In 1968 I (Gene Fields) was asked to design a new pedal guitar from scratch. The only guidelines I had were to build it better and lighter, and to include knee levers. At that time, a major complaint on pedal guitars was the large 7/8" diameter of the changer fingers, causing a high frequency rattle or singing sound. This was caused by the string vibrating against the finger just in front of the intonation point. To eliminate this required a small radius which would increase string breakage. Most players today have either grown up with this problem or have gotten used to it. Some manufacturers, including G.F.I., have dropped the diameter to 3/4" without a big sacrifice in breakage. The reason I am elaborating this point is because it led to most of the other radical changes as follows.To eliminate this problem I moved the changer to the opposite end of the instrument. This allowed me to use a small diameter bridge, producing a much more solid sound, without the high frequency vibration.
This led to another problem, locating the keys on the right end (from the player) of the instrument would create a shallow angle at the bridge, and sacrifice of sustain and tone. To avoid this meant using something other than keys. This led to a Keyless tuning system used on the P.S. 210, it was not just to be different.After the experimenting with the Keyless system, we discovered more advantages due to the elimination of the excess string length.
a. No movement of string across the nut.
b. Shorter pedal action due to less string length to stretch.
c. More sustain- the section of string inside the key housing vibrates, absorbing energy from the main playing section.
In order to have a tuning knob large enough for good leverage, every other string was mounted in a different row. This allowed the knob to be almost two times the width of the string spacing.The next major obstacle was shaft deflection in the changer. To avoid this I used a flat knife edge plate, similar to my one contribution to the 800 and 2000 Fender pedal guitars. The lowering Lever had a "V" groove to mate with the knife edge plate. The raise lever mated with the lowering lever with the "V" groove system creating a changer with two moving parts per string. All the other linkage was designed to operate on this knife edge principal, with the exception of the bell crank and the pedal. By using the knife edge system, it was not too difficult to add a shift system that would transfer all pedals and knee levers from one neck to the other, offering 9 pedals per neck, up to 4 could be knee levers as long as the total was nine. This was accomplished with one moving part. It worked well as long as you did not shift while pressing a pedal. If this happened, it would not shift. However, if you released the pedal and started over, it worked fine. The neck switch was operated by the shift lever. The pickups were designed with 12 magnets for 10 strings. The two outer magnets were closer than the rest, this pushed the magnetic field a little higher plus, the coil was a little longer. It was my belief, that the Ist and last string of a pickup did not have the same environment as the strings in the middle. The end results proved this to be true, however, it was often mistaken for a 12 string pickup. These pickups were wound much heavier than the earlier Fender pedal guitar pickups, creating a fuller tone while retaining good high frequency response.
The first model of this instrument was Hydraulic. A 36" cylinder was used to drive a H" with a mechanical lever, to drive the larger cylinder, by using a large cylinder to drive a smaller one. The unused portion becomes a reservoir, this allows a closed system-to be used for each pedal. No master cylinder needed. Less connections - Less leakage. The system worked well as the weight of your foot and a small amount of added pressure would move 10 strings. This system was dropped for two reasons, one being cost. This was 1969 and our cost then, would have been $400.00. For us to make a profit, and the dealer to make a profit, the price of the instrument would doubled from it's original list price of $1500.00. The second reason was not knowing how to run pedal rods and knee levers through the bottom of an oil pan without having leaks. As no hydraulic system is leak proof forever, and some musicians like to wear white occasionally.
The hydraulic frame was all welded aluminum, with milled end plates welded to aluminum angle rails front and back, to support a maple neck. I was so impressed with the tone of this combination, I wanted to use it in the production model. I mounted the bridge directly to the frame, the maple neck was then mounted tight against the bridge. The nut was mounted on the maple neck. This allowed me to use the aluminum frame for tone coloring while the bridge to nut length was controlled by the maple neck.
The changer was operated by set screw bars similar to the multi-cord. However, the system that pulled the set screw bars was held in a fixed plane and could not pull off center, a major problem with the multi-cord, was on the first pedal guitar ever designed. The Harden Pros. Patent was issued in 1932. This set screw bar system allows up to 10 strings per pedal and as many raise and lower positions as there pedals, as each pedal has no effect on what the other pedals can do. To change a tuning simply remove a tuning screw from one hole and put it in another and adjust. Compensating and stops can also be accomplished with this system. One important feature it doesn't have is balanced pulls as the string moving the farthest will start moving first and in most cases this will act as a natural 1/2 stop.
