Facing The Challenges As A Steel Player

Bill Hankey · From: Pittsfield, MA, USA

I've never heard anyone promise that taking up the challenge of becoming a play in tune steel guitarist was going to be easy. Here for the first time, perhaps, a riddle chaser would delight in discussing many of the problems that experienced players worked their way through from the start.

Bill Hankey · From: Pittsfield, MA, USA

This particular thread may very well carry with it, most of the potentialities to benefit those who are realizing that a beginner is met with twists and turns along the way. I've read so much on this forum about tuning issues, passing chords that offer the utmost in musical deliveries, unexpected detunings, managing the effects of quick temperature changes that will become commonplace as a steel player, etc. A slow and steady approach to relating personal experiences, would quite possibly culminate into a wide ranging informative discussion, thereby covering many of the random thoughts that may lead to overcoming the cruxes frequently surrounding the steel player. For example, the mythical Fender 1000 as an opener to awaken old memories. Mythicizing in a sense, due to the time that was spent attempting to stabilize the working parts, that would allow temporarily, a player to "play in tune" for a short period of time. It became the choice of foremost steel guiarists, as pedals led the way to the established premier steel guitarists' most promising studies. One might ask: Why the sudden change to rods, to replace cables? That isn't a difficult question. They simply could not contend with sudden cable problems that are known to have existed. The examples of exaggerated claims are many in connection with stabilities of brand named instruments. It is my hope that recall will become the fundamental appeal in this steel player's thread.

Rick Abbott · From: Indiana, USA

Do people climb mountains because they're beautiful and rewarding, or because they're there? Beauty and challenge combine to create a formidible mountain; many fall away, or stay in the foothills in comlete awe of the peaks towering over them. A brave few scale the windswept mountain face to discover the way to the top, their tracks covered in the snow; to follow is to invent ones own way through the clues left by the ones who went before; to know it can be done is enough fuel for some. Lessons can only teach you to hammer in cleats, or bring extra socks. Climbing the peak is a life, or death proposition.

More people survive because they have better training and better equipment. Desire never changes.
_________________
RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Sehy #112
1975 Peavey Pacer

Bo Legg · Posted 31 Jan 2010 7:23 am

Why do I avoid it? Because it's there.

Barry Blackwood · Posted 31 Jan 2010 7:32 am

Bob Simons · From: Kansas City, Mo, USA

Tuning is clearly NOT a life and death issue to steel guitar players! Between the guys who don't believe in science, the guys who think it takes two years to break in a set of strings, and the sloppy, wobbly bar wigglers, I've never heard a more out of tune instrumental catagory!

I use Jeep to climb mountains. I use a Peterson Stroboflip to tune guitars. I infrequently climb mountains. I constantly tune my guitar. Both have led to satisfying experiences.
_________________
Zumsteel U12 8-5, MSA M3 U12 9-7, MSA SS 10-string, 1930 National Resonophonic, Telonics Combo, Webb 614e, Fender Steel King, Mesa Boogie T-Verb.

Bill Hankey · From: Pittsfield, MA, USA

Rick,

Such a dynamistic conceptualization of successfully scaling the peaks of adventurous challenges, does in fact suggest a mountain of prerequisites facing those attempting to play the pedal steel guitar. I had mentioned in an earlier post that most steel guitarists have the ability to play the Spanish guitar. Moving on to the challenges of a pedal steel suddenly places those with 6 string capabilities into a work order second to none in the music world. It is then and only then that the word challenge takes on new meanings. Smile

basilh · From: United Kingdom

Bill Hankey · From: Pittsfield, MA, USA

Bob S.,

If tuning isn't a life and death issue, it should be considered to be a leading cause of numerous failures in reaching various goals. Perhaps you may wish to reconsider that music is dependent on exemplary harmonic excellence. Musical pitches on a steel guitar, even those off pitch by a silly iota, are quite detectable to a trained ear, with an inherent ability to detect out of tune instruments. As the song's lyrics spell out the murder on 16th avenue, a similar parting from a formulated method of proper tuning may very well involve countless steel players. Mechanical adjustments will bring steel players to the threshold of near perfect tuning. Pitch variances from that moment on, become a perpetual nuisance, to those gifted with impeccable audio receptiveness. Smile

Bob Simons · From: Kansas City, Mo, USA

Perhaps you misunderstood me...I work hard to play in tune. I am not impressed by players who do not and who disdain the simple changing of worn strings or resorting to a device to make sure they do....Obviously you've got to use your ear as well, as we have no frets, but I believe the subject should be taken far more seriously than many players do.
_________________
Zumsteel U12 8-5, MSA M3 U12 9-7, MSA SS 10-string, 1930 National Resonophonic, Telonics Combo, Webb 614e, Fender Steel King, Mesa Boogie T-Verb.

