High G# more sensitive than low G#

Will Yardley · Post by **Will Yardley** » 2 Mar 2004 9:26 pm

I may just take this one down to Blackie again, but just wondering if anyone here has an idea for an "easy fix".

The "B" pedal on my MSA Classic (not sure of the year) seems to take the high G# up on a much steeper curve than it takes the low G#. This means that while the two strings are in unison when the B pedal is fully depressed, the slightest touch of the B pedal knocks the high G# fairly sharp (while the low G# is still in tune).

Now yes, I know that the ideal solution is to keep my foot 100% off the B pedal, but it's proving difficult not to bump it a little without hitting the LKL (and anyway, I'd like to "fix" this problem if possible). I do already have the A pedal somewhat higher than the B pedal, and have adjusted the LKL fairly far to the left.

Could it be a problem with the springs, or with something else underneath?

Jerry Roller · Post by **Jerry Roller** » 2 Mar 2004 9:37 pm

Will, I don't understand the question. Please try again. You say while the B pedal is depressed and you barely touch the B pedal. ??
Jerry

Michael Johnstone · Post by **Michael Johnstone** » 2 Mar 2004 9:48 pm

Sounds like you need to change bellcrank holes and add a little slack to your pulling train.

Will Yardley · Post by **Will Yardley** » 2 Mar 2004 9:52 pm

When the B pedal is fully depressed, the G#s are both in unison (at A). However, the high G# is more sensitive; so if my left foot touches the B pedal even the tiniest bit, the high G# is halfway / three-quarters of the way to A already, while the low G# is still at G#.

Does that make sense? I can see basically what's happening if I look underneath the guitar; I was trying to take pictures but they haven't been coming out very well so far. Basically, if I pull the rods that the B pedal pulls halfway, I can see the third string move immediately, while the sixth string doesn't move at all. If I continue pulling, the sixth string lowers as well.

richard burton · Post by **richard burton** » 2 Mar 2004 10:04 pm

Put a .22 wound string on the sixth.

Bill Moore · Post by **Bill Moore** » 3 Mar 2004 5:26 am

Some observations, based on the photo: I suggest that you move your seat more to the right, I'm assuming the photo shows it sitting in your normal location. Then raise the A pedal. Now, because you have changed the angle of the left leg, by changing your seat location, you will also have changed the angle of your foot as it contacts the pedals. Having the A pedal higher than the B pedal will feel more natural. Good luck.

Fred Jack · Post by **Fred Jack** » 3 Mar 2004 6:01 am

Thanks Michael! you just solved a problem I've been fighting for a couple of years.I know your solution will take care of it. Thanks! regards,fred

Will Yardley · Post by **Will Yardley** » 3 Mar 2004 11:50 am

Michael - thanks for the reply. Any chance you could give a more detailed explanation (or links to some online resources explaining this process)? I think I'm sort of getting what you're saying here (especially with some of the other responses, both on and off the forum), but I haven't been playing long and don't have the greatest idea of the mechanics of the instrument.

Forum member Larry Petree wrote me off list also, and had a good reply - hope he doesn't mind me reposting some of it:

I make these corrections quite often on all brands of steels. It takes a little time between the changer holes and the bell cranks trials. I always time all pulls and lowers to be as close to perfect as possible. Some steels like the older MSA only have 2 and 4 hole bellcranks. They will not be perfect, but close, and eaiser playing. This is why Emmons guitars went from 4 hole bell cranks to the 14 hole ones. Just makes easier timing.