SOUND vs. TONE................and the winner is!

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

Every steel player who has achieved legendary status on steel guitar had his or her own sound and style which was unique only to them. This in itself provides a valid conclusion that trying to sound like someone else is counter productive to achieving a musical identity.

For some, emulating others provides a personal benchmark, which when and if attained, the best anyone could hope for is for someone to say….”they sound like someone else”, which invites obscurity. For some this may be the musical reward they seek, but I personally never found that to be a very lofty goal, and obviously neither did any legendary player, or they would not have created their own sound and style, and would have been content to sound like everyone else.

Emulating flatters mainly the creator of a specific style and sound. If on the other hand one copies different players as a learning tool, in many instances it may be helpful, but caution and moderation is recommended. At times it can be harmful to your musical health because it has the propensity to suppress creativity and originality, therefore it may prove to be counter productive to varying extents.

If you ask most anyone what attracted them to steel guitar, they will most likely say the “sound”. The “sound” they are referring to is the inherent ability of the steel guitar to slide from one chord to the next while maintaining or altering the movement of string intervals relative to one another, either by bar manipulation or mechanically changing strings to different pitches.

The single most definitive and important characteristic of the steel guitar is the sound it produces when the steel bar is laid on the strings, which is why it was named “steel” guitar. Had the tone been the most important thing, it would have been named a “tone” guitar. I’ve yet to hear anyone say they wanted to learn to play because they liked the “tone”.

For anyone to imply everyone should strive for the same “tone” if they want to sound good, or to say one cannot be successful who does not have a specific tone seems like folly to me.

Consider these examples of both the past and present of some of the greatest innovators in the history of steel guitar, like Alvino Rey, Santo and Johnny, and Robert Randolf. They all sound totally different, yet they have been successful in bringing to each of us and the entire world, the wonderful sounds of steel guitar. Had they been trying to sound like someone else, chances are none of us would have heard them, or even heard of them, and consequently, they would never have had the opportunity to be in the position to help steel guitar in its popularity and evolutionary journey.

I have heard players sound exceptionally good on everything from a regular guitar with a steel guitar bridge, to 6 string lap steels to old 8 string guitars as well as everything between and being offered today, and they all sound good and unique to me. Any and every steel guitar can be made to sound appealing to most when a steel bar is in the hands of a great player.

As for me, if someone has a bar in their hand and they are laying it on the strings, I will love the sound and appreciate their effort and individuality. If one plays with enthusiasm, positive attitude and an open minded direction while being careful to avoid things which can derail the learning process (like worrying about a specific tone and a myriad of other distractions based on possible well meaning but in my view, counterproductive opinions)……the results can be remarkable.

Trying to find “your tone and style” may at times appear to be like “looking for a needle in a haystack”, but you might be surprised to find the farmers daughter if you search hard enough. That’s a lot better than searching for a “cure for an undefined disease” which in this instance may be a tone which is at best subjective. Some may say searching for “the tone” (whatever that is) is paramount to success, but I respectfully and totally disagree, and the examples of players I have provided along with others which each of you might consider, tend to prove otherwise.

As stated in the movie “Field Of Dreams”…….you build it.….they will come. Play steel guitar from the heart and soul, and play things your way with your sound and not only will they come, you will build your own field of dreams and contribute to the instrument we all love while doing your part to move it into the future.

And the winner is………………………… “THE SOUND”, which makes us all winners!

Don Olson · From: Muscatine,Ia. USA

Well said Reece,Thank you
Don

slick · From: Calhoun Georgia

I agree Reece.

Wayne

Ron Randall · From: Dallas, Texas, USA

Thanks for the insight and wisdom.

Ron

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

Thanks for sharing your thoughts with us, Reece. I agree that we need more tones, sounds, and styles to keep variety in what we do.

Recently, I had a brand-new player (who was a long-time "listener") ask me "What style should I play, and how should I go about learning it?" (My answer to him was probably surprising.) I told him that he already had a style, and that his "style", in essence, was "already there" inside him. It's my own belief that someone who is fixated on a single player and a single sound will probably wind up sounding pretty much like that player. Conversely, a player who likes many different players, and enjoys many different sounds and styles, will develop his own sound and style...one that is a unique combination of all those sounds and styles he cares for, and that's the guy I want to listen to!

Terry Edwards · From: Florida... livin' on spongecake...

Roger Rettig · From: Naples, FL

I'm inspired by many fine players - some well known, and some less so - but I always feel best after I've managed to play something that, in the context of the music, brings a shiver to my spine. When the music that one is playing gets a hold like that, it's difficult to remain obsessed about how someone else might do it - you just want to express yourself.

I believe that, at a moment like that, NO-ONE can sound like you.

