Basics Of Learning Pedal Steel Includes "Nonpedal"

Bill Hankey · Post by **Bill Hankey** » 6 Feb 2008 2:25 pm

Larry,

Check Bobbe Seymour's showcase of new and used steel guitars. If Bobbe can't help you, which is doubtful, scan e-bay for endless promotional sales of various articles, with a full range of musical instruments offered at various times. Thousands of private sales take place throughout the practices of buying and selling. Usually lap steel guitars with good volume and tone controls will suffice in getting you off to a good start.

Tony Prior · Post by **Tony Prior** » 6 Feb 2008 4:25 pm

Bil, how right you are. After noodling ( for money ) for decades I find myself lately playing a bit more NON Pedal phrases instead of rockin' on one of those mashy things near the floor or using those hanging things underneath the Guitar

I have never even owned a non Pedal Guitar but am thinking about a 6 or 8 stringer'..

kool thread

tp

Bo Legg · Post by **Bo Legg** » 6 Feb 2008 7:53 pm

Sonny Jenkins...

I think every PSG player should have a lap steel,,I mean start where our heros started,,,,,

OOOOOOOK

Bill Hankey · Post by **Bill Hankey** » 7 Feb 2008 3:30 am

Tony,

Harmonies and the treatment of single note execution in selected melodies, requires sorting out how best to select the use of pedals or simplistic straight steel. Simplistic in structure, but very complex in delivering listenable melodic presentations. Moving from one to the other, will quickly establish the advantages of having two options to choose from. Both feature "moves" that differ, which provides a narrowing down of making wise choices. It is possible to rival the pedal steel, while playing nonpedal steel. It depends entirely on musical choices.

Sonny Jenkins · Post by **Sonny Jenkins** » 7 Feb 2008 8:04 am

I will have 3-4 of my little keyless 8 stringers at Dallas show. Mike Siler and I will be sharing a booth,,,he's the guy that a lot of the players get to sing with them on their sets,,a great singer and a good friend from Nashville. Stop by and see us.

Bill Hankey · Post by **Bill Hankey** » 7 Feb 2008 12:31 pm

Sonny,

It appears that the Dallas Show will provide the fun and excitement that everyone appreciates. There is no substitute for a well planned steel guitar show. I sure wish that I could meet some of the Texans who live and breathe Steel guitar savvy. Thanks for the information.

Sonny Jenkins · Post by **Sonny Jenkins** » 7 Feb 2008 3:51 pm

Bill,,in the immortal words of Bob Barker,,,,"Com'on down",,,, we'd love to have at our little shin dig!!!

Bobbe Seymour · Post by **Bobbe Seymour** » 7 Feb 2008 6:40 pm

Bill, I have never agreed with anyone more, this is much more true than even you can know! (Even you?)
Yes Bill, playing non-pedal well makes one a 100 times better player. I could go farther into this but at the risk of hacking some pedal players off, ,,,,,,,,,,,,,,,,,,I won't.

It really comes down to that old Tommy Morrell statement, you sither play or you don't. The guitar isn't all that important! He might just have had something there,
Now where is my Italian dinner?

Bobbe

Roy Thomson · Post by **Roy Thomson** » 7 Feb 2008 7:17 pm

I never regretted learning steel guitar non
pedal and played for seven years before going to
a Fender 400. Then graduated to Sho-Buds and
now a Carter.
I find myself in the past few years going back to my
roots and playing far more non pedal than Pedal
Steel. That could change anytime however.
I just finished an upgrade on an acoustic steel
that I have had for a while. It is now 24" scale
and I dropped to 8 strings. New sound board, bridge and nut. I put the Sho-Bud fret board on which I
got from Duane Marrs who sold me a Super Pro Sho
Bud back in 79. (Thank you Duane and GOD rest your
soul. I enjoyed meeting you and your friendship
over the years.)
I will use this Acoustic for Thumb and Finger style
with an E Nine Six tuning. It has a pickup to be installed (out of sight) and I will be doing some
sound files for the Forum soon.
Thank you Bill for starting this thread. The art of
playing non pedal is so important for technique
purposes prior to graduating to Pedal.
Here's a pic of my Acoustic Upgrade.
Don't everybody laugh at once. Just Bobbe

Bill Hankey · Post by **Bill Hankey** » 8 Feb 2008 6:03 am

Bobbe,

In the hand of a pro such as you, the "bar" develops a language that is rare, with a consistency that establishes the finest of the finest entertainment, or showmanship that defies artifices throughout the industry. I mean to say that you can loop around the scale notes of a given parameter of key ranges, while your bar constantly emits tones that remain exclusive to your style of playing. The best spaghetti with all the trimmings awaits you, should you plan a flyover in the Pittsfield, MA " NECK OF THE WOODS", which is between Sprinfield, MA and Albany, N.Y. There is a place called Mario's, just over the hill from Pittsfield, in New Lebanon, N.Y...
and the familiar Jimmy's Restaurant by the little bridge here in town, is a popular eatery, specializing in Italian dishes, as well as a full menu. Thanks for "plugging" the Dobro and straight steel. There is something special in differences of bar languages, without the use of pedals.

