| Author |
Topic: Captivating Pedal |
Bill Hankey
From:
Pittsfield, MA, USA
|
Posted 22 Feb 2004 2:23 am |
|
Without doubt, there are many captivating combinations of pitch changes made possible through the use of pedals and knee levers. Early on, I wasn't aware of the potential found by combining the 2nd string D-C#, lower, and the 5th string B-C# raise, on one pedal. I may be in error, by writing, that most steel guitars, do not feature this change. If there are others who are using these changes, on one pedal, or one knee lever, it would be interesting to hear from you.
Bill H. |
|
|
|
Fred Shannon
From:
Rocking "S" Ranch, Comancheria, Texas, R.I.P.
|
Posted 22 Feb 2004 5:40 am
|
|
Bill, I've been using that pull since early 1969, but i must add, my second string is a B.
fred
------------------
The spirit be with you!
If it aint got a steel, it aint real
|
|
|
|
Bill Hankey
From:
Pittsfield, MA, USA
|
Posted 22 Feb 2004 7:04 am
|
|
Fred S.,
I'm a little confused. Is your steel tuned to the E9th standard tuning? Of course the two B strings, are in the 5th and 10th positions. Could you clarify if your tuning differs from the following:
1. F#
2. D# or Eb (same note)
3. G#
4. E
5. B
6. G#
7. F#
8. E
9. D
10. B
Thanks...
BIll H. [This message was edited by Bill Hankey on 22 February 2004 at 07:57 AM.] |
|
|
|
Fred Shannon
From:
Rocking "S" Ranch, Comancheria, Texas, R.I.P.
|
Posted 22 Feb 2004 7:13 am
|
|
Bill, no my steel is not tuned to e9 standard...I use a B for the second string on an e6 tuning.....
The reason for the post is I wanted to point out the fact that not all players are using "standards", if there is such a thing. I don't have F#'s on any strings. I pull the E's to F# with a knee when I need them. I also pull all the Ab's to G with a knee. But so do a lot of Universal players. Ed Packard for one, Maurice and Bill Stafford for others.
I guess the assumption that everyone is playing standard can be misleading when posting.
I knew you were referring to e9 standard, but my statement is true also.... Yes i pull the second string to C# and further I also pull it to a D for the seventh.
No barbed wire here. 
fred
fred
------------------
The spirit be with you!
If it aint got a steel, it aint real
|
|
|
|
Bill Hankey
From:
Pittsfield, MA, USA
|
Posted 22 Feb 2004 8:07 am
|
|
Fred S.,
Please, have you ever played the E9th chromatic tuning extensively?
If not, it would be hard to appreciate the "Captivating Pedal". It turns out that most setups do not have the two changes combined, as I have indicated. These changes are located on my pedal one.
BIll H. |
|
|
|
Bobby Lee
From:
Cloverdale, California, USA
|
Posted 22 Feb 2004 9:32 am
|
|
On my Williams I have the 2nd string lower to C# on my first pedal, and the standard B to C# on my second pedal ("A"). See the chart. I can use them together easily and smoothly to get the old "Touch My Heart" effect.
I wouldn't want to alter the second string on the "A" pedal because all of the second string notes (C#, D, D# and E) are useful when combined with the pedal.
------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax |
|
|
|
Fred Shannon
From:
Rocking "S" Ranch, Comancheria, Texas, R.I.P.
|
Posted 22 Feb 2004 9:41 am
|
|
Bill, check your email...
fred
------------------
The spirit be with you!
If it aint got a steel, it aint real
|
|
|
|
C Dixon
From:
Duluth, GA USA
|
Posted 22 Feb 2004 10:42 am
|
|
Bill,
After BE did his classic lick using unison notes resolving in two different directions, a number of PSG pedal players added the D# to C# pull on the A pedal. Buddy Charleton was one of them.