Extrusions were used for both the frame and pedal board. "T" slots were extruded in both pedal board and frame to accept a 10-32 square nut. This allowed both pedals and knee levers to be moved right or left to suit the players personal taste.
Another advantage of this system was the fact that the pedal spots were built into the changer, eliminating the possibility of thermal expansion and contraction in the changer.
Like most prototypes, mistakes were made. If the tuning and linkage system was not adjusted properly, some parts could fall out of place. This was corrected with a simple bracket. Another mistake was in the adjustable lowering springs. These adjustments offered a small advantage to people with a little mechanical knowledge. Most problems were caused by adjusting first, then reading the manual.
This instrument was the first Fender pedal guitar with knee levers. When the orders came in with many different pedal set ups and pedal-knee lever combinations, Fender marketing and manufacturing decided not to become custom builders. At this time all pedal guitars were dropped. (PS 210, 400, 800,1000, 2000) I was very disappointed as I felt my whole future was at stake with this instrument, however, I could not blame them as the pedal guitar does not belong on a production line.
Text from the PS 210 Brochure:
Extensively researched and engineered with the musicians in mind, featuring 10 breakthroughs that you've all been waiting for:
(1) The new tuning mechanism pressure is always applied in one direction. A string can be lowered to pitch without adjusting out-play as required with a geared key.
Instrument can be tuned with the right hand while holding a chord with the left.
Excess string length which vibrates and cancels from the fundamental is eliminated, allowing much great sustain.
The mechanism allows the instrument to be 9 inches shorter.
Strings can be changed faster and easier.
(2) The changer unit operates without the use or pins shafts. Friction and noise are virtually eliminated.
One to ten strings can be activated per pedal. To change or add to a tuning, simply move or adjust screws on the adjustment screw bar as required. Pedal tunings can be changed in less than one minute per string.
Each string can be raised or lowered to as many positions as there are pedals, depending on the elasticity of the string.
The changer unit is located on the left of the player, with a minimum angle and roller bridges, to instill perfect intonation and eliminate string breakage.
(3) Pedals, knee levers, and pickups are shifted from one neck to the other with a simple trouble free lever. In addition, a switch is provided to turn pickups on regardless of lever position.
(4) An all new linkage systems is used, eliminating cables, pins, shafts. and pulleys to minimize friction and noise.
(5) A new pickup is offered with wider frequency response and more power.
(6) Body is aluminum construction. Combined with the new pickup it produces a tone never achieved before.
(7) The neck, made of solid curly maple, also controls the distance from bridge to nut. This controls de-tuning effect caused by temperature change.
(8) Both pedals and knee lever are mounted on a sliding track, easily adjusted from side to side to the spacing desired.
(9) Thumb screws mounted on pedals to adjust out all excess play in linkage.
(10) New quick clamp latches on pedal board for faster set up time.
23 1/2" scale. 12 3/8" wide. 271/2" long. And it weighs 65 pounds, including the case and legs. Volume pedal is optional.
Extra knee levers available. Walnut burl effect. Packed in a single, rugged carrying case, it can be unpacked, assembled and ready to play in a minimum amount of time.
The standard P.S. 210 is equipped with eight pedals and one knee lever. For optional pedal and knee lever combinations consult the Fender Price List.
Standard Accessories: Hard shell plush lined case, cord, polishing cloth, rubber-tipped telescoping tubular steel legs.
Optional accessories Fender volume foot pedal, Fender tone and volume foot pedal. II Walnut burl finish only
For prices and ordering information consult the Fender Price List under Numbers 14-1426 thru 14-1439.
... J-D.
. Sharp end should spring back into slot. Grasp tuner knob with thumb on outside of frame and any finger on the inside and tune string to pitch. Small strings on high tunings should be tuned to pitch gradually.
) Then we'll start the ball rolling looking for a serious buyer. I do think the price will be realistic.
