My New EXCEL

Bill Stafford · From: Gulfport,Ms. USA

Here is my new EXCEL. The new EXCEL pickup is one of the best among all the rest.

Jack Stoner · From: Kansas City, MO

Bill, impressive.

Jim Palenscar · From: Oceanside, Calif, USA

Wow! Could you please share some more pictures and comments with us Bill? Congratulations!

Mike Perlowin · From: Los Angeles CA

That endplate looks amazing.

How many raises and lowers does it have?
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Bill Stafford · From: Gulfport,Ms. USA

Mike, this stainless steel changer has seven raises and five lowers. Plus the bottom two rows, just above the spring adjusting screws, are one raise and one lower. These two rows of tuning adjusting screws are similar in operation to the changer bars on the Rickenbacker and Gibson Electraharp. Depending on which screws you adjust, the E9 tuning can be turned into a full C6 tuning if that is what the player desires. This bar is controlled by the Change Lock lever on top of the instrument. I use it to only lower my Es to E flat for the B6 tuning. The cross bar, which you cannot see from the end plate , is just inside the end plate and moves horizontally to affect only the strings the adjusting screws make contact with. Pretty neat. This allows a player to temper the Es in the E9 and B6 without affecting either tuning. I tune all my changes, open, etc. to the A-440 straight up so that has never been a problem for me. Mitsuo is one of the best engineers in the business.
Bill Stafford

Duncan Hodge · From: DeLand, FL USA

Hello Bill,
That Excel looks like one intimidating best to play a little bit of hillbilly music. No offense intended. I'm still just trying to comprehend triple raises and triple lowers. But, your Excel looks like the Star Trek of pedal steels.
Duncan
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Dickie Whitley · Posted 18 Oct 2010 3:11 pm

Really intimidating looking, could we have more pics please? Also could you paste your copedant as well? I'd like to know whatever you'd share on this wonder of a steel guitar. Awesome.

C Dixon · From: Duluth, GA USA

I sincerely hope I am not upstaging Bill. I would die if anyone felt that way.

But I will add some things that make this guitar, from and engineering standpoint, unique in the world of steel guitar. If I might, I will share some things with you:

1. Even though the changer ONLY has 2 parts per string, it does NOT exhibit the problem a push/pull has. IE: raises do not overide lowers and no balancing springs are needed on the pullrods.

2. The changer is one of two in the world like it (the other is the Anapeg built in Australia). It does NOT change pitch by bending the string back and forth over a pivoting bridge. Rather; the bridge fingers move in an almost straight line. Thus is simply does NOT break strings. If a string happens to break, you can be assured it was defective from the beginning.

3. The way Mitsuo gets soo many raises and lowers is two fold, A. he uses 2MM rods instead of the much larger (comparitively speaking) 1/8" rods. This allows for more holes. B. with only two fingers in the changer there is naturally more room for more holes. Clever!

4. Counting from the bottom, you have 3 lowers, then 5 raises, then 2 lowers, then 2 raises, or 12 all together. Actually there is an 8th raise hole which is hidden behind the cross connecting brace near the top of the end plate. These holes are used to adjust the "raise" helper springs. Neat huh?

6. The "split" screws are on the OTHER side of the changer. The reason this is: NOTHING on this changer moves to the right enough to allow a split scew to work, believe it or not. So being the genious that Mitsuo is, If ya cain't beat them this way, beat em that way. Clever!

7. Because of the changer leverages, AND the keyless head, the pedals and knee levers are considerably easier to engage; everything else being equal.

8. Mitsuo has an option whereby you can tune EVERY thing at the right end plate, including the open strings. Unbelievable how he does it.

If Bill wants me to, I have some pictures that will help in seeing many of the above things that may not be apparent.

But I will give Bill the courtesy of granting me the permission to do it, since he started this thread.

c.
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Bill Stafford · From: Gulfport,Ms. USA

