An Episode Of Malfunction

Bill Hankey · From: Pittsfield, MA, USA

I'm wondering IF it has ever occurred to steel players in general, that there would be an episode of malfuntioning should the SPRINGS beneath their steels suddenly lose their elasticities? It's an interesting thought, not-with-standing the frequent disregard for things that insure stellar performances. In reality the lowly spring's removal would strip away that which is taken for granted. For that matter, novel ideas quite often blossom into alternatives.

Larry Strawn · From: Golden Valley, Arizona, R.I.P.

Bill,
"IF" I was to lose the springs on my steel all at once, I guess I'd put a non pedal tuning on it and play with no pedals that night. Hope that never happens. Very Happy

Larry
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Allen Peterson · From: Katy, Texas

I had an episode of spring elasticity loss on the fraction of my changer that manages the distension of my high G# string. This transpired when I replaced the elevated G# string, which was gauged to be .11, with a .115 string. The .115 string situated supplementary anxiety on a mature spring, which resulted in a popping din in the changer. The primary revamp was executed by Mr. Bobby Bowman, who simply severed a link from the aged coil. This fixed the dilemma only provisionally, for the popping noise revisited. Finally, the errant spring was utterly interchanged with an unsullied spring, and alas the problem evaporated. (Translated - I replaced the spring and the popping noise quit!)
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Roy Ayres · From: Riverview, Florida, USA, R.I.P.

To the best of my knowledge, the elasticity of a spring can be diminished due to two primary causes: (1) extreme heat; and (2) fatigue. Extreme heat can be caused by too many hot licks, and fatigue can be caused by stretching the spring, which can occur when a pedal or knee lever is pushed. Therefore, to prevent such a dilemma, don't play any hot licks and don't push and pedals or knee levers.
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Jim Cohen · From: Philadelphia, PA

Now that is a word to the wise! Wink

Bill Hankey · From: Pittsfield, MA, USA

Allen P.,

As I read your reply, I was caught up by that wonderful little three letter "din" word. It's an amazing word that is rarely used by average writers. I enjoyed your reply, while contemplating your skill in
delivering a comprehensible solution to a significant problem. Springs rate high on the list of desirables whenever the need for tension is required. C. Atkins must have scrutinized that compression string in the P. Bigsby lever while trying to overcome detuning. Most people would consider the wheel to lead in making numerous comparisons of necessary inventions. For the sake of making comparisons, think of how hard it would be to produce a springless pedal steel guitar. The lack of springs would have caused clock manufacturers to race about looking for alternatives. Therein lies the assertion that steel guitar builders are limited, while resorting to quick fixes, such as unitized spring clusters affixed mainly at the changer end of the steel. Springs are manufactured in poor quality as well as high quality metal. There is a thought that the natural pull of a steel guitar string could simplify changer construction. Perhaps slim profile cams would serve to lower, as an alternative to move away from the use of springs.

Allen Peterson · From: Katy, Texas

Bill,

Words are fun aren't they? I wrote the word "din" and then had to actually look it up to make sure I was using it in the correct context.

I totally agree with your spring analysis. I spent hours looking for a broken piece of string in the changer before I finally got smart and started to retrace my steps. I did not have the problem until I went to the .115 string, which happened to be the exact finger that was making the "din." Once I figured this out, then the only thing left to do was replace the spring, and it worked. It was just a weak spring all along.

I appreciate your comments on the Forum. They make me think and cause me to re-evaluate my meager vocabulary.

Allen
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2008 D10 Rains Pedal Steel, 2000 D10 Carter Pedal Steel, BR-9 Lap Steel, Nashville 400, Nashville 112, '65 Fender Twin Re-issue, MB 200, Telonics Volume Pedal

Bill Hankey · From: Pittsfield, MA, USA

Allen P.,

Episodes of laughter while searching for tiny objects that "disappear" amongst the horrid changers are extremely rare. There is no greater enticement to frown, for the sake of alleviating "invisible" problems, such as incorrect tension, or tenuity in manufactured springs. I've experimented with the importance of lesser or greater tension of springs, by gradually increasing their workloads. When a spring falls short of expectations, it becomes an uphill battle of wit. Enthusiasm may sag at that very moment, and getting back to business as usual may require more than patience. Mechanical intervention, combined with an increased determination to rid the steel of manufactured problems, makes a great deal of sense.

Bill Hankey · From: Pittsfield, MA, USA

Roy A.,

Thanks for your comments, and keen insight, albeit this thread has the tendency to change course and stray from the original premise. I've ascertained that negative posturing is a no-no, and the steel guitar community is inclined to remain in a positive orientated frame of mind. Period!

Bill Hankey · From: Pittsfield, MA, USA

Jim C.,

Trying to alter a position or attitude here on this forum of late has become more difficult than I'd first surmised. I'd probably have better luck selling refrigerators at the North Pole. According to figures, perceived concepts have taken a sharp curve, trending ever so steadily in the downward trend. People traditionally rush to new adventure. I've found that giving up the chase, at a point while the objective is still in view, whatever the case may be, will be a lesson remembered throughout one's career.