Would I like better 'chops'? You bet! More knowledge? Always! Sometimes, when that creative fire has diminished a little and I'm frustrated with my limitations, listening to a fine musician (maybe a steel player - maybe not) gets me back on track.

The learning experience never ends - it just curves upwards.

I consider myself very fortunate to be a musician - even when it gets harder to make those bills each month - and I feel blessed to have some talent, however meagre it might be.

Thanks, Reece, for prompting these thoughts....

RR

Bill Ferguson · From: Milton, FL USA

Well said my friend Reece.

While I idolize the people involved and designing our great instrument, I have long said (as my forum signature)to the everyday player the following after my name.

Take care
Bill

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http://www.steelpicker.com/pictures/Carter-Peavey.jpg

Stop worrying about what makes a steel work and concentrate on how YOU make it sound"

[This message was edited by Bill Ferguson on 18 September 2003 at 05:28 AM.]

Kevin Hatton · From: Buffalo, N.Y.

Tone in different brand guitars does matter.

[This message was edited by Kevin Hatton on 18 September 2003 at 06:22 AM.]

[This message was edited by Kevin Hatton on 18 September 2003 at 06:25 AM.]

[This message was edited by Kevin Hatton on 18 September 2003 at 06:27 AM.]

RON PRESTON · From: Dodson, Louisiana, USA

Oh, Roger....HOW TRUE!

"At a moment like that, NO ONE can sound like you".
POWERFUL words there, My Friend.
How well do I know what you are saying.
In a post a long time ago,on another thread, (which I have forgotten The topic) I told of a Lady in Salt Lake who sat 2 feet in front of me, with tears rolling down her face, and she said something to the effect: "I have NO idea WHAT your playing, But, God, I LOVE the SOUND, it has touched my SOUL"

I will NEVER FORGET that incident as long as I live. That to me is what it is all about.
That Steel Guitar is just an "Extention Of MY Soul"
I Thank God MANY TIMES OVER in my life for being able to touch others with music. When I was a small Child, Music touched my soul.
I LOVE to share my "Meger Talent" with all who will listen.

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

Thank you Don Olsen, Wayne (slick), Ron Randal, Bill Ferguson for your very kind words.

Donny H....I greatly appreciate and admire your insight!

Roger R....Great thoughts, thanks for sharing!

Kevin H....I don't understand your comment "tone in different brand guitars does matter". Matters to whom, why, and to what extent? Is it your opinion the tone is more important than the sound? If you believe that to be true, I would appreciate you stating your opinion and applied logic.

Ron P....Beautiful story which proves a point!

Earl Yarbro · From: Bowie, Texas, USA

Reece, if I was looking for one to follow, I'd sure use yours.I enjoy your style, your contribution at the Harley was one of the very best.

Bobby Lee · From: Cloverdale, California, USA

I started on pedal steel with my own tuning, and I had a style, a "sound", that was personal and unique. I enjoyed it very much, but there were some bandleaders who didn't like it. They said that I didn't sound enough like the Nashville records they were trying to emulate.

So I switched to E9th and played it for 25 years. It really did make a difference in being able to get work. Bandleaders want that E9th sound, and most people can't get it easily with other tunings. Superpickers like Reece, David Wright and Junior Knight have no problems getting E9th licks from Bb6th or whatever, but it's a struggle for us average folks.

Today my music is not driven by the country band market, and I am gradually finding my way back to my original linear pentatonic concept. (Click on C6add9 in my sig for an example.) I would probably have a more well-defined style if I had stuck with it originally.

As for tone, I just follow my ears. I've never found it hard to get a tone I like. I don't see what the big deal is. If you have good instruments and good amplifiers, you should be able to dial in a good tone.

Style - the choice and execution of notes - is the most challenging and most important aspect of music making, in my opinion.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Dennis Detweiler · From: Solon, Iowa, US

I never took the intended compliment, "you sound just like ....", as the ultimate compliment. On a rare occassion, over several years of playing, I took more pride in hearing,"I like the way you played it better than ..... played it". Or, :~) "what the #%$^@ was that?"
Dennis

Bobbe Seymour · From: Hendersonville TN USA, R.I.P.