Chris Schlotzhauer · From: Colleyville, Tx. USA

I thought your vertical fretboard was going to cure this

Georg Sørtun · From: Mandal, Agder, Norway

Bill Hankey · From: Pittsfield, MA, USA

basilh,

Bobbe Seymour, among the finest of steel players worldwide, may have taken a slight turn to the right if your statements are absolutely correct on this apparently new cable affixation. It is something that warrants further discussion. I have a friend who has a large collection of steel guitars, including a BIGSBY cable driven model. I've read about Bobbe's affixation of Bigsby guitars. However, I don't recall reading about his penchant for cable driven models over those equipped with standard rods.

Bill Hankey · From: Pittsfield, MA, USA

Chris S.,

I would be delighted to demonstrate the ease of playing if you were standing by my side. You can't begin to realize how much enjoyment over the standard fretboard came about after making the necessary changes.

Ben Jones · From: Seattle, Washington, USA

"vertical fretboard"

I am interested. tell me more. pictures ?
guessing this has been covered before and I missed it?

Is the idea that you might actually be able to see where your bar is and where the frets are instead of having that blocked by your hand?

It would be great if you could have a vert fretboard lcd projection screen attached to your instrument. You could powerpoint up some lessons right onto the vert fretboard. would be good for piano too. kinda like a presidential teleprompter thingy for instruments, those plexi things.

basilh · From: United Kingdom

This MAY be off topic but is a valid response to the subject matter of the particular post quoted here:-

basilh · From: United Kingdom

Bill on reflection, the above is a smidgeon adversarial, and you know well that all at this household hold you dear, SO, apologies for the directness of the above but without prejudice I still stand by the general assessment of your prior post..
I suppose that just now, after a VERY nice evening meal, I'm a little more mellow.

Trying to get back on to the subject, It can be quite a problem for experienced players to be sympathetic to the vocalists' vagaries pitchwise, but we all tend to follow the singer's pitch centre (If we wish to be complimentary in our playing) this in turn can lead to problems trying to pitch to a guitar/bass/fiddle combo that may or may not be close to acceptable pitch.
I tend to attempt to play like a singer would sing the part and hope that the pitch centre of my playing is somewhere close to the audience's

Bill Hankey · From: Pittsfield, MA, USA

basilh,

Never in my wildest moments would I ever call you a liar. It is obvious that you are the furthest person from evil and wrongdoings. I'm ready on this one. I don't entertain such thoughts of branding anyone a liar, for certain, I can't even imagine such evil. You are a good man. From my standpoint, I would not mind anyone doubting me, for offering information that in their minds other thoughts to the contrary were circulating. This I believe. $$$$ money talks!

basilh · From: United Kingdom

Just because you had a nasty experience with a Maverick doesn't mean you should "Brand" all steel that have cables as problematical..
He he (Brand - Maverick .. get it ?)

What about what I said about playing to the singer's pitch centre ?

Bill Hankey · From: Pittsfield, MA, USA

basilh,

I have to slip away for the evening. Thanks for establishing some interesting thoughts about the advantages of cables. I would be interested in covering many of the aspects of cable usages beneath the steel guitars.

Ben Jones,

There are pictures posted under the title HUF fretboard. If you can't locate it, I will post it once again. Thanks..

Ben Jones · From: Seattle, Washington, USA

Hi Bill,

Searching for HUF fretboard was very interesting.
12 or so multi-page threads almost exaclty like this one complete with the same players arguing. Interestingly about a third had been locked down. I didnt find the photos tho. Searching the internet for HUF fretboard yielded only this thread. Id still like ot see it if you cant point me to it. If not thats fine too. Take care.

basilh · From: United Kingdom

Ben :-
http://bb.steelguitarforum.com/viewtopic.php?p=1437108

Chris Schlotzhauer · From: Colleyville, Tx. USA

Hey look, the "Lucky 7" is also in the picture!

Ben Jones · From: Seattle, Washington, USA

Thanks Basilh!

Looks good Bill.
Your vert fretboard makes me think of instructional applications. I cant help but think it might be a useful teaching tool if it were somehow fitted with a programmable display. even simple leds.

Les Anderson · From: The Great White North

There is something that I would like to add here that most don’t even bother to mention. If the steel player hits the odd sour note by being a few pennies on either side of the imaginary fret, it is usually covered up by the other instruments on the stage. Let’s face it, even the steelers who have been picking at those strings for half a century will drop the odd lemon when on stage doing a gig.

Another point to mention, “most” experienced steel players cannot hear those few pennies to the sharp or flat side, even in a quiet setting. To prove the point, watch a few dozen or so Youtube steel guitar players and count how many times you see that bar NOT CENTERED over the fret mark; even by the long time players. Some of them even have their bar slanted to both side of the fret mark; and it was not because they were doing a bar slant. Still, other steelers who watch the clip will then post remarks of their captivating techniques and astounding abilities.

So what is the moral of this post???? No human will ever play the steel guitar with absolute perfection in all areas of the instrument.

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