and explained it very well,and maybe we all are a little bit better for it......al

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[url] www.cmedic.net/~almarcus/ [/url]

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