Subtle Differences Caused By Clipping Wound Strings

Bill Hankey · From: Pittsfield, MA, USA

Should a player consider the subtle differences caused by cutting wound strings during string changes?

richard burton · From: Britain

I suppose the difference between a string under high tension, and the same string immediately after it has been cut in half, is quite subtle, and may go un-noticed by the less seasoned player Shocked

Bill Hankey · From: Pittsfield, MA, USA

Seriously Richard, what do you make of that? Word came through and was suggested to me by an old friend who was a friend of a late famous guitarist. After giving much thought to the claim, I am inclined to believe that subtle differences do exist. I've reasoned on my own that before wound strings are changed, there is a collection of who knows what amassed between the bronze or nickel windings. This would account for a lessening of the desired tones produced by unchanged strings.

Mike Davidson · From: New Mexico, USA

IMHO any impact of a string cut would be minimized by insuring the post has as many wraps as possible. Ideally the post being full without overlapping. The string is cut at that point after the fulcrum of the wraps. More damaging would be a string kink. In my 40 years of working on guitars (non-steels) that is what separates the inner and outer string cores.

Doug Palmer · From: Greensboro, North Carolina, USA

Put a bend in your wound strings before cutting and putting them on the post. It should keep the coil from slipping. A trick I learned from a piano tech, put a quarter turn in the string before tightening it up. It makes the string more lively.

Doug
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Bill Hankey · From: Pittsfield, MA, USA

Doug,

There are those times when hearsay is right on the money, while at other times the chances of learning something new had slipped through the "cracks", resulting in a distorted original solution to a given problem. Mechanically, I've learned that most problems can be resolved through contemplation.

Georg Sørtun · From: Mandal, Agder, Norway

b0b · From: Cloverdale, CA, USA

Off Topic replies have been split to a separate topic in Forum Feedback. Please stay on Pedal Steel topics in the section of the forum. Thank you.
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Bill Hankey · From: Pittsfield, MA, USA

Georg,

Great! What, in your quick insight capabilities, would qualify at this moment as a starting point in reasonable rationale? I'm aware that those who are interested in conceptual differences may just be pleased to assist in calling attention to unexplored imaginative possibilities.

b0b · From: Cloverdale, CA, USA

Additional off topic replies will be deleted, as were the two I just encountered. Let's keep this respectful and to the point, please. Mad

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Bill Hankey · From: Pittsfield, MA, USA

OXIDATION ,is the culprit that has plagued guitar string manufacturers for many years. Some have been known to experiment with POLYMER or SYNTHETIC material to retard OXIDATION. The stifling of sound production by surface treatments has proven to be unpopular with those who are seeking the pure tones produced by the high carbon music wire. The BRONZE windings made from bronze alloys are wrapped around tinned mandolin wire. My expertise, such as it is, lies within the various effects of OXIDATION under different conditions. Oh Well

Mike Davidson · From: New Mexico, USA

I would venture to say no more than corrosion has plagued battery cables. The translation for oxidation is laziness be it the hood of your car, your finest silver or your guitar strings. Of course it's a natural process but it can be diminished or accelerated by how you care for your rig. Wipe em' down after each use and be done with it. Every few times damp the rag with alcohol.

In 6-string world the Elixir brand (coated) guitar string has proven to be quite popular they do most certainly sound superb.

Georg Sørtun · From: Mandal, Agder, Norway

The only time problematic oxidation of strings has occurred on any of my PSGs, were when I had left my Dekley in a damp and dusty basement for over 4 years because I got tired of playing and music altogether. Obviously the strings didn't sound too good/fresh when I brought it up from there.

I have always used a moist-repellent lubricant on strings and top-side mechanics on that PSG - same type I use on sensitive electronic contacts and such, which protected it to some degree even under such harsh condition. I find that lubricant - with its superthin coating - to have a positive effect on sound, but maybe it's just my ears and preferences that are "off."

When good strings are allowed to be left on for so long that they lose their freshness because of oxidation and/or dirt, there's something wrong in "the maintenance department." Doesn't help one bit that I've been guilty of such neglect too.

