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Topic: Progress",hernias and $5000.00 guitars |
Malcolm Leonard
From:
Rhode Island, USA
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Posted 18 Aug 2005 8:01 pm |
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Those wonderfull western swing players of the 40's used relatively simple steel guitars,and small,low power amps and they sounded**great**.
So why did we "evolve" and "progress" to large,complex steel guitars that require a second home mortgage to pay for and screamingly loud,hernia producing amps,so heavy that they almost require a fork lift to remove them from our vehicles?
Whose idea was that?
Malcolm |
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George Keoki Lake
From:
Edmonton, AB., Canada
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Posted 18 Aug 2005 9:18 pm
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I think it all stems from the demands of the rock 'n roll generation who must wear ear plugs on stage when performing.
I recall the good olde days when I played gigs and used a small Gibson amp with about 30 watts power. It did the job fine as all the rest of the guys in the band played acoustic. Even our "p.a." was simply a mic through a guitar amp ! But then, dinosaurs were still running around outside the dance hall.  |
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Jack Therrell
From:
Conroe, Texas, USA
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Posted 19 Aug 2005 6:00 am
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| We are victims of the "big is better" syndrome. When I first started playing I had steel, amp, and volumne control. Now we have these excessively heavy instruments, and amp. that are so cumbersome. But it doesn't stop there. We have added things to give what we think is a distinctive sound that is going to thrill and captivate the listener. What I find is that the special effects are mainly recognized by other steelers. Most others arn't impressed.I feel that in our desire to advance the steel we have over-burdened the new-comer because he or she thinks they have to have all of the new things to be a "real" player. A little off the subject just threw that in for free. Jack |
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Scott Appleton
From:
Ashland, Oregon
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Posted 19 Aug 2005 8:37 am
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One of the problems we newer players face is the
continual search for a balance between the " classic sounds" and the modern need for diversity. The Bars and honky tonks just dont give a damn as long as its
something to dance to. Rarely do I get a chance to
play "Sleepwalk" but when I do I have a setting in my tone banks to "get that sound" as close as i can through modern gear. The other choice is to carry a
Vintage amp and steel around just for those moments. Ahh the simple old days .. a sho bud and
a twinn with a 15" JBL.
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Mullen S12 Almost Mooney
71 Tele, Regal 45
Sho Bud S10 NP
Line 6 Flextone 3 + JBL D130, Acoustic 165 100 W all tube EV 12, Nash 112, digitech 2101 FX |
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Roy Ayres
From:
Riverview, Florida, USA, R.I.P.
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Posted 19 Aug 2005 12:21 pm
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Proof that hernia-producing amps are not a necessity is borne out by the replacement of the 57 pound Peavey Nashville 1000 by the 42 pound Peavey Nashville 112 amp. I have switched to the 112 for steel guitar shows and relegated my 1000 to my bedroom for practice. I have noticed that a number of professional steel guitarists have done the same. Why carry around an amp that is 15 pounds heavier with the pre amp and master volume controls set on 3? And, by the way, my 1000 replaced my old 90 pound Fender Twin Reverb. Regardless of the amp I use, I still sound like me. Could it be possible that tone is in the hands?
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Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book.
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c c johnson
From:
killeen,tx usa * R.I.P.
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Posted 19 Aug 2005 1:18 pm
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| amen Roy CC |
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Kevin Ruddell
From:
Toledo Ohio USA
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Posted 19 Aug 2005 2:05 pm
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I prefer strong playing with plenty of dynamics that can be accomplished with lower volume . Two of the guys in my previous band seemed to think you needed to have massive volume to make an impact, or it wasn't a "show ". I couldn't get them to think differently and it quickly got to the point where we were driving 3 vans and 2 pickup trucks of equipment to each "show ".
I saw a fine group while working chauffeur/security for the missus a few years back at Shipshewanna Indiana called 3rd Tyme Out who were playing an outdoor concert. Nothing was miked and they seemed to me the perfect example of playing with plenty of power and dynamics all at fairly low volume.
At the recent Steel Guitar benefit I was treated to some pretty awful room sound with the bass in the corner overpowering everything . Joe Wright came up on bass to accompany Herby Wallace and quickly went for a soft thumb style bass playing style to rectify the problem and make it right. A pro .
I think part of the problem may be outdoor city life seems to be getting louder , everywhere there is canned music whether you want it or not, and everyone including me cranks up their mower, lawn service,blower, weed whacker, chain saw, motorcycle etc. every weekend . |
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Todd Weger
From:
Safety Harbor, FLAUSA
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Posted 20 Aug 2005 5:57 am
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I agree. Headroom is nice, and it's great to be heard, but these days, I'm much more into lower wattage amps with a mic in front of it with my Stringmasters. I don't use a volume pedal either, and prefer to get all dynamic control with my hands. The exception is if I'm doing western-swing; then I do use my Fender volume/tone pedal for those all-important "genre correct" effects.
With today's much better, more powerful and yet smaller PA systems, a mic in front of a smaller amp (or a direct box) is the way to go, IMO. Saves the back, and I can drive a much smaller, more fuel efficient vehicle and STILL have room for people, too!
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Todd James Weger/RD/RTD
1956 Fender Stringmaster T-8 (C6, A6, B11); 1960 Fender Stringmaster D-8 (C6, B11/A6); Chandler RH-4 Koa semi-hollow lapsteel (open G); Regal resonator (open D or G)
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 20 Aug 2005 2:12 pm
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| Quote: |
| why did we "evolve" and "progress" to large,complex steel guitars |
Because players like Bud Isaacs, Buddy Emmons, Jimmy Day and Curly Chalker showed us pedal steel sounds we can't get on a '40s lap steel.
| Quote: |
| and screamingly loud,hernia producing amps,so heavy that they almost require a fork lift to remove them from our vehicles? Whose idea was that? |
Ever since rock'n'roll took over pop in the '50s, both the public and the musicians preferred louder volume levels. Also, if you play a lap steel with no volume pedal, you can be very loud, even with a small guitar amp. But if you use a volume pedal backed off over half way, with the rest reserved for sustain, you need a more powerful amp. I play in a rockabilly band with a lead guitar who plays through a 15 watt Tweed Deluxe. He plays it cranked all the way up and is very loud, even for loud rock clubs. I have tried playing through his amp with my pedal steel and volume pedal. I get about 1/4 the volume he has, and it is not clean enough for steel. So I need an amp at least four times bigger just to match his volume level.
If you don't want a fully loaded pedal steel with 10 or more strings, you can still make lots of music with a 6 or 8 string lap steel. And if you play without a volume pedal and with quiet groups, you can get by with a small amp. There is nothing wrong with either approach. They are just different, and I'm glad both are available when we want them. |
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