The Steel Guitar Forum

Nice one Ron! First I wrote it out in manuscript - the notes and rhythms. Then I notated which notes are picked cleanly and which are slid to. So now I can can play it pretty well. At a quarter-speed. Maybe in my next life. Buddy's thought process is so logical and musical. In awe.

Yes it is and 2 days later is Joey's.

Just saw this. Okay Pete - here's the story I got from Terry: NRBQ was making an album w/ Skeeter up north someplace and Terry had an arrangement of "Someday My Prince Will Come" that had Al doing a Travis-style guitar thing. He wanted to hear steel on it, but playing "heavenly",...

Hey Bob - I did bring back the mids that I scooped out, and it does give the sound more meat for single-string higher stuff. I find I can still sound pretty by picking the strings further from the bridge. Haven't tried it in a loud situation yet.... I appreciate y'all's thoughts. My amp is a Telonic...

I'm loving the tone I get on my Williams with the Lawrence 705 blade-type pickup - colorful and warm. However in loud situations, a band will cover up most of that, leaving (especially in the higher register) a thin sound. How can I get a fuller, more present single-string sound above the 12th fret;...

Yeah - what Tony said. The Paul Franklin thing of raising those strings to get that D in there is great. Also the A to C gives you 3 consecutive whole-step-apart strings (C-D-E) which is great for playing melodies with scale steps. I had that for a while - can't remember why I got off it. I didn't r...

I really appreciate that Roger - yep that was the E9 neck. There isn't much you can't find chord-wise on it.

Thanks bOb! Matter o' fact, I'm getting ready to play some cello/steel duets with my son Austin this Saturday at a steel guitar event that Russ Pahl is putting together. He's got me, Luke Schneider, Dan Dugmore and several others playing short sets at The Blue Room. Austin and I will be doing some O...

What does anybody think about these amps? I hear they were only built for a couple of years. Thanks for your input. And Happy Thanksgiving everybody!

No slouches there! Thanks Jerry.

I love the classic intro and turnaround on this song. The record reminds me of Hughey's playing with Vince. I'd like to know who it is. On this live version, is the steeler that guy who also flies planes? (I realize that in Steel World that doesn't narrow it down much...) BTW, at 3:06 there's an a c...

That Shrimpsey is insane!! That guy had his own style big time. How do ya think he got that bright, brilliant Mooney tone w/out sounding harsh and tinny?

Looks sort of blues-based with all those E7 chord tones in there. Not very 6th chord-friendly. There's almost an entire scale in the middle - 6 consecutive notes a step apart. That makes for lots of cluster-type chord voicings. Haven't looked at much of the pedal changes - makes my head hurt! Wait -...

Sorry but I can't remember, but it was not just an alteration of E9 or C6 - it was a whole different deal. He was playing stuff on it that didn't sound weird, just different combinations... He has a teaching thing going on w/ a company called Patreon; maybe you can contact him thru that.

Wow Pete - that thread is DEEP! Very educational about Pete's hybrid C6th tuning. It illustrates what Bob Carlucci said about how all the notes are on both necks SOMEWHERE, if not all the chords. WHo's doing different tunings these days? (besides Jernigan who has a really different tuning that he go...

You're right about Lloyd there. It sounds like E9 stuff. Harold Bradley was "music director" on the album, if that tells you anything about player choices. man, the volume pedal control on the playing is superb - it's incredibly consistent.

Anybody know who played steel on Jim Reeves' version of "When Two Worlds Collide"? This album also has "Take Me Into Your Arms" and "I Love You Because". To my ears it could be Pete (he does the D-I-V-O-R-C-E- lick)or Buddy. Very sweet and choice steel all thru.

I like that you provide traditional notation along with the tab. It makes it so much easier to suss out the rhythm, etc. Wish that was done more often.

What's the downward bar pressure for?

I'll have to get out my round-nose bar for this, with those slants in there. Wow - nice arrangement! Is this recorded?

Thanks for the good words, guys - I really appreciate it! I bet those dobro chords sound really big with that 6th down on the bottom. I'll drop my G and mess around with that. I also like the tuning where the E is higher up: (BDEGBD). Sonny Garrish does that. Andy are you gonna play "It's All I...

Here's my version, from "A Splash of Aqua Velvet", my lounge/exotica album of great pop classics like this one. This song has an interesting origin, if you look it up....
https://www.youtube.com/watch?v=5fep_4M1z-o

Hey Mark, sounds like you can get some monstrous power chord sounds with doubled B's and doubleds E's that way. You can also bend from a triad with add 2 (B, G#, F# and E) to that huge doubled open fifth. Crazy baby! Or the reverse of that. YEOW!

Both the 7 raise and the 6 lower have worlds of possibilities, especially if you tune the half-step in between. Paul raises his F#, lots of players do. Most players seem either-or on 6 and 7. I like the post by the guy who has both - LOTS of potential there.... Randy Beavers only lowers 6. I lower 6...

Mike Cass in Nashville, tho I don't know if he's working on them these days.