Bill Hankey · From: Pittsfield, MA, USA

Georg,

Thanks for your interesting report on the consequences of neglect, as well as the rewards of proper maintenance of a pedal steel guitar. I had taken exceptions if you will, on your description of a "damp" basement. If that had been realized from the start of the 4 year hiatus, (the period away from your DEKLEY), I'm sure that you realized your heedlessness in due time. At least, I would hope so, knowing that a DEKLEY is a fine instrument.. much too fine for abandonment. I don't need to be reminded that it's none of my business. The amazing durability of a musical instrument IF it is locked inside a case, would increase the excitement of collectors roaming about searching for misplaced musical instruments.

Believe it or not, I'm satisfied to use a quality transmission fluid for the lubrication of moving parts beneath my steel. Extreme care to prevent seepage, can be accomplished by applying minuscule amounts on wear surfaces. Common COTTON SWABS dipped in a bit of fluid, and applied dexterously to avoid "overkill" and leakage, works fine for me.

Georg Sørtun · From: Mandal, Agder, Norway

I intended to ditch the Dekley on a garbage heap somewhere, but never got around to do so for whatever reason and that damn thing refused to die of neglect Evil or Very Mad

I have used whatever was at hand to lubricate the inside mechanics over the years, and it shows...
Not recommended, but it works.

Bill Hankey · From: Pittsfield, MA, USA

Georg,

I really would have been interested in examining the DEKLEY steel after 4 years of no play in the basement. An old friend gave me some old banjo parts a while back in time. The strings purchased back in the 30's and 40's were stashed in the compartment of one of the banjo cases. The strings are looped to facilitate attachment. Do you remember if the DEKLEY detuned so much, after storage, that it sounded like a new tuning? SMILEY ROBERTS has been playing his DEKLEY for a great number of years. I'll tell him about your 4 year hiatus, if I see him. I've been thinking about testing the tensile stretch and breaking points of various makes of .010 and .011 strings. Trying to determine the location of where the string was manufactured may require much legwork. Trying to determine a sensible time to change the 3rd G# string, of the 9th tuning, has not been agreed upon to date.

Mike Davidson · From: New Mexico, USA

Back in my typewriter repair days they required a light oil that would not gum. That was a 10W clear oil. Now days there is a paper shredder oil that can be found at most office supplies that is the same caliber.

Bill Hankey · From: Pittsfield, MA, USA

Mike Davidson,

Mike, I have dismantled a few old typewriters looking for quality machine screws, and dozens of useful contrivances manufactured in the earlier days when things were built to last. We are living in an age of cheap plastic goods, that only weigh a fraction of what yesterday's manufactured goods weighed. I've reasoned that shipping charges would defeat any attempt to return to quality merchandise, shipped from foreign eastern countries. Our outlets are saturated with goods manufactured in foreign countries. It's quite a task making correct determinations. Double boxing and several liberties taken by distributors, have put me on my toes for quite some time. Back to the guitar strings, next.

Lee Baucum · From: McAllen, Texas (Extreme South) The Final Frontier

It seems as though the posters are getting way off topic here; however, I'm still not sure what the original topic was.

Bill Hankey · From: Pittsfield, MA, USA

Lee,

I fully intended to cover all aspects of the manufactured strings, so please do not call out the dogs. A few years back, I fully intended to file for a patent on a tapered string project that I had been
working on. I'll write about IT, hopefully in the morning.

chris ivey · From: california (deceased)

i don't understand bill's intention for this thread. is there one?

Bill Hankey · From: Pittsfield, MA, USA

Chris,

There really is a method to all this madness. String management on the pedal steel guitar is crucial to remain in conformity with a trouble free playing experience. It's a sure bet that very few musicians are aware of the subtle changes in tonalities that occur on a daily basis. I'm going to make an attempt to point those changes out. Just about everyone these days continue to harp about tonality. I'm here to hopefully point to the least suspected reasons for those subtle changes from steel to steel.

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