Bill Hankey · From: Pittsfield, MA, USA

Roy A.,

Statistics show that your career has encompassed a wide range of accountabilities in association with contemporaries, for a period of roughly 60 years. I've often wondered about your contemporary Jerry Byrd, in relation to how he really viewed the mechanics of the pedal steel guitar. It seems likely that someone may remember a comment or two made by Jerry. Faron Young would joke about his comment to Jerry at live shows. I personally heard Faron say at a live show; "I walked into a drugstore in Nashville.. Jerry was working behind the counter.. and I said to him.. Jerry why don't you move to Hawaii and get yourself a job playing "straight" steel there?" According to Faron, he did so after the suggestion was made. There seems to be a cut-off point on explanatory messages, linking Jerry to an unique ability of hearing perfect pitch. The characteristics of the pedal steel leans toward discrepancies in maintaining perfect pitches while shuffling pedals and knee levers, and the everlasting cabinet "drops", offer clues to commitments that differ. "Little Roy" Wiggins' "straight" steel of the 40's and 50's helps to explain the popularity of Eddy Arnold, and his ensuing successes enjoyed by soaring record sales. The mechanical movement, according to the Winston "Bible", credits Alvino Rey's experimental pedal steel in 1939, as the first attempt to create the advantages of a wider range of musical tones by shifting pitches.

Bill Hankey · From: Pittsfield, MA, USA

Hop to top!

chris ivey · From: california (deceased)

oh c'mon....

Stephen Gambrell · From: Over there

As a reply to the original topic,"yes."

Bill Hankey · From: Pittsfield, MA, USA

Stephen,

When placing the antagonizing "yes" word against a conscientious "no", the scales are tipped in favor of the " word "no". This rule would apply whenever favorable responses are in short supply, or when taken in stride. It reminds me of a married couple carrying on, as both became mildly argumentative. I overheard one say to the other; "Don't worry about it dear." The remark was a mimicking made by the husband, of the comment the wife had introduced in an earlier disagreement. As for the central focusing point of this thread, I've connected with an idea of reversing the power of string tension by balancing the resistances commonly experienced in spring usages.

Bo Legg · Posted 18 Aug 2007 8:04 am

Geezzz Bill it must be nice to get up in the morning and not have to worry about anything except one damn spring.

Stephen Gambrell · From: Over there

Bill, I'm truly sorry if you find the word "yes" to be antagonizing. I rather enjoy it, especially when I'm asking my spouse to do me a "favor."

Roy Ayres · From: Riverview, Florida, USA, R.I.P.

Bill,

Regarding Jerry Byrd, he and I were on the Grand Ole Opry at the same time back in the late 40's. He was playing with Paul Howard and I was with Pee Wee King. I knew him quite well at that time, and we had talked music quite a bit. However, that was before pedals came into popularity, so I have no direct knowledge of his feeling toward pedals. I do know that he once said just a few years ago that if he played pedals, he would want it to be exactly like Bill Stafford. He personally made sure that Bill got selected for the coveted "Jerry Byrd Lifetime Achievement" award one year.
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Bill Hankey · From: Pittsfield, MA, USA

Roy A.,

Thanks for sharing your experiences with Pee Wee King. Actually you'd probably agree that his association with Gene Autry, led to Gene renaming "Pee Wee" for his contrasting appearance with his band. At 5' 7" he was the shorter musician in his band. Pee Wee co-wrote "The Tennessee Waltz that became the Tennessee state song. When Gene left for Hollywood, Pee Wee's oganizational skills accelerated. Roy, were you the first to play steel guitar on the "Grand Ole Opry"? I think "Pee Wee" was the first to introduce the steel on stage circa late thirties. I'm thinking that steel guitarist was you. Please correct me, if my information is incorrect. Thanks..

Roy Ayres · From: Riverview, Florida, USA, R.I.P.

Bill,

To the best of my knowledge, Pee Wee's first steel guitarist was Clel Summey. He played a little Gibson electric laptop hung from a neck strap. Later, Pee Wee hired Eddy Arnold as his main vocalist, at which time Roy Wiggins played steel. When Eddie got a recording contract and broke away to form his own four-piece band (done with Pee Wee's help) Roy Wiggins went with Eddie. (Eddie's bass man was Gabe Tucker and his fiddler was Speedy McNatt.) Then Pee Wee hired Don Davis, who only stayed there about a year. I replaced Don in 1946, just before the "Tennessee Waltz" session. I remained with Pee Wee's Golden West Cowboys until 1954 when I resigned to help provide full-time care for my terminally ill father.

Ironically, and strictly by coincidence, I followed Don Davis into the Green Lantern night club in Mobile, then a year or so later into Red Stanton's band in Meridian, Mississippi, then another year later into Pee Wee's band.

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Edited to say that I neglected to answer your basic question as to who was the first steel guitarist on the Opry. Pete (Bashful Brother Oswald) Kirby played Dobro with Roy Acuff for several years before Pee Wee went to the Opry. I recall listening to Pete on our radio when I was about eight years old. He was one of the first to inspire me to learn steel.
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Western Swing Music HOF, Sacramento 2006
International Steel Guitar HOF, St.Louis 2007
Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book.

Bill Hankey · From: Pittsfield, MA, USA

Roy A.,

Thanks for the information. To assume that you were truly one of the pioneers of organization, on stage at the "Opry", would be a correct assumption according to reports. I'm saddened to read that you experienced the sadness in 1954.

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