This did not last long. Most now get that lick using the A pedal and RKR (standard) combination. In addition, having the D# to C# lower by itself, gives us the classic E6 (E13th) tuning sound by picking string 2, 4 and 5:
E
C#
B
G#
F#
D
B
E
carl
carl |
|
|
|
Bill Hankey
From:
Pittsfield, MA, USA
|
Posted 22 Feb 2004 12:12 pm
|
|
Carl D.,
Isn't it amazing how the most advanced players change their setups at undetermined intervals? How do you account for these frequent changes? I understand that the E9th Chromatic culminated from this common practice. My full tone lowering of the 2nd string, doesn't interfere with my half tone 2nd string lower. I never liked that half stop, and full tone lowering of the 2nd string, found on most expensive steel guitars. My half tone lower is independent of the full tone lower, and it is very precise. I would venture to say, that this may not be true, where a player is expected to hit a perfect half tone lower, using the half stop. My full tone lower is on pedal one, and the half lower is on the R K R. I've had a lot of enjoyment by using the touted full tone raise of the 1st string, in combination with a half tone raise of the 2nd string, plus the half tone raise of the 7th string. My L.K.V. actuates the three changes.
Thanks Carl, for the information.
Bill H. |
|
|
|
C Dixon
From:
Duluth, GA USA
|
Posted 22 Feb 2004 1:12 pm
|
|
| Quote: |
| "How do you account for these frequent changes?" |
IMO, there are two answers:
1. The one that is probably the most accepted.
2. The less obvious one; but yet it may be at the root of it all; when it comes to the evolution of the PSG.
The first answer is, most of the ones coming up with ever newer changes are recording greats whose very livelyhoods depend on this being a never ending talent. I do not feel there is a greater example of this than Pete Drake.
Other examples of course are BE, RM, LG and of course the present "genious" PF.
But having said that, I believe it is MORE rooted in the following:
If one compares the frustrations of playing the PSG versus the regular guitar or the world's most complete (IMO) instrument, the piano, there is NO contest.
IE, the guitarists has to but move a finger or two to raise or lower any note he chooses. And of course there is NO greater ease on any instrument in achieving this than the piano. What with 10 fingers and offset (B & W) keys, it is the easiest of all instruments to "create" instantly and on demand whatever notes one desires.
Our beloved instrument has yet to even begin to emulate either of these instruments when it comes to ease of voicings. But we are slowly but surely getting there.
I predict there will come a time, when EVERY string will be raised AND lowered to its mechanical limit. If you think about it, this is precisely where the PSG has been headed since Bud Isaacs did his thing.
If one thinks it is not going to happen to a given string, just wait a while. Look at what is hapening to our 5th and 6th strings. And what is at the root of this is NOT musical instruments of any genre' Rather.....
It is music itself. So when greats like BE and PF are playing, they hear changes they do not have. So they simply create those changes and more likely than not, it filters down to us sooner or later, and that change becomes norm.
This as we speak with raising the high F# to a G#. Or the PF pedal, lowering 5 and 6 a whole tone. Why is this such a great change? Because music demands it sooner or later.
All my opinion of course,
carl |
|
|
|
Bill Hankey
From:
Pittsfield, MA, USA
|
Posted 22 Feb 2004 1:34 pm
|
|
Bobby Lee,
Thanks for the copedent copy of your Williams steel guitar setup. I wish that I had a bold copy in black and white, as typed on paper.
Trying to visualize the red notes and changes, is a little difficult. Keep up the good will bOb! You're truly amazing, in the work department. How do you draw on the energy that is required to maintain a respectable forum? Goodness knows, your efforts have made the forum a great experience.
Bill H. [This message was edited by Bill Hankey on 22 February 2004 at 01:43 PM.] |
|
|
|
Bobby Lee
From:
Cloverdale, California, USA
|
Posted 22 Feb 2004 4:30 pm
|
|
Bill,
Right click on my chart and "Save Picture As..." to your computer. Then print it using your favorite graphics program, enlarging it to full page size.
The red changes are raises, the blue ones are lowers. If you click here, you'll get just the picture without the background, which might be easier for you to read. |
|
|
|