Carl, I am so delighted and honored to see you posting here. Your friendship to me is another of my great treasures in this world. Thank you so much for this.
Yes, please post all you can to show this marvel in our steel guitar world. The new one that Mitsuo presented to me at the St. Louis show just floored me. I could dispense accolades for hours about this instrument and still not cover them all.
Duncan, thanks for your interest too and I am still trying to play a little bit of hillbilly music.
And you are very right, it is the star trek of pedal steels. Thanks for your interest here too. Most appreciated.
Dickie, there is nothing magic about my tuning set up. Standard E9, Emmons set up and standard C6 pedals and levers also. I use the E9/B6 tuning. I installed a G# (12ga) as my string no. one as I had a high A on my old D-12 and with my C6 now on the first fret I have this high A same as my old C6 tuning. And the E9th tuning, this high G# gives me a much fuller chord pattern-11ths, 12ths and 13th notes are now on the E9. I use the same knee lever that loweres the D# to raise my now tenth string (9th in the ten string tuning) to D. So, I can utilize that famous seventh chord going to it in two directions-high D# lowers to D and the low B string raises to D. Both reaching the required note at the same time. With the C6 pedals working out of the B tuning, pedal no. 8 will raise this lower B to C. Now you can manipulate that B note to five different notes within both tunings. Right knee left lowers it to Bb, release lever to bring it to B, pedal 8 raises it to C, pedal one raises it to C# and right knee right raises it to D. This will allow you to play the intro to "Raining in My Heart" in any position on the fret board and all at the same fret. (In the E9 tuning). You do not need my tuning setup as all the strings in both tunings are still in order per the well known E9 and C6 changes. Nothing magic here and just about all the number charts can be used even if they are for the ten string copedent.
I have bottomed out the E chord with more Es, and Bs and G#s. Pedal one pulls three Bs to C# and Pedal two pulls three G#s to A. Therefore everything that is happening in the well known groups of 3,4,5 - 4,5,6 - 6,8,10 is automatically happening in the lower register and gives you another ball field to play in. You are already familiar with the groups mentioned above and with the D note being a B, you have full chords being made all the way down the register. Not having to dodge the older D note, but when you want it, this D note is in the same grip or group that you are used to playing. Pull the rightr knee in to the right and it is the ninth string note, release it and it becomes the tenth string. When I thought about this in the seventies, I called Sierra to see if their changer would pull the tenth string to a D. They researched it and told me it would. I then ordered my first E9/B6 single 14 unit and asked them to install a cam on my left knee left to hold the E strings to Eb for my B6 tuning.
(The D note on the older ninth string does not fit in the B chord structure and this worked out well for me). Sorry to be long winded here. Just wanted to let you know that you need no magic copedents for this tuning. Thanks guys. You may email me at SChiefsan@aol should you desire more information..Be glad to help if I can.
Thanks again Carl. And guys, this Carl Dixon has more technical information under his little finger nail than I will ever have. Such an honor to see him posting here.
Bill Stafford

Dickie Whitley · Posted 18 Oct 2010 5:12 pm

Thank you Bill, very much appreciated, and thank you Carl for the "Engineering Tour" as well. Bill, it may not be "magic" but still a wonder of engineering precision. Love to hear it when you get a chance (after the "Toys at Christmas" effect wears off a little). I hope you enjoy for many years. Again, awesome looking axe.

C Dixon · From: Duluth, GA USA

Thank you Bill,

I am humbled you feel that way dear brother.

I will preface this by saying that I have not seen Bill's new guitar, and I admit there are some new things that I have not seen underneath.

However, I have followed closely the evolution of this guitar from its onset.

So here goes:

Photo 1

I took this photo at last yr's ISGC. This guitar Mitsuo played on the stage of the Hawaiian show. Not sure if he played this or not in the main auditorium.

This guitar has the option (extra cost) of tuning EVERY thing at the right end plate; as mentioned in my previous thread. The open tuning is done by adjusting the large knurled knobs with the finger tips or you can use the SAME wrench you use to tune the nylon tuners.

Notice photo 2 and the tuning wrench located in its own dedicated hole in the top of the guitar.

Photo 3 shows the top of the guitar:

You can either place your picks and bar on top...OR... photo 4, you can store them in a nice little box in what used to be the key head. Neat huh?

Photo 4

Photo 5 and 6 shows the underside of my new Excel which I imagine is almost the same as Bill's new guitar as far as the underside is concerned. Let me know if not Bill.

Photo 7 is a photo I took last yr of Bill's former Excel.

Handsome player don't ya think? He was practicing for his set at the ISGC. Man what was coming out of his amp made me want to take a chain saw to my axe. The notes Bill got are simply NOT on my steel. Any where! Mad

Notice the camera flash pyramiding off of the neck of his guitar into a typical light spectrum. This is due to something Mitsuo does to his front aluminum trims. He achieves it on his CNC mill when he make them. Very unusually unique. Same on the two thin aluminum strips on the front apron, when the angle of light hits it just right.

Photo 7 is (I embarrassed-I forgot his name-but a peach of a guy) testing out his brand new Excel at the show. Notice the dancing lights on the front of his Excel also. Mitsuo is light years (no pun intended Very Happy

) ahead, I do believe.

Crazy huh?

Back to Photo 1, and a few more tidbits ya might find interesting:

1. Note the phillips head "raise Helper" screws (near the top of the changer) using the 8th raise hole in the raise fingers.

2. The two raise holes and two lower holes just under the phillips screws are placed ABOVE the center line (C/L) of the crossrods. This means, you do not need any reversing knee levers, which has plagued PSG manufacturers from day one.

Ya simply put short bellcranks and pullrods underneath the rods. Simply huh? AND yes there is space. Now ya don't thank Mitsuo would do that and then not have the room, now would ya? Laughing

There are few things he does not think of. Come to think about it, I don't think he hasn't thought about evah thang. May Jesus bless him richly for his thoughfulness Smile

Finally photo 9 is a 12 string copedent I have posted several times. Bill's is not setup this way. Fact is; problee NO budy else's is either. Cuz only a nut like me would thank about it. Whutchall figger Confused

and photo 10

Dubbed:

"Black Beauty"!

Hope this helps. Thanks Bill Whoa!

c.
_________________
A broken heart + † = a new heart.

