Paul Franklin - Pick Blocking

Franklin · Post by **Franklin** » 23 Feb 2013 4:45 am

Here's a visual of the right hand...Although the solo is not my best effort it still shows the blocking really well.

http://www.youtube.com/watch?v=EqsefG49F1c

Some may notice a karate chop at the end of the solo after the blocking is done......That is a studio habit.....I never want any residual ringing on the steel track when I stop playing due to the left hand vibrato. So once I stop playing I give it the kung fu.

Paul

Franklin · Post by **Franklin** » 23 Feb 2013 5:31 am

Stuart Legg wrote:How about having Paul play like that over any chord progression you choose and have notation for it. Can Do.

Stuart,

What is your intent here?

Paul

Gary Lee Gimble · Post by **Gary Lee Gimble** » 23 Feb 2013 7:26 am

intent=bait...just ignore it...

Stuart Legg · Post by **Stuart Legg** » 23 Feb 2013 8:41 pm

Franklin wrote:
Stuart Legg wrote:How about having Paul play like that over any chord progression you choose and have notation for it. Can Do.
Stuart,
What is your intent here?
Paul

Most folks love your speed picking with pick blocking but mostly the licks.

I had mentioned previously in a topic that I had cataloged your licks from one style in BIAB in numerous chord progression and sometimes just 100 bars of your licks over 1 chord.

I didn’t have to transcribe anything the notation is already there. So if you want some Paul fast picking with notation. Can Do You Can Do I Can Do we all Can Do with BIAB

It seemed at that time to be of little interest. So I thought I would throw it up on the wall again.

Though I’m sure what you played in BIAB only represents a fraction of your repertoire I found it to be great way to learn from you.

Seems folks pay a fortune for BIAB and don’t spend enough time to see the endless possibilities.

Lane Gray · Post by **Lane Gray** » 24 Feb 2013 6:28 am

Not to mention that many in here haven't learned enough about music to know that one single-note passage can fit over other chords.
I admit I didn't check out Stu's links, but if he took a passage of Paul's from one chord progression and successfully lays it over another, that's a trick worth sharing.
And one that Paul, Buddy, and about every other advanced player already knows.
I think that learning more about how music works is a LOT more important than just adding phrases to one's bag of tricks.
Stuart and Bo spend half their time trolling and half their time imparting useful info. But which is which sometimes becomes hard to distinguish

Gary Lee Gimble · Post by **Gary Lee Gimble** » 24 Feb 2013 7:19 am

Lane, Stu's convoluted post on 22 Feb 2013 2:48 pm had no reference to what this thread is about, pick blocking. I can't speak for Paul as I don't know him excluding to what I read what he posts on the Forum. But as you suggested, half time trolling seems to be prevalent and I hate to see that turn into a deterrent for future posts from someone in the know. A youtube search on Stu Legg-pedal steel yielded squat so I'm more inclined to agree with your trolling assessment. BTW, I believe BIAB has improv modules you can purchase which will satisfy learning of said trick.

Jim Pitman · Post by **Jim Pitman** » 24 Feb 2013 10:09 am

I pick blocked dobro for years. It's very appropriate for an acoustic instrument especially.
Palm blocking on the PSG has its' place though. The damn thing has so much sustain.
Palm blocking turns out to be more staccato for me anyway. I really think it's effective for a staccato effect on an instrument that allows you to control the decay as much as a pedal steel does.

Bo Legg · Post by **Bo Legg** » 24 Feb 2013 10:24 am

The topic is Paul Franklin- Pick Blocking. The BIAB with notation is an example of Paul Franklin playing, what was pick blocked and how it sounded.

richard burton · Post by **richard burton** » 24 Feb 2013 11:28 am

There's some good close-ups of Paul's right hand in this video (starting at about 1:45)

http://www.youtube.com/watch?v=LYXoJsRq0m8

Stuart Legg · Post by **Stuart Legg** » 24 Feb 2013 11:32 am

Gary Lee Gimble wrote:Lane, A youtube search on Stu Legg-pedal steel yielded squat so I'm more inclined to agree with your trolling assessment. BTW, I believe BIAB has improv modules you can purchase which will satisfy learning of said trick.

Since you seem to agree with me on BIAB I find it odd that you would find it necessary to go off topic to repeat what someone else posted about trolling and add that you couldn't find any of my playing on Youtube.
Leads me to ask the same question that Paul raised.
Gary
What is your intent here?
Stuart

Herb Steiner · Post by **Herb Steiner** » 24 Feb 2013 11:43 am

Bo Legg wrote:.

We have many times stated here on the forum that Stuart does not play and why he does not play steel guitar.

A light bulb just came on for me.

I didn't know that Stuart isn't a steel player.

While it makes no difference at all regarding my opinions about some of the things he's posted here in the past, I can now adjust the number of grains of salt to take with the stuff.

Niels Andrews · Post by **Niels Andrews** » 24 Feb 2013 12:27 pm

Herb?
You didn't here his recording of his practice session? Take the whole shaker!

Bo Legg · Post by **Bo Legg** » 24 Feb 2013 2:18 pm

Just for the record the steel playing was Paul Franklin from BIAB in both Stuart’s practice sessions.

I’m sorry you folks made this topic about Stuart. Paul ask Stuart’s intent here and he answered it.
Then after a person made an off topic personal attack Stuart simply ask as Paul had what was the intent.

Let’s assume that Paul was injured in an auto accident (God forbid) and he could no longer play PSG. Would you take his opinion with a grain of salt.

Let’s say Paul after he became disabled studied Buddy Emmon’s playing by watching every video, listening to every recording, examining all of Buddy’s teaching methods and tablature (not that he would need to) for 20 yrs to the point the could recognize and know how to play anything that buddy could if he was physically able.
Would you take his opinion regarding Buddy Emmons playing with a grain of salt?

