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Topic: "GOLOORHI" The '03/'04 Winter Project |
Bill Hankey
From:
Pittsfield, MA, USA
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Posted 21 Oct 2003 2:45 am |
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Enter one "GOLOORHI", and exit the 3rd and 6th strings' irritating breakages and detunings, commonly associated with the steel guitar. It's no secret that the two G# strings of the E9th tuning, have contributed largely in creating a set of problems that steel guitarists have surprisingly tolerated, for too many years. I am interested, in separating the "unsatisfactory" twosome from the original changer concept, and distancing the mechanical influences, by applying the "GOLOORHI" resolve, which will be located opposite the universal changer, on the tuner keys side of the steel guitar. I'm using a modified version called the"GOLO", at the present time, on the 5th and 6th strings. The setup is faultless, when used with my newly contrived "SHORT PEDALS", which are located between the ABC pedals.
Bill H. [This message was edited by Bill Hankey on 21 October 2003 at 08:59 AM.] [This message was edited by Bill Hankey on 25 October 2003 at 04:04 AM.] |
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Pete Burak
From:
Portland, OR USA
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Posted 21 Oct 2003 7:07 am
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Pictures.
Please post pictures.
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 21 Oct 2003 8:30 am
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Pete B.,
My "GOLO" is working fine. I've submitted pictures on this forum, along with the "UPRIGHT" fretmarker guide, which is unprecedented in its design. I no longer bow my head submissively to observe frets beneath the strings. As I mentioned, doing away with the 3rd and 6th string pulls away from the changer end of the steel, is a new project for the coming winter. The most difficult part of the project, is in the production of a presentable finished product, that does not disrupt cosmetic values. The mechanical movements can be resolved through a series of trial and error procedures. Most of the arrangements anticipated, have been tested, and found to be efficient in every regard.
Bill H.
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Chris Schlotzhauer
From:
Colleyville, Tx. USA
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Posted 21 Oct 2003 9:15 am
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| Does this mean the "Lucky 7" will be obsolete? |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 21 Oct 2003 10:55 am
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Chris S.,
Thanks Chris for remembering the "Lucky 7". There are two problems with the 3rd and 6th strings, manifesting their disadvantages by constantly requiring a steel guitarist to distrust their reliability. The record shows that uncountable breakages of the 3rd string have occurred both on and off stage. The development of the
"LUCKY 7" put a halt to that nuisance. It works like a mini-shock absorber, plus a change of curvature at the changer lessens the stress at the bridge. My intent for the "winter project" is to attempt to defy string breakage,
much higher than the G# to "A" note. I had written months ago of a plan to weary the .011 plain string at both ends of the steel. The bulk of the 1/2 tone raise would occur at the "GOLO", tuning key side, and a slight pitch raise on the "LUCKY 7", to be determined through experimentation. The problematic 6th string, will be removed completely from the changer assembly movement, with the 1/2 tone raise accomplished by the "GOLO". This will eliminate that all too familiar "cabinet drop. In actuality, the 6th string is an innocent scapegoat of the wearisome
cabinet drop, and mechanical distortions, which occur through applied pressures. The pitch drop will not be found in the proposed
"GOLO" assembly.
Bill H. [This message was edited by Bill Hankey on 21 October 2003 at 03:27 PM.] |
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C Dixon
From:
Duluth, GA USA
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Posted 21 Oct 2003 11:25 am
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| What? |
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Jeff Lampert
From:
queens, new york city
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Posted 21 Oct 2003 11:36 am
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Eloquently and articulately stated, Carl. |
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Jim Cohen
From:
Philadelphia, PA
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Posted 21 Oct 2003 11:37 am
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(See above)  |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 21 Oct 2003 2:23 pm
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Gentlemen,
Tunnel vision is the opposite of intellectual curiosity. We could however continue to never structure an analysis, or implement trial innovations. A half century of filing up to the music store counters, where the .011 plain strings are sold, does not make a great deal of sense, not to mention the dollars and cents taken from a strained budget. The "LUCKY 7" has helped me to adjust to a new perspective. The business of overspending for strings is a thing of the past.
Bill H. |
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Larry Bell
From:
Englewood, Florida
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Posted 21 Oct 2003 2:45 pm
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Rogue (same as Fender) .011 strings for 18.2 cents each
I fail to see the economic issue, Bill. I have two pedal steels; play one or the other most every day and one or two gigs per week. I have broken one 011 (fortunately not on stage) so far this year. So that's not really a problem for me.