I feel a good tone helps you create a good "sound", this can't be disputed, however, many good points have been made here, yes, being different is extremly important to me. I don't feel its a compliment to have someone say, you play exactly like Buddy, even though, you know you must actually be sounding pretty good if you do.
I can't see a great painter enjoying a compliment that says, "wow, your great, you paint just like Norman Rockwell"! Yes, I feel we should all have something unique to "bring to the table" BUT, it should be something good. I'm in favor of "Good unique tone" and "Good unique sound" and even "Good unique execution, styles,and forms of music never done before on steel".
Robert Randolph, Joe wright, Don Helms, Maurice himself, Alvino Rey, Sleepwalk Johnny, Tom Morrell, Speedy West. Look at these different styles and tones. A lot of variation here. Its all good. To hear it is good for the acceptence of this great instrument. I'd like to say I have favorite styles, but honestly, I really love them all. Yes, Don Helms to the hard Jazz of Jernigan, Tommy White? Jerry Byrd? Buddy, Paul, Weldon? Yes! It's all great, and very different. What if we were all identical? I'd get tired of that in a day. But, there is that important thing, you really should sound good, (good tone, play good stuff and play LOUD! HA!) Yes, it would be nice if it were unique also.
bobbeseymour

[This message was edited by BobbeSeymour on 18 September 2003 at 08:02 PM.]

John Steele · From: Renfrew, Ontario, Canada

After reading volumes about the topic, I'd have to say the most striking quote to me came (perhaps second hand?) from our own forumite friend, Jim Cohen.

I won't attempt to paraphrase it because it was too good undistilled... but I will ask Jim if he'd repeat it for us all.
Jim ?
-John

Jim Cohen · From: Philadelphia, PA

Hi John,
I believe the quote you're looking for is actually attributable to Randy Beavers who has more than acceptable tone himself. He posted (and I've repeated often):

"Tone is what happens when you get your technique together enough that your soul comes through."

So... where is the "tone"? Where does it reside? I would agree with Randy, that it resides in your soul. That's why a player can sound very much "like himself" regardless of the instrument they're playing: because they bring the same soul to the instrument. Identical? Maybe not, but who cares? If it's got the person's soul in it, you'll hear it, you'll know it, and you'll appreciate it. Because it's the real deal.

John Steele · From: Renfrew, Ontario, Canada

Jim, thank you, that's it exactly.
As far as I'm concerned, there's nothing else beyond Mr. Beavers' comment to say about it.
Fade to black...Curtain, please

-John
p.s. I'm at liberty to say that, 'cause I'm a long way from being there yet.

Bobbe Seymour · From: Hendersonville TN USA, R.I.P.

Between these two souls, the sender and the reciever, there is a series of mechanical and electronic devices, are you guys saying that they make no difference?

Bobbe Seymour · From: Hendersonville TN USA, R.I.P.

If this is true, then out comes my mulit Kord! My Emmons is for sale, don't need it any more. It's just my soul talking anyway!
I'm just trying to be funny guys, just asking a question,

Jim Cohen · From: Philadelphia, PA

OK, Bobbe. I'll take your Emmons, and you play your MultiKord. I'm sure you'll sound great anyway.

Bobbe Seymour · From: Hendersonville TN USA, R.I.P.

I'm framing this compliment,

Do you think the Multi Kord tone will be "acceptable?"

Your Cherry Hill Brother,

Roger Rettig · From: Naples, FL

Bobbe - aren't those Multi-Kords a bit 'shrill'?

Ernest Cawby · From: Lake City, Florida, USA, R.I.P.

I recorded the gig 2 weeks ago, I got tired of hearing myself play, the problem I realised was to much side effects. So disconnected my ultraverb 2, pulled out my old 30 year old Shobud amp and went back to pure sound and it made me very happy. The clean sound of pure steel was where it was for me.
As for as copying someone else, I love the clean smooth playing of Jeff Newman, I want to be clean and smooth but with my own way of doing it. For the time being I will study how he does it, learn where to put it but try to do it my way.
People here say it is good but I tell them they have no one to compare my playing to. I think trying to play like or as good as another player is a form of flattery to that person.
I am looking for a sound that I have not found yet. Maybe cause I am playing a 30 yr old the professional, but I will keep trying. Jeff says it's in the hands. I see great players using all kinds of hand shape, and they sound good to me.

About to buy a new axe so tell me which one to buy. come on gurus don't be bashful, which one is best.

ernie

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Shobud D-10 8-3 Peavey 400 73 shobud amp 15"BW
ultraverb 2 Goodrich matchbox 91 mod. 73 shobud packseat Band Country Drifters

John Steele · From: Renfrew, Ontario, Canada

quote:

Between these two souls, the sender and the reciever, there is a series of mechanical and electronic devices, are you guys saying that they make no difference?

In certain situations, yes. That's my opinion. Garbage in, garbage out.
As the owner of an old Emmons bolt-on, I can testify directly that without a metaphysical connection to the instrument, it ain't gonna help you. I can even demonstrate that for you if you like

Let me turn the question around for Mr. Seymour...
Are you saying, confronted with just an old Sho~Bud Maverick, you don't sound exactly like Bobbe Seymour ?
-John

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