Is YOUR "sound", style or whatever.......

Ray Montee · From: Portland, Oregon (deceased)

Chanced one day to catch this tune "Tamoure'" by Bill Justis on a "pop" radio show. It was nothing really outstanding however the steel guitarists "sound" and/or style rang thro' loud and clear altho' his parts are admittedly brief.
Have you developed such an identifiable trade mark sound for yourself, either intentionally or by accident?
Decades ago, we fledglings had the benefit of being able to identify a steel guitarist on record within just a few "notes"...as their styles were so radically DIFFERENT.
Do you find it difficult today to easily identify WHO is playing WHAT with WHOM?

Brad Bechtel · From: San Francisco, CA

I don't have any trouble picking out my own performances, unfortunately, but I agree with you that many steel guitarists don't have a unique sound.
Three contemporary musicians who DO have a unique sound that come to mind are Jerry Douglas, Robert Randolph and David Lindley.

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Brad's Page of Steel
A web site devoted to acoustic & electric lap steel guitars

Mark Eaton · Posted 2 Sep 2005 2:19 pm

I have heard people say that they have a difficult time identifying pedal steel guitarists, due to the concept of depressing a foot pedal-a mechanical act as it were, may reduce the chance of playing with much of a recognizable style.

Whereas the lap or non-pedal steel, where the notes are produced entirely with the hands and devoid of any machinery per se, provides a player with more possibilities for developing a recognizable style.

I don't know how true this is, but I can see the logic behind it.

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Mark

[This message was edited by Mark Eaton on 02 September 2005 at 03:20 PM.]

Ray Montee · From: Portland, Oregon (deceased)

Lloyd Green has a "sound" I've always been able to identify with him. Initially, I could readily pick out Buddy Emmons but as so many came on the scene, I have a difficult time these days being certain any more. Of course Chalker was unique; as was Speedy West, Roy Wiggins, Johnny Seibert, Don Davis, Joaquin Murphy and Bill Stafford too. When Tommy White arrived at the Opry his fabulous TONE was immediately noted but here on the coast, no idea WHO he was for quite some time. Same with Buddy Charleton and Bruce Bouton. Unfortunately, I find too many great musicians have been lost in the music industry for lack of "their own sound" which is, afterall, their only identity.

George Redmon · From: Muskegon & Detroit Michigan.

Ray i agree...and it's called "Commercial" cut and paste...yuk! play how you are told to play..or you won't be playing..sad, when Jerry, or Speedy played..you knew who it was...i guess that's part of the reason, i haven't played with more different bands..i refuse to do it...oh for the good ole days!

Bryan Bradfield · From: Lethbridge, Alberta, Canada.

I've been playing dobro for about 35 years. When Jerry Douglas first appeared, his sound was truly unique. Regardless of what make of instrument he played, there was that specific nasal tone, plus a particular way that he went from one note to another. However, there rapidly came a point where several modern players (Sally Van Meter, Rob Ickes, etc) began to move from one note to another in a way similar to Jerry's style. Simultaneously, some manufacturers made some guitars (Jones, Scheerhorn, etc) that furnished that nasal sound that Jerry got through the use of his hands alone. So, initially, I could always tell when Jerry was on a recording. Soon, I found I was in error, and that it was someone else sounding like Jerry. With a little more careful listening and studying, I learned to distinguish the sounds of the new players as they developed their own musical personalities.
I saw a similar sort of thing happening in the 1960's in the rock world, where a major artist would record and perform a tune with a new sound, and then a stomp box manufacturer would develop a box that would furnish that sound at the punch of a button.

Ray Montee · From: Portland, Oregon (deceased)

Well said, Bryan. All contributions are worthy of consideration and lend themselves well to this discussion. Thank you.

Mark Eaton · Posted 3 Sep 2005 2:03 pm

Ray, help me out here. I have often seen photos of Lloyd with his Sho-Bud LDG S-10, which correct me if I'm wrong-has only 3 pedals, and I'm not sure of the knee levers.

Being a long-time pro player, I'm sure he has owned a lot of pedal steels, as well as being known as one of the pioneers of the instrument as a teenager in the 50's.

When you hear Lloyd on all those great hits-and you're right on-he has a recognizable sound-did he record mostly with the Sho-
Bud LDG?

If that were the case, perhaps his style stands out because his rig is simpler than a lot of other players. Some of the guys are playing with seven or more pedals, and once they have become comfortable and know their way around a rig like that, maybe some of those guys are so busy between foot pedals and knee levers in their playing-that even though it sounds really nice-due to mechanical manipulation it hinders the individuality of the player's style.

If Lloyd recorded with a simpler rig, which is closer down the scale toward the non-pedal guitar neighborhood-perhaps this helps to contribute to more of a "signature" sound, because there is less mechanical manipulation.

This is sort of sittin' at the bar and havin' a beer talk with a fellow steel guitar fan-just speculation or "food for thought."

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Mark

[This message was edited by Mark Eaton on 03 September 2005 at 03:04 PM.]

[This message was edited by Mark Eaton on 03 September 2005 at 03:05 PM.]

Don Kona Woods · From: Hawaiian Kama'aina

Rays says,

Paul Arntson · From: Washington, USA

I agree with all above, with one extra thought. Could some of the modern homogeneity of sound be coming from the fact that a lot of modern commercial pedal steel is trying very hard to sound like the "standard product"? When I turn on CMT or the radio, it seems to me that there are a lot of licks and a lot of sounds that have become very standardized, and maybe standing alone is not considered desireable by record producers right now?

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