Do keep us in the loop on a way to prevent cabinet drop on the 6th string. I am personally VERY interested in that one -- and I'll bet your neighbor Jerry Fessenden would be too.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 21 Oct 2003 9:02 pm
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Larry B.,
How is it, that you are enjoying the freedom of a nonbreakage situation? How often do you move to the C6th neck? Do you play C6th at times, to be counted as playing time on the E9th? My battle is strictly with two G# pitches of the E9th tuning.
Larry, I read on the forum, about a player who recently sustained a wicked and painful gash from the sudden whipping of a steel guitar string. It's in sharp contrast to your carefree experiences. Could you offer your thoughts on this matter? Thanks....
Bill H. [This message was edited by Bill Hankey on 22 October 2003 at 03:04 AM.] |
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Larry Bell
From:
Englewood, Florida
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Posted 22 Oct 2003 5:04 am
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Yeah, Bill, I play 'C6' a lot, but on a single neck guitar. I play a 12-string universal tuning and use the B pedal with both the E9 and C6 (actually B6) 'modes' often. On B6, the G# to A change is the same as A to Bb on C6 -- a commonly used change converting the 6th to a dominant 7.
I do break 3rd strings on occasion. This has been a particularly good year. I've been using my Fessenden guitar primarily for gigs and it has not yet broken a string since I received in in February of this year.
Nobody likes to break a string on stage, but it is relatively inexpensive (18 cents) to replace it. I do so once a month or so -- or whenever it sounds dead -- and I've had no problem. In 30 years, I've had a couple to pop and draw blood, but not that often, and I certainly don't live in constant fear of it breaking since I take all reasonable measures to avoid it.
As I mentioned, I'm very interested in what you described for the 6th string. I'd love to minimize deflection on that string when the A pedal is pushed alone.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Terry Edwards
From:
Florida... livin' on spongecake...
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C Dixon
From:
Duluth, GA USA
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Posted 22 Oct 2003 7:53 am
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If you are tired of string breakage and have cut fingers and hands; or worse the face, check out the Excel SuperB model PSG's or the Anapegs built in Australia. Neither guitar breaks strings.
No, they do not sound like an Emmons, but they sure do sound great.
The reason both of them do not break strings is because they use a changer that is a radical departure from all other changers currently being made.
They have proven conclusively that a string is broken (as they are on most PSG's) NOT because of stretching but due to being bent back and forth. The above guitars do not bend the strings, rather the strings are pulled and relaxed in an almost straight line. The result is they simply do not break strings. IF one should ever break, it was defective when installed.
carl |
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Larry Bell
From:
Englewood, Florida
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Posted 22 Oct 2003 8:10 am
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I always respect Carl's opinion, but those are not the two guitars I would go for if I perceived string breakage to be as egregious a fate as Bill does. In fact, from what I've seen of Bill's 'Lucky7' design, I believe that the Williams guitar essentially has that approach covered, i.e., reducing the curvature over the changer finger. It looks like a wonderful design to me and the ones I've played sound pretty good to my ears.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 22 Oct 2003 8:25 am
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Larry B.,
I appreciate the information that you have provided. I've heard or read more than a few times that Jerry Fessenden's steel guitars have a good track record, with a minimum of undue 3rd string breakages. However, there is a well defined correlation involving "intense" practice, and random string breakages. The hog wild practice sessions, that go on until the cows come home, are the real tests for durability. Going back to the pitch shifting, incompatible 6th string, I would like to shed some light on harnessing, and foiling the fickle tendencies experienced in the standard E9th tuning. The mere .020 or .022 plain string, possesses a hair trigger response, and the least amount of pedal action, or knee lever movement, causes a marked reaction in the form of detuning. My plan is to single out the touchy 6th string, and subject it to a new mechanical movement, whereby the slightest pressure of the "GOLO", will maintain the desired affect by preventing unwanted pitch changes.
I have had good luck with a device I call the "NUB NUDGE" which actuates whenever the "A" pedal, or E to F lever come into play. The 6th is nudged to match harmoniously with either change.
Bill H. |
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Larry Bell
From:
Englewood, Florida
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Posted 22 Oct 2003 9:43 am
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| I just had sushi for lunch, so you could say I'm waiting with BAITED BREATH. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 22 Oct 2003 11:23 am
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Terry E.,
I admire your obvious proficiencies, but for you to consider that the "LUCKY 7" has any connection with trying to eliminate expenditures, borders on absurdity. You should have guessed that it has much more to do with avoiding the steel whip, and putting a hold on interrupted performances. The intellectual prowess issue is nothing more than a reflection on whomever shows no inclination to stubbornly resist new approaches in solving problems.
You have won my respect, and it is clear to me that your intellectual capacity exceeds my abilities, many times over.