If Paul never played the PSG and given just his musical knowledge.
Would you say you would have to take his opinion on music with a grain of salt.

I find it difficult to understand the distain for a person who loves PSG more than anything in life.
Who has a vast knowledge of PSG and music.
Who wishes more than anything he was physically able to play PSG.
Who contributes, buys products, teaching materials and tab in the hundreds of dollars every year from steel players just to help keep them doing it when he can’t use it and has no real need for any of it.

Niels Andrews · Post by **Niels Andrews** » 24 Feb 2013 2:26 pm

Not going here.

Bo Legg · Post by **Bo Legg** » 24 Feb 2013 2:40 pm

In what way?
This was my reply to Neils suggestion that I was way off base and off my meds.

Quentin Hickey · Post by **Quentin Hickey** » 24 Feb 2013 5:39 pm

Alot of trolling going on here, there should be an
"abstract off on a tangent" section for these posts shouldnt there???

Bo Legg · Post by **Bo Legg** » 24 Feb 2013 7:52 pm

Would you stop with your obsessions here with trolling and get back on subject which is about Paul or are you saying that Paul was trolling.

At least give us an example here of trolling so we can pinpoint who’s doing the trolling and get on with the topic.

I suspicion that pick blocking is not a subject a lot of Steel players know a lot about. Including some well know PSG players.

So since Stuart and I have studied pick blocking and I have played using only pick blocking for all these years I think our opinion would be better than most and at least good enough to learn something from.

There are some really good pick blockers around but Paul in my opinion is the best at it.

Tab Tabscott · Post by **Tab Tabscott** » 25 Feb 2013 9:04 am

Herb Steiner wrote:
Bo Legg wrote:.

We have many times stated here on the forum that Stuart does not play and why he does not play steel guitar.

A light bulb just came on for me. I didn't know that Stuart isn't a steel player.

While it makes no difference at all regarding my opinions about some of the things he's posted here in the past, I can now adjust the number of grains of salt to take with the stuff.

Wow, I am such a doofus-I would read Stuart and Bo's stuff and think "This fellow is a real genius and I am really stupid because I don't understand most of it and I took it as being the gospel truth...".

There's a fellow who does the same sort of thing on Bluegrass-L. His name is Bangs Tapscott and he says all sorts of intersting things which may or may not inflame a discussion. Thing is, I run into people all the time who think that Bangs Tapscott is ME. They'll say "Man I loved it when you told that one guy he was a pedantic jerk...".

Not that Stuart and Bo are of this ilk-I think it's nice that there are people who subtly point things out and pull your leg now and then...

"Bo Legg" the steel player! What a hoot!

Gary Lee Gimble · Post by **Gary Lee Gimble** » 25 Feb 2013 9:26 am

Tab, as Ms Brown would say, "I aint got no time 'fo dat!"

Niels Andrews · Post by **Niels Andrews** » 25 Feb 2013 9:34 am

I agree!

Gary Lee Gimble · Post by **Gary Lee Gimble** » 25 Feb 2013 9:46 am

Neils,

I was intrigued when Paul offered to chime in and rather disappointed when some riff raff shooed him off. I had been working with a swing band picN Django, big band, pop standards, etc. Just so happens, I'm the weak link with this group named String Theory. These folks are literate musicians with earned degrees. Me, the operating dummy, is given parts to learn where pick blocking seems to be a must to sound clean. Being self taught when it comes to pick blocking, I was hopeful to read some insight offered by P. F. that would possibly offset what I'm lacking. Oh woe as me, guess I'll just hack away...and go back to the day gig for now

Bo Legg · Post by **Bo Legg** » 25 Feb 2013 10:30 am

stuart
He transcribes music from steel recording to E9 tab.
He adapts and transcribes Jazz, Blues, Country from other instruments to E9 PSG
He writes music for PSG
He writes Music Theory applications for most any Genre and tabs it for PSG;
He is very knowledgeable and you would find it difficult to find someone who has studied music and PSG more hours than he has.

I play PSG and lead guitar. I played both for a living for awhile. That doesn’t make me great but that makes me a professional Guitar and PSG player
Everything that Stuart writes tab for I play it to check if it is easy to play.
The idea being if I can play it anyone can.
No we don't sell tab!

Here is a clip of me playing PSG and One of me playing guitar.
E9 PSG
Lead Guitar

Stuart Legg · Post by **Stuart Legg** » 25 Feb 2013 10:55 am

Gary Lee Gimble wrote:Neils,

I was intrigued when Paul offered to chime in and rather disappointed when some riff raff shooed him off. I had been working with a swing band picN Django, big band, pop standards, etc. Just so happens, I'm the weak link with this group named String Theory. These folks are literate musicians with earned degrees. Me, the operating dummy, is given parts to learn where pick blocking seems to be a must to sound clean. Being self taught when it comes to pick blocking, I was hopeful to read some insight offered by P. F. that would possibly offset what I'm lacking. Oh woe as me, guess I'll just hack away...and go back to the day gig for now

So let me get this straight you blame me for you not getting Pick Blocking for free from PF.

So it's my fault you're a cheap scat.

Order it from PF

I've bought from just about every one who sells training material just to help out and keep them doing it. And as you know I have no need for any of it'

Niels Andrews · Post by **Niels Andrews** » 25 Feb 2013 11:04 am

I have a suggestion Stuart. Don't be negative and confrontational and you might gain some credibility. Most people don't contribute here to be insulted.
Cheers

Gary Lee Gimble · Post by **Gary Lee Gimble** » 25 Feb 2013 11:22 am

I've bought....................

Disposable income.....brutha lend me a dallah, I'm beginning to squeak...