The Steel Guitar Forum

I would think it went through Bonvillian's music after Pete's death.

I would add that Troy would probably be willing to pay a premium for a guitar that is likely that white one. Really not all that many of those around. I would think it may have came through Johnny Bonvillian's music in New Orleans at some point in the 80's..
Just a thought.

In the 80s-to 90s, my studio was in Tippits Music in Gulfport Mississippi. The "other Pete" that had the store with me was Pete Peterson. His son Troy is now Harrison County Sheriff and wants to find his Daddy's old MSA White D10..means a lot to him. If anyone has any leads please let me k...

50 years full time onstage (not steel) tells me don't worry too much about playing something different as long as the emotional impact of the song stays the same.

"Whatever Paul is trying to develop, I wish him all the best. He might surprise us too." Thank you for that. I do see some things that can be improved dramatically. The changer itself (at least the pull release variety) seems fully developed. What is needed is streamlining. I also see lot ...

I almost see lap *.*6th and pedal E9th as two barely related disciplines. I suppose 13th lap is sort of a sequey.

The 60's 70s era is to my ears *the* defining moment of E9th pedal steel. The very songs themselves are
"pedal-centric" Jones, Conway, etc.

Thank everyone for helping me in estimating this. I will add this. That old Fender D10 (1968) by far had the best overall tone I have heard. Obviously it weighed a ton.
I do think I will go with steel for reasons of longevity.

At a bare minimum, you don't need pedals to play country music. Pedals give more options and make things easier but people were making classic country music before pedals. Yes very true up to a point but after Western Swing era at the beginning of the pedal steeI era, I think it's fair to say the p...

I agree on controlled rigidity. Mass may be the only viable way to do it considering the fingers have to move.

Duplicate

Pickups, rigidity, mass at the string ends will get you where you need to be.

There are truly fantastic machines available, and done a lot of different ways. When I say "That's the way to go" ,I am speaking of the economic advantages. One thing that does not need to be compromised is tone. Overall Tone is simply a matter of design and costs nothing extra to achieve....

Actually 5/16 is the finger width I want.

Donny mentions pull-release. We lost something when we moved on. I have never felt that aluminium is a very musical metal. Steel fingers for me, and save weight elsewhere. I sense a danger in this thread of "bridge" and "nut" getting confused, so be precise please :) Pull releas...

From what I've observed, at least to my ears, a big steel axle and a thin aluminum finger gives me the tone I like. Early Sho Bud permanents and Emmons guitars share this configuration. I think that the big axle adds a lot to the tone, but I think that the thinner aluminum finger is what brings it ...

The heavier bridge/changer will likely sound brighter, emphasizing the sound of the string itself, and negating the resonances of the body. Lighter bridge/changer assemblies will pass more string vibration into the body, which usually results in a rounder and smoother tone. (Think: the sound of a p...

I am investigating design, its possible I would be interested in your old projects. Especially changers and fingers.
Thanks

Changer should be on the left, and the bridge should be one heavy hunk. I don't see any reason that the bridge should not be massive other than the design challenge of "solidifying" the rollers. No doubt a lot of energy gets channeled away to no real advantage on both ends of the strings....

I have always noticed that the mass of a slide bar makes a pretty huge difference in tone/timbre, and most of the time it just sounds better with to terminate the string with a heavier bar..Soooo...going from there, I am guessing that more massive fingers, more mass in the changer in general is most...

When I started back in the '60s, I played using just the ABC and the E lower for almost 8 years , and had little problem duplicating 98% of what was on the records at that time. I think that all beginners, and maybe even a few of the more advanced players, should study the old Emmons and Day stuff ...

I'm trying to get a sense of the differences in pedal spacing on guitars currently in production. Please do chime in with the pedal spacing (and brand/model) of yours. Thanks! Thank God someone else asked that question. But of course, this also opens up a whole new idea of mechanical multiplexing o...

Oh, I don't intend to leave the twist or wrap exposed

5/16" at the changer is too narrow. 11/32" at the changer is the proven ergonomic, industry standard, spacing. I have no idea why the strings are tapered down to the nut, maybe it's an aesthetic thing. That's the information that I need. Thank you. I do feel the market for the unit I am d...

Oh hell don't worry about ridiculing me! I have cease and desist orders framed on my wall from some mighty places. It always starts out as ridicule. Fire away. Fuel. One good thing about the internet all you ever do and ever have done is documented.