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Topic: Harlin Multi-Kord |
Alan Brookes
From:
Brummy living in Southern California
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Posted 16 Feb 2007 1:19 pm |
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It's often quoted that the Harlin Multi-Kord and the Fender copy were intended just as retuners.
Does anyone play either of these instruments like a modern pedal steel, using the pedals as part of the music ? |
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Bill Moore
From:
Manchester, Michigan
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Posted 16 Feb 2007 2:42 pm
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Bobby Anderson, who is, I think, from Ypsilanti, MI, plays a Multichord. He is an older guy, a very good player, he makes it sound like a newer pedal steel. He does a lot of non-pedal stuff with it too. He told me, after he heard Bud Issacs playing, he really wanted a pedal steel, and the Multichord was the first one he found. I think he has a Pedalmaster guitar also, but likes to play the Multichord.
Some of his recordings are here
http://www.outstandingmusic.com/Bobby_Swampgrass_Anderson_s/42.htm
Last edited by Bill Moore on 16 Feb 2007 6:42 pm; edited 1 time in total |
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b0b
From:
Cloverdale, CA, USA
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Posted 16 Feb 2007 4:57 pm Re: Harlin Multi-Kord
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| Alan F. Brookes wrote: |
| It's often quoted that the Harlin Multi-Kord and the Fender copy were intended just as retuners. |
I think you mean the Gibson Electraharp. Fender didn't copy Harlin, AFAIK.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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Alan Brookes
From:
Brummy living in Southern California
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Posted 16 Feb 2007 6:07 pm Re: Harlin Multi-Kord
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| b0b wrote: |
| Alan F. Brookes wrote: |
| It's often quoted that the Harlin Multi-Kord and the Fender copy were intended just as retuners. |
I think you mean the Gibson Electraharp. Fender didn't copy Harlin, AFAIK. |
...you're right. I think they call that a "senior moment". 
I've recently bought two Multi-Kords to play around with, a 6-string in original condition, and an 8-string that has been rebuilt with rods. In both cases the old plastic covers were so brittle that they shattered in transit. (Not that I want pink covers on anyway !) I haven't tuned them up yet as I need to replace the tuner knobs, which have disintegrated with age, but I've had a few pushes on the pedals and I don't see any reason why they shouldn't keep tune enough to push while I'm playing.
What attracted me was that I wanted to experience what the pioneers did when pedals first became available, and I want to experiment with copedants, which I'm told is easy on these instruments.
I don't want to screw around with the copedants on my Sho-Bud Crossover, as it takes so long to put it back the way it was, especially with the same pedals working both necks. |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 17 Feb 2007 6:12 am Not "re-tuners"
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The original Harmolin and Multi-Kord probably were designed only as "re-tuners" (though we may never know, for sure). However, by the time Gibson got into the market in the late '30s, the concept of using the pedals not only as a re-tuning device, but as a method to create moving tones and chord changes, had already been explored.
Exactly why it took another 15 years to get noticed on a recording (Webb's "Slowly" in 1954) is something that intrigues me to no end.  |
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basilh
From:
United Kingdom
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Posted 17 Feb 2007 7:28 am
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Having started my pedal experience on a Gibson EH-150 4 pedal six string,
and having a Multiharp :-
and a Fender PS-210. (All with similar mechanisms)
I can say categorically that the basic type ABC and Eb lever changes ARE quite possible and easy to achieve on this type of guitar. If you have a six pedal MultiKord then the E-F and B-Bb changes are also quite possible.
Whether it's a six or eight string MultiKord won't affect the BASICS, and the basic sound changes will all be there, albeit somewhat limited in the chromatic strings dept. |
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Jim Sliff
From:
Lawndale California, USA
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Posted 17 Feb 2007 9:32 am
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I have my 6-string Multi-Kord set up using their stock changes for 4 pedals, and while there's a very long throw to the pedal action it IS playable for fairly straightforward "lick-based" steel playing. It does not sound like a "normal" pedal steel as the copedent is totally different, but it works in its own unique way. The electronics and tone of the guitar are great, so I'll find a way to fit it into certain songs. You play "sidesaddle" and without a volume pedal...but it does work fairly well.
I also have an Electraharp, and it's not in the same league with the Harlin changer-wise. Too bad, because the P-90 pickup and wood body sound amazing - IF it had a decent mechanism, it would be a tremendous sounding pedal steel with a totally unique tone...almost like a Gibson jazz guitar (think ES175 or similar). Mine's a bit thrashed, so I'm going to work on the changer and see if I can make it useable - 8 strings and 4 pedals provides a lot of "normal steel" sounding options, if the mechanism can be made to actually stop at the desired note!
_________________
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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Alan Brookes
From:
Brummy living in Southern California
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Posted 17 Feb 2007 7:02 pm
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What a lot of great toys you have, Basil. Can I come round and play with them ? 
Last edited by Alan Brookes on 18 Feb 2007 6:27 pm; edited 1 time in total |
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Jim Kinley
From:
California, USA
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Posted 18 Feb 2007 4:50 pm
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I started playing my D8 six pedal Multi Kord in 1960. I played what I considered basic copedants/tunings for a 3 or 4 pedal guitar. I got normal licks and progressions out of it but had to limit most of the work to three pedals since I do use a volume pedal. The other three pedals worked well for background progressions and single licks.
