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Topic: The hardest thing to learn |
Jason Putnam
From:
Tennessee, USA
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Posted 11 Apr 2015 6:43 am |
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I've been playing for a while now. I still struggle with one thing a lot. "Touch" I can play some songs. I can use all my changes. But I have trouble making things not sound mechanical or choppy. I just can't seem to get that smoothness. It's like one big hurdle that I can't get over.
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1967 Emmons Bolt On, 1995 Mullen PRP 3x5,Nashville 112, JOYO Digital Delay, Goodrich Volume Pedal, Livesteel Strings |
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Rick Barnhart
From:
Arizona, USA
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Posted 11 Apr 2015 6:52 am
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I'm sure everyone can relate, Jason. It sounds like you've got the mechanics down. Now, just feel the music...try not to think too much about which change causes what to happen.
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Clinesmith consoles D-8/6 5 pedal, D-8 3 pedal & A25 Frypan, Pettingill Teardrop, & P8 Deluxe. |
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Erv Niehaus
From:
Litchfield, MN, USA
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Posted 11 Apr 2015 7:32 am
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After 30-40 years it all comes naturally.  |
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Bud Angelotti
From:
Larryville, NJ, USA
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Posted 11 Apr 2015 7:38 am
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Jason -
I have found a big part of "attack" technique is the relationship between your right(picking) hand and your right foot on the volume pedal.
If you are doing some kind of right hand exercises, or just doing scales of some type, try it with the volume pedal backed off. This forces you to "dig in" with your right hand. It's a fine line.
Hope that helps.
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Just 'cause I look stupid, don't mean I'm not. |
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richard burton
From:
Britain
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Posted 12 Apr 2015 1:22 am
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One of the things that I advocate to get smoother playing is to set the volume pedal so that it can't shut completely off.
I have about 15% of signal getting through my volume pedal when it is physically backed off as far as it will go.
I always get laughed at for this nugget of information, but it works for me. |
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Ian Rae
From:
Redditch, England
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Posted 12 Apr 2015 1:33 am
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Richard, I'm not laughing. I just bought a cheap pedal to try as it has a nice low profile. Unfortunately it cuts off suddenly way before the backstop, although I plan to modify it when I have time. It's essential that you still have a small minimum signal present. My ancient Solasound does this fine, but it's a shade chunky and needs a new pot.
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Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Dom Franco
From:
Beaverton, OR, 97007
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Posted 12 Apr 2015 1:35 am
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The steel guitar has the wonderful ability to mimic the human voice in pitch, vibrato, slurs and inflection. Rather than just producing a note or chord, a seasoned player can really make it sing!
For many years my Dad kept telling me that my Steel playing just wasn't "smooth" It bothered me a lot and I continued searching for that elusive sound...
Well Dad's in heaven now, and I think I finally understand what he meant by "smooth" To me it's feeling the note, it's emotion, it's making the guitar sing the notes, and when I get it right I know.
Sometimes I am lucky enough to be able to record the sound, and then I can listen and try to learn to play like that all the time.
20 years ago I was in a studio doing Pedal Steel overdubs, and the producer said "play it again with a little more SCHMALTZ"
Now I understand!
Dom
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https://www.youtube.com/channel/UCYG9cvwCPKuXpGofziