| Author |
Topic: Changing the sound of the steel. |
Bob Doran
From:
Ames, Iowa, USA
|
Posted 6 Nov 2007 7:15 am |
|
How would one go about changing the sound of the steel to a rock guitar sound?
I may need to learn to do this in the future.
Thanks
Bob |
|
|
|
Darvin Willhoite
From:
Roxton, Tx. USA
|
Posted 6 Nov 2007 7:53 am
|
|
I use a Tubeworks Real Tube overdrive, with a little chorus. I also have a Behringer clone of a small stone phase shifter in the signal chain that I use occasionally. I set these pedals beside my volume pedal so I can kick them in and out easily. I use a Digitech 2112 preamp, and use the reverb, delay, and chorus effects in it. Here are pictures, although at the time these pictures were taken, I was using an auto wah. I didn't care for it much, so I went to the phase shifter. The other units in my rack are a Shure in-ear monitor transmitter, and an Audio Technica wireless guitar receiver, for when I play guitar or mandolin. With this setup, I can go from cryin' country, to screaming rock, with just a couple of toe taps.
_________________
Darvin Willhoite
MSA Millennium, Legend, and Studio Pro, Reese's restored Universal Direction guitar, a restored MSA Classic SS, several amps, new and old, and a Kemper Powerhead that I am really liking. Also a Zum D10, a Mullen RP, and a restored Rose S10, named the "Blue Bird". Also, I have acquired and restored the plexiglass D10 MSA Classic that was built as a demo in the early '70s. I also have a '74 lacquer P/P, with wood necks, and a showroom condition Sho-Bud Super Pro. |
|
|
|
David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
|
Posted 6 Nov 2007 10:02 am
|
|
| Use tube amps, 12" speakers, a lighter grooved bar (I like the Shubb-Pearse #2), turn up the treble, and use rock type effects. And pick near the changer, especially when you are down on the low strings. Also, it helps to have a 12-string extended E9 or E9/B6 universal, to get power chords. The technique is different too. Use less of the cliched country pedal-mashing, and go for more of a slide guitar technique. My favorite box is a Seymour Duncan Twin Tube distortion unit put before the volume pedal, so its distortion is pick sensitive. |
|
|
|
Bob Hoffnar
From:
Austin, Tx
|
Posted 6 Nov 2007 10:28 am
|
|
A leslie simulator and a delay can come in handy. I play rock gigs quite a bit. Try not to use the corn pedals to bend into major chords. It sounds pretty goofy in the wrong context.
Also learn your pentatonics inside and out.
http://www.dougbsteel.com/PentPage.htm
Oh yea, have fun. I give rock bands way more gas pedal than steering wheel. I often play solos on just 2 of the E and B strings. The extra bar movement helps bring the rock.
_________________
Bob |
|
|
|
Phil Halton
From:
Holyoke, Massachusetts, USA
|
Posted 7 Nov 2007 8:14 am
|
|
A distortion pedal does the trick. Listen to "mudslide" on Doug Bomiers webpage for an example of distortion/overdrive effect on a steel. A good effects unit is the Boss ME-50--easy to use/learn and has distortion, modulation, and delay pedals built-in as well as compressor, reverb and an expression/volume pedal.
Also, if you want a Rock n' Roll rhythm workout that'll have you soaking your wrist for a week, check out Joe Wright's "intro to Rock" download on his website. Its only $15 and it comes with a tab book and 20 rockin' rhythm pattern exercises that'll cover you in most any rock tune.
_________________
Disclaimer! I make no warranty on the manure I've been spreadin' around here. |
|
|
|
David Anderson
From:
St. Louis, MO, USA
|
Posted 7 Nov 2007 8:58 am
|
|
| Check out Brad Sarno's Dirt Box. |
|
|
|
A. J. Schobert
From:
Cincinnati, Ohio,
|
Posted 7 Nov 2007 2:49 pm
|
|
| I get off my steel and pick up my strat. |
|
|
|
David Mason
From:
Cambridge, MD, USA
|
Posted 8 Nov 2007 1:16 pm
|
|
Oddly enough, unless I've gone to the amp-modeler darkside, I use the exact same Tubeworks Real Tube overdrive as Darvin, though de-juiced somewhat with a 12AU7 tube substituted for the 12AX7. Most steel guitar pickups are too powerful for most effects units built strictly for six-string guitar, but you can fiddle with it to no end - attenuating the steel output by a third or even half brings it down to the range that makes guitar boxes work better. It takes a good deal of experimenting to master playing musically with overdrive, many rock guitarists will tell you that the amp is an instrument in itself.