The tone and sustain on the Multi Kord is really still amazing.
_________________
Jim Kinley
1960 Harlin Bros Multi Kord D-8, 1955 Fender Deluxe Tweed, 1968 Carvin reverb, 1993 Pedalmaster S12, 50's Oahu Diana lap steel |
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Dr. Hugh Jeffreys
From:
Southaven, MS, USA
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Posted 20 Feb 2007 8:04 am
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| The reason I was happy to retire my Multi-Kord was that it did not have sufficient pedals (6) to execute my desired chord progressions; I was glad when it came along, but I can do much more with more pedals. BTW: Does anyone on the 4um claim paternal rights to Anna Nicole's baby? If so, better throw your hat into the ring! ....j.... |
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Willis Vanderberg
From:
Petoskey Mi
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Posted 23 Feb 2007 3:19 pm
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My late friend Eugene " Gene " Mears was one of the best Pickers I ever heard on the Multi-kord.
It requires both feet on this guitar to emulate a lot of licks. He could play " Mooney " and it sounded great. He worked the volume knob with his little finger and palm.
I know he lived in the area of Indianapolis close to the Harlin Brothers operation.
He lived and played in the Battle Creek Michigan area for a lot of years. Great guy , I miss him..
Old Bud |
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smike
From:
oakland, ca
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Posted 26 Mar 2007 7:16 am harlin bros...
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Alan Brookes
From:
Brummy living in Southern California
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Posted 26 Mar 2007 6:56 pm Re: harlin bros...
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| smike wrote: |
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Thanks for the photo. |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 26 Mar 2007 7:17 pm
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Yes, thanks for the photo!
For a man who did so much for us (heck, he invented our instrument!), Jay Harlin gets suprisingly little credit or mention.  |
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Danny James
From:
Summerfield Florida USA
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Posted 10 Apr 2007 6:36 pm Picture of Harlin Bros.
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That's a good picture of the Harlin Brother's band. I notice in it, Jay is sitting at his one of a kind 15 pedal Multi-Kord.
There was another brother in the band before this picture was taken. His name was Jimmie. He played the Mirimba.
Actually there were 5 brothers in all, Jay, Jimmie, Win, Herb,& George. George was the other brother who although he did not play in the band was there each week in their music store at 359 N. Illinois St. in Indianapolis Ind.
As far as the Multi-Kord's changer being intended to be as a re-tuner,--- I believe it's purpose was to be able to utilize many chord combinations to coincide with the melody note being played by changing tunings during the song. But not for the tunings sake alone.
Jay Harlin does deserve credit for his invention although there was controversy over who invented the pedal steel guitar whether it was Alvino Rey or Jay Harlin. Alvino Rey did not patent his, but Jay Harlin did.
The Harlins were very nice people to work for as a student teacher while I was in high school in the 50's. I still play a Multi-Kord by the way. (6 strings 6 pedals.) |
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Jim Sliff
From:
Lawndale California, USA
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Posted 10 Apr 2007 8:50 pm
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| Quote: |
| I believe it's purpose was to be able to utilize many chord combinations to coincide with the melody note being played by changing tunings during the song. |
I really like my MultiKord (6-string, 4 pedal), and it's a wonderful sounding instrument - but I seriously doubt they meant it to be played that way. The only music I've seen copies of is based on playing melodies *after* engaging a pedal, not as part of the change as with modern steels (I do admit I haven't seen but a couple of pages - the only source I found SELLS photocopies of Multi-Kord music. If I had 'em I'd give the stuff away to promote the instrument as many players do in the steel world, but it seems to be a different crowd...or at least the one person who has music!). It's not a bad or deficient system, just a different one. You *can* try to play it like a "normal" steel, but you're in for some serious dancing and LONG pulls.
_________________
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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Tommy White
From:
Nashville
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Posted 11 Apr 2007 5:50 am
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| Great photo Smike. Does anyone know what year that photo was issued? |
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Danny James
From:
Summerfield Florida USA
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Posted 11 Apr 2007 5:55 am Multi-Kord music
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Actually the sheet music provided to students by Harlin Bros at their Hawaiian guitar studio in Indianapolis did the pedal arrangements three ways.
All three types of arrangements were included in each of the sheet music provided by them to their students.
One way was as you said, if I understand you correctly, depress one pedal and play the song all the way through. Another way was to use the A maj. (no pedals) tuning and again play the song all the way through.
However the most popular way was to play the song using several pedal combinations throughout the song in order to pick 3 or more string harmony.
Their 4 pedal 6 string Low bass guitar tunings were A6th--D7 added9--E--C#mi.7.
Harlins emphasised the use of pedal combinations to their students.
Also their primary emphasis was on Hawaiian music not country. Their heyday was in the 40's and 50's when Hawaiian music was very popular.
The Harlin Bros. have all passed away now. Jay was the last to go. Multi-Kords have not been produced for many years now.
Thanks for your interest and I hope this helps. 
Danny |
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smike
From:
oakland, ca
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Posted 12 Apr 2007 4:33 pm harlin bros photo...
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the harlin bros photo came from tom bradshaw (of course!).
smike |
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