My neck was stiff for 5 weeks, and I couldn't make myself comfortable
in any position. I'm much improved at the present time. I read the new postings, and enjoy sharing whatever I can offer.
Bill H.
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Terry Edwards
From:
Florida... livin' on spongecake...
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Posted 22 Oct 2003 12:07 pm
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| Quote: |
| A half century of filing up to the music store counters, where the .011 plain strings are sold, does not make a great deal of sense, not to mention the dollars and cents taken from a strained budget. The "LUCKY 7" has helped me to adjust to a new perspective. The business of overspending for strings is a thing of the past. |
| Quote: |
| I admire your obvious proficiencies, but for you to consider that the "LUCKY 7" has any connection with trying to eliminate expenditures, borders on absurdity. |
My bad, Bill! I incorrectly inferred from the first quote above that there was a connection with expenditures. I'll try to be more carefull!
Terry |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 22 Oct 2003 10:55 pm
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Terry E.,
I don't recall ever pulling quotes out of context. It would be useful in a court of law, where the prosecution, or the defense leaves no stones unturned. I didn't fetch up the bygone threads to check for accuracy, but I feel sure that the two posts entitled: "A BENT STRING IS A SPENT STRING", and "THE LUCKY 7" would show that the emphasis is on reliability, rather than saving pennies. I believe we've reached an era, where it has been noted that few will stoop to pick up pennies from sidewalks. I can recall going to an afternoon movie when ticket prices were 12 cents! Today, prices have soared to nearly $10.00 at the movies! It is disturbing to try to reconcile with modern day prices. This is more of what was meant when I said that for a half century, (round figured) the 3rd string (G#) breakages, are responsible for musicians filing up to music supply counters. Who needs it? It has been noted that of late, string purchases are ordered by mail in batches of 10 or more, of the .011 gauge 3rd string spring wires. The whole transaction is highly indicative of excessively tolerating inconvenience, and time wasted. I'd like to believe that I'm resisting much of this activity, by setting out to foil breakages.
Bill H.
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Terry Edwards
From:
Florida... livin' on spongecake...
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Posted 23 Oct 2003 6:19 am
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Bill, I sincerely hope you succeed in this endeavor. I just ordered a dozen .0115's from b0b. I'd rather be buying more CDs from b0b! That gash on my finger is healing nicely. A little danger in steel playing helps to keep sufficient adrenalin flowing to aid in the production of creative brain juices which ultimately translates to enhanced tone. (Jeeesh, does everything resolve to "tone")!
Best of luck and warmest regards,
Terry
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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 23 Oct 2003 12:21 pm
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Terry E.,
Thank you for the kindness you have shown. It will help to carry me through, when the going gets rough.
Best regards,
Bill H.
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 24 Oct 2003 6:53 pm
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C. Dixon.,
Carl, would you have knowledge of any existing cabinet drops in the newly manufactured EXCEL SUPER B steel guitars, or for that matter, in the ANAPEGS guitars? You had written about solving the problem of the 3rd string breakage by simply switching to either of the imported instruments. Would you care to expound further on factual data, that would provide accurate, and reliable information, from first hand sources. I am curious about deliveries of the famous steel guitars from the manufacturers, and importantly, the tugging at the purse strings.
Further, could you make a statement about the pesky detuning of the 6th string, when the "F" lever, and "A" pedal become actuated? If you feel that it's too trivial to consider, it certainly would become food for thought. In light of your expertise and great knowledge of the steel guitar, I trust that you will share how you view the cabinet drop, and what should, or should not be done to correct the problem.
Bill H.
[This message was edited by Bill Hankey on 26 October 2003 at 11:26 AM.] |
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richard burton
From:
Britain
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Posted 25 Oct 2003 12:37 am
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Sir Larry,
I know from previous posts that you can't use a wound sixth string (which would negate cabinet drop) because of the wide range the sixth travels on your steel. If you have a spare raise hole, you could put a rod from the A pedal cross-shaft to nudge the sixth up a tad.
Sir Richard. |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 25 Oct 2003 6:29 am
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Richard B.,
I concur that you are one of the best in smoking out the problems, that are associated with trying to properly set-up a steel guitar. I recall that according to your statements, you've delved into a wide range of original projects to overcome problematic mechanical riddles, which are not easily dealt with. Do you possess through experimentation, the memory of actual cabinet dropping in a variety of manufactured steel guitars? Is solving the problem unapproachable, due to the structural designs found in the steel guitar? We're coming up short on explanations, which signify that very little has been done, to alter the existing conundrum.
Bill H. |
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