Lee Holeman · From: San Benito, Texas, USA

Congratulations Bill--would love to hear you play it! I'm sure loving my 12 string.
Lee Holeman

Bill Stafford · From: Gulfport,Ms. USA

Thanks Carl, you are a jewel. Nice information and great pictures.
The man playing the blue EXCEL is Steve Sanford. Scotty heard him on our show in Gulfport this past June and had him on his big stage in St. Louis. Steve is a great player and will be heard from in the days to come. Another Mississippi player that will make a name for himself, sooner than later. You can ask Bill Ferguson about his playing and his tone.
Lee, glad your EXCEL is doing good.
By the way, you should get in touch with Hank Corwin, as he is not good in the health situation. Might need some of your special cheering up since you and he go back a long ways. I will try to visit with him tomorrow and let you know what I find out.
Bill Stafford

Jim Palenscar · From: Oceanside, Calif, USA

Here are a couple of more pics of Bill's fine guitar

Bill Stafford · From: Gulfport,Ms. USA

I just have to recognize Ronnie Miley who is on the drums behind Steve Sanford. Ronnie is a multi-faceted musician and is great on all of them. He currently is touring with David Frizzel on steel guitar and is like that 800 lb gorilla-he could tour and record with anyone he chooses to. He is that good. Plays lead and bass with the best of them also and the Deep South Steel Guitar Show is most fortunate to have Ronnie on our program when his schedule permits. You should hear the dual steel sets he plays with the great Hank Corwin. Second to none, first to all, in my books-and I have a pretty critical ear to my likes and dislikes. We are working on a possible Feb. show by DSSG here in Gulfport, Ms. and as soon as I get all arranged, I will inform all here. Thanks.
Bill Stafford

Bill Stafford · From: Gulfport,Ms. USA

I just have to recognize Ronnie Miley who is on the drums behind Steve Sanford. Ronnie is a multi-faceted musician and is great on all of them. He currently is touring with David Frizzel on steel guitar and is like that 800 lb gorilla-he could tour and record with anyone he chooses to. He is that good. Plays lead and bass with the best of them also and the Deep South Steel Guitar Show is most fortunate to have Ronnie on our program when his schedule permits. You should hear the dual steel sets he plays with the great Hank Corwin. Second to none, first to all, in my books-and I have a pretty critical ear to my likes and dislikes. We are working on a possible Feb. show by DSSG here in Gulfport, Ms. and as soon as I get all arranged, I will inform all here. Thanks.
Bill Stafford

Bill Stafford · From: Gulfport,Ms. USA

I just have to recognize Ronnie Miley who is on the drums behind Steve Sanford. Ronnie is a multi-faceted musician and is great on all of them. He currently is touring with David Frizzel on steel guitar and is like that 800 lb gorilla-he could tour and record with anyone he chooses to. He is that good. Plays lead and bass with the best of them also and the Deep South Steel Guitar Show is most fortunate to have Ronnie on our program when his schedule permits. You should hear the dual steel sets he plays with the great Hank Corwin. Second to none, first to all, in my books-and I have a pretty critical ear to my likes and dislikes. We are working on a possible Feb. show by DSSG here in Gulfport, Ms. and as soon as I get all arranged, I will inform all here. Thanks.
Bill Stafford

Erv Niehaus · From: Litchfield, MN, USA

This Excel can not be considered "state of the art" but it's plenty good for a left-handed Norwegian.
I always wanted a white guitar so bought a black Excel and recovered it.
Carl should appreciate the fish symbol on the end.

Bent Romnes · From: London,Ontario, Canada

Erv Niehaus · From: Litchfield, MN, USA

Bent,
My relatives on my mother's side came over to America from Norway and homesteaded in Minnesota and North Dakota.
I'm not from Norway, in fact, I was born and raised in New Mexico.
The reason I call myself a left-handed Norwegian is because then people don't expect a lot from me. Rolling Eyes

Bent Romnes · From: London,Ontario, Canada

Rich Peterson · From: Moorhead, MN

Bent, I will explain the humor of my fellow Minnesota Scandinavian.

Each wave of immigration into the United States brought people who did not speak English, the established language; they were also unfamiliar with the customs of their new land.

Their lack of understanding was mistakenly regarded as stupidity by those who were already here. Norwegian immigrants and their descendants had enough self esteem to laugh off the insults and make it part of their humor.

Erv Niehaus · From: Litchfield, MN, USA

It takes a Peterson from Minnesota to understand Norwegian humor.
My mom was a Larson and didn't raise any dumb kids.
You betcha, by golly boy, ya sure Very Happy

C Dixon · From: Duluth, GA USA

Mike Perlowin · From: Los Angeles CA

Question:

Can the changer, with the tuning pegs, be mounted on the left side of the guitar, (which could possibly allow the strings on the right side to be anchored directly into the body, perhaps Tele style, thereby increasing the contact between the strings and the body,) and still maintain the non-parallel taper that the strings normally have?

Personally, I find parallel strings very disconcerting to look at. I can't tell you why, it's one of those gut level things like preferring blue over yellow.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin

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