Sonny Jenkins · Post by **Sonny Jenkins** » 8 Feb 2008 7:29 am

Nice one Roy,,,and keyless too!!!!! (my kind of guitar!)

Bill Hankey · Post by **Bill Hankey** » 8 Feb 2008 8:49 am

Roy,

Thanks for the picture that shows great imagination for developing something special. I keep going back to look at the construction, especially the tuning keys. It would just naturally register tones never heard before. Whenever I think of tone differences, my mind wanders to the Weldon Myrick tone heard in Connie Smith's hit in 1965, called "Once A Day". The construction of the instrument, plus effects, and off the board adjustments, must have "played" a part in the purity of his tones. I will be looking forward to hearing the tonal quality of your creation.

Roy Thomson · Post by **Roy Thomson** » 8 Feb 2008 9:54 am

Thanks Sonny, Bill...

The sound I wanted when designing and constructing
this instrument was Acoustic, sort of "woody" and I
think it is coming along fine. It is a work in
progress. I will put a Rosetta around the sound
hole someday if things work out to my satisfaction.

I wrote a little tune for it for you to listen to
and your feedback with ideas would be great.
Bear in mind:

This is open mike ($19.95 Radio Shack

)
The strings are left overs and terrible.

My contact mike is going inside soon and I think
that will improve the output considerably. Hope so

Here is a link...
Thumbin My Acoustic Steel

Bill Hankey · Post by **Bill Hankey** » 8 Feb 2008 1:31 pm

Roy,

I can't pull up the link called Thumbin' My Acoustic on my web tv. I can get to hear it from other sources. I am very fond of thumb pickin'. I'll check with a few friends to get some feedback from those sources. Thanks again for introducing a new concept in designing a steel guitar.

Bill Hankey · Post by **Bill Hankey** » 9 Feb 2008 4:24 am

Roy,

That which attracts our fellow musicians, is a much greater riddle than most of the inexplicable scientific absurdities, that are presented as factual, but are not easily proven. I've reached the point of wondering if the quest for adventure, has become a lost art, just as many others have fallen to the ravages of time. The average window shopper never tires of wishing, and the one who carries a lunch pail, usually becomes very predictable. Imagination and hope will become secondary, thwarted and foiled by the need to survive in this world of turmoil. Regrets are a dime a dozen in this age of credit card spending, and streets are visited by dangerous elements with increased frequencies. How very peaceful, are the creations of new ideas pertaining to steel guitar studies, as compared to present day worldly issues. Individual preferences always determine successes and failures of the entrepreneurial and venturous man.

David L. Donald · Post by **David L. Donald** » 9 Feb 2008 11:25 pm

I agree with Bill too.
Also non pedal on your pedal steel helps for sure.
Either neck helps it's understanding.

I can sit and just play the C6 neck and have fun.
I can make music with no pedals on the E9
and other people don't know the difference.

Then I break into pedals and they go WHOAH.
Thing is YOU know more of how the parts fit
playing ONE tuning or set of pedals for a whole song.

Like A pedal only, and making it work.
The B pedal only etc.
AB is simple of course in comparison.

BC and getting your majors as relative minors
is good training too.

Another plus is bar and pick technique improves
with lapsteel and no pedals,
you don't lose that when you go back to pedals.

Bill Hankey · Post by **Bill Hankey** » 10 Feb 2008 4:29 am

David,

I think the "singing" bar would be a fair analogy in making attempts to paraphrase your friendly comments, as they appear in written messages. Originally, I had taken an earlier acousic that had made its way from the Orient, to my storage room, until I formularized a plan to bring out its best feature. Surprisedly, the top appears to be a selected spruce, with resonating qualities. The builders failed to match that feature of good workmanship by producing an uncomfortable fretboard. The narrow fretboards are more to my liking when playing Spanish guitars. In all likelihood, Andres Segovia would have put up a big fuss, if he knew what I had in mind. A conversion was brewing in my mind, that would entail radical changes in the structure of those prized pieces of glued wood. Converting the Spanish guitar to a Hawaiian guitar, would also simulate the resonated Dobro sound. The first thing to consider is stress. That is the reason that manufacturers use an assortment of jungle woods to create a lamenated body that defies breakage. Anyone should be able to reason that the bridge of an acoustic is far from being unbreakable. Building a secure tailpiece requires forethought and planning. The mounting of a pickup, that is securely fastened in the hole of the sound box, will test the patience of the persevering individual. A small diameter aircraft cable spans the entire length of the modification, beneath the guitar. The exclusive provision is a hallmark for counteracting a common problem. Luckily, it has resulted in tonal deliveries, far beyond my expectations.