The Steel Guitar Forum

FWIW Bobby Black told me he used to go hear Vance Terry at the "Brisbane Bop" location, playing his Bigsby pedal steel thru a Bassman 4x12.

My opinion on Franklins' success as a recording guitar: Franklin guitars, for some reason, are more "contained" in sound range. The small strings are not as bright, compared to the mid and bass strings. Or maybe the small strings have more mid-range support to the notes, more 'heft'. Also,...

Yes, I have it on a Zero pedal. I call it the EB pedal (Earnest Bovine, he has it). So with the adjacent A pedal you can do that C6 stuff because you have 2 strings (a Min 3rd interval) raising a whole step together. Tuning-wise tho, the way I tune, if it is tuned to be beatless with lowered E's (a ...

I am posting a "reply" here, simply to bring this thread, about Vance Terry, up into the light again.

If you haven't heard Brisbane Bop, here's a link.

https://www.youtube.com/watch?v=L2SeC0P ... UNoNw3M6Mu

"I split the D to E raise with the D to DB lower giving me the D#"

Splitting E and Db to get the D# is a brilliant move.

Johnny, 1- On your above 2 copedents ("Emmons split guys" and "what I'll end up with"), there is no F-raise equivalent (previously on your LKL). Instead, you are using LKL to raise the E string equivalent up a step, to use as part of the C pedal replacement. Would you explain the...

Johnny.

I'd love to play live again soon! I'll try to remember to let you know when that happens again.

3] 17 15 12AB 11ABE 10ABE 10E 9E 8E 5AB
4] 17 15 12AB 11ABE 10ABE 10E 9E 8E 5AB

I'll take it.

JR, thanks for posting this. I needed some Mooney!

Bobby Black was telling me about his days listening to Vance Terry, and said that Vance (and Bobby) were both playing Bigsbys, and the tuning was, low-to-high:
E G# B D F# G# B E
The two pedals raised 3 G#-to-A, and 2 B-C#

Paul has both.

when I first started on pedal steel, I was in touch with Jerry Fessenden a lot, and he was in touch with Buddy. I was changing my copedent all the time, and somehow Jerry asked Buddy about any ideas he might have, and his reply to Jerry was, "you could probably find something better for the C p...

I've done that on a 10, and there's a lot of good there. However, try raising the low E with the B pedal. It works great. Pedals down is an F# minor 7th chord, with lots of melodic movement with A and B pedals. Also, then, you have the option of tuning the 10th to G#, which is also a great tuning; y...

Thanks, Steve. I thought it might be. I had never heard this; love the period and sound of this session.

Who's on steel on Just One More by George Jones?

https://www.youtube.com/watch?v=Ica7Nf0 ... E29nVOcZu8

Paul uses tuning compensators lowering the F# strings when the A pedal is pressed, and another lowering the str 7 F# when the B pedal is pressed. He uses return compensators on every string that has both a raise and a lower. (Strings 2, 4, 5, 6, 8, 10 for him) I'm talking E9 only here, but his polic...

Paul has no splits.

Also, you can “tune out” any of the changes, so it becomes a simple one-string move. For example, if tuning out the 6th string, the pedal just lowers the 5th string (B down to A). Another example, tune out the 5th, just lowering the 6th (G# down to F#), which is a handy emergency one-chord move,...

Fred, those knobs on the back, are they for the arm rest?

Thank you, Mike. Very nice interview.

I also recall Tom was using a smaller diameter bar, and darker, maybe made of brass? Does anyone know about this?

When I heard Tom in Dallas in his last year, he was playing his 10-string through a Walter Woods bass amp, into 2 2x10 cabinets. Not sure what brand speakers were in there.

PF has a feel stop on the F# strings. How about this one?

Do you know the setup? Is is Mr Mooney’s setup?