As other people have mentioned, the notes you choose to play are important too. It helps an awful lot to love rock and roll, and to be able to listen to it with a critical ear, so as to pick out the tones and elements you want to adapt. I find the single hardest part, maybe even impossible, is trying to generate the percussive, rhythmic drive that guitarists can. Great lead players are usually (always?) great rhythm guitarists also, and it's hard to make a steel POUND & THROB & SHRED & MASSACRE (etc). |
|
|
|
Bo Legg
|
Posted 8 Nov 2007 3:14 pm
|
|
| If your going to be a true Rock musician you first have to learn how to jump on top of your Steel and smash it to bits and then set it on fire. Practice, practice, practice. |
|
|
|
Jim Sliff
From:
Lawndale California, USA
|
Posted 8 Nov 2007 4:58 pm
|
|
| Quote: |
| If your going to be a true Rock musician you first have to learn how to jump on top of your Steel and smash it to bits and then set it on fire. |
It's stuff like that that just knocks another 10 feet into the chasm between some players. He didn't ask for your comments on rock music, pal.
Anyway -
I agree a tube amp is primarily the way to go. You will get a richer, "fatter" rock sound...of course, it depends on what TYPE of rock you're talking about, as "rock" encompasses an awful lot of tonal territory.
For classic-rock sounds (I'm thinking 60's/70's Hendrix/Clapton/Page on one hand and Airplane/Springfield/Byrds/Dead on the other as typical examples of totally different approaches in sound) distortion is NOT always necessary - in fact, it's the cliche of rock sounds. If you listen to most of the players, 809% of what they did was played clean, but warm and with an "edge" to it, where they could dial in distortion.
I disagree with DD on one point - treble. Keep the treble on a tight rein. You do NOT want that "icepick treble" sound, which is just as bad as corn pedal bends in saying "look at me. Mr. Country, playing rock". *If* you dial up the treble you also have to crank the bass and have speakers that can handle it - that's your scooped-mid "metal" tone. but the British blues-rock sound is MUCH more mid-heavy. Go to a music store and play through an old Marshall of you can find one and listen to the mids hit you in the gut.
I would suggest playing along with a bunch of Cream and other blues-rock, along with a smattering of jam-band stuff like the Dead. Rock playing is really more a "feel" thing. You can do it playing perfectly clean with the right touch, although a touch of distortion (NOT fuzz, except maybe on a solo now and then - and not "overdrive" unless you're using a tube amp cranked up and are able to use the OD to push it into natural, saturated distortion). David Lindley's playing with Jackson Browne is a tremendous example of rock slide playing, if you're leaning that direction instead of guitar.
But technique wise, pedal and knee lever moves need to be inaudible - you need solid moves from note to note, except for single-note bends with vibrato. Don't block everything - let it flow a bit. Slide up a fret into chords from time to time and (here's where you DO block) and "chop" them as you hit the pedals to make changes. Also, slightly-distorted (with a rotary effect) sounds with arpeggiated chords can sound very good, and very "un-steel" like.
Mainly - keep a relaxed left hand and a loose right, and don't be too anal about intonation - sliding into chords sounds like a guitar player moving a barre chord.
Good luck!
_________________
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
|
|
|
Bo Legg
|
Posted 8 Nov 2007 5:53 pm
|
|
Jim Sliff...
| Quote: |
| It's stuff like that that just knocks another 10 feet into the chasm between some players. He didn't ask for your comments on rock music, pal. |
Lighten up Jim. Most of the Rock guitar players (at least the ones I like) are music majors or at least very up on their theory and I have great respect for them. The only chasm is that you look at me as an older hick person who doesn’t know anything about Rock Music or rock guitar. I did not want to bore him to death by writing an acre meaningless drivel to answer his question...this is no reference to your helpful comments. I did a better thing and just tried to brighten his day with the lighter side of Rock. If you want to critic my threads you’re going to be up late nights. |
|
|
|
