So I wanna learn the pedal steel........
Moderator: Shoshanah Marohn
Well, that's easy. Have you read the sticky post on how to tune a push-pull?
On a push-pull, you tune the RAISED note at the keyhead, then tune the open note with the recessed screws behind the bottom holes.
On a push-pull, you tune the RAISED note at the keyhead, then tune the open note with the recessed screws behind the bottom holes.
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
More amps than guitars, and not many effects
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Yeah, I'll check it out this evening. I'm sure its no big deal.Lane Gray wrote:Well, that's easy. Have you read the sticky post on how to tune a push-pull?
On a push-pull, you tune the RAISED note at the keyhead, then tune the open note with the recessed screws behind the bottom holes.
I did get in touch with Doug Palmer and I think he will be able to help get me started. Super nice guy. And he doubles on saxophone so at least we have that in common.
And have you checked out this thing? It's the tinkers' manual for the push-pull.
http://www.ebay.com/itm/Pedal-Steel-Gui ... 0598597396
http://www.ebay.com/itm/Pedal-Steel-Gui ... 0598597396
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
More amps than guitars, and not many effects
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- Posts: 30
- Joined: 31 Jul 2014 8:01 am
- Location: North Carolina, USA
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- Posts: 30
- Joined: 31 Jul 2014 8:01 am
- Location: North Carolina, USA
Ok, little update here. Met with Doug last nite and as suspected the guitar needs a little work. Ended up just leaving it with him to straighten it out. It was some kind of totally off the wall set up, neither Emmons or Day. He is going to convert it too a standard Emmons setup.
After going over the guitar he gave me a lesson using one of his guitars and everything started to make a little more sense. Super nice and knowledgeable guy. Sucks having to leave my guitar and not be able to practice all the stuff he taught me but I'm sure this will be better in the long run.
After going over the guitar he gave me a lesson using one of his guitars and everything started to make a little more sense. Super nice and knowledgeable guy. Sucks having to leave my guitar and not be able to practice all the stuff he taught me but I'm sure this will be better in the long run.
As I mentioned in a prior post, there is not such thing as a 'standard setup' (copedent), there are those that copy emmons and day, those that copy some other artist that "did their own thing", and those that "do their own thing".
I have 3 different guitars with three different copedents...example, E lower on lkr, on rkl, and on rkr.
MSA (Maurice anderson's company) seemed to put E changes on the right knee, and he is every bit as famous and great as Emmons and Day. That is what your copedent shows. You also have a standard pull (g# to f#) on P1... but it may be on P0. Paul Franklin has that specific pull on P0, along with a number of other pulls that act simulateously. It's where many universal players struggling for knee lever real estate put their G# to F#.
Bobbe Seymour has said that he considered string 9 and string 7 one of the keys to his style, and not many players seem to get the power of string 9, but it becomes a lot clearer when there are long forgotten changes like shown on your guitar's left cluster. Some good power there.
I guess I could go through and tell you what you do have on your guitar for changes, and they are certainly not "wonky", they reflect the specific musical ambitions of the original owner to get what he wanted out of his guitar".
Having found many non standard changes on used guitars I have bought, when I discover how to use them, I begin to consider non standard (eg. Emmons or day) a gift moreso than a nuisance.
I have 3 different guitars with three different copedents...example, E lower on lkr, on rkl, and on rkr.
MSA (Maurice anderson's company) seemed to put E changes on the right knee, and he is every bit as famous and great as Emmons and Day. That is what your copedent shows. You also have a standard pull (g# to f#) on P1... but it may be on P0. Paul Franklin has that specific pull on P0, along with a number of other pulls that act simulateously. It's where many universal players struggling for knee lever real estate put their G# to F#.
Bobbe Seymour has said that he considered string 9 and string 7 one of the keys to his style, and not many players seem to get the power of string 9, but it becomes a lot clearer when there are long forgotten changes like shown on your guitar's left cluster. Some good power there.
I guess I could go through and tell you what you do have on your guitar for changes, and they are certainly not "wonky", they reflect the specific musical ambitions of the original owner to get what he wanted out of his guitar".
Having found many non standard changes on used guitars I have bought, when I discover how to use them, I begin to consider non standard (eg. Emmons or day) a gift moreso than a nuisance.
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I think the "E" changes started out on the right knee on most guitar brands! Used to be (back in the early '60s) that most of the guitars I saw only had one or two knee levers, and they were usually put on the right knee...probably so they would interfere less with using the floor pedals.Tom Gorr wrote:
MSA (Maurice anderson's company) seemed to put E changes on the right knee, and he is every bit as famous and great as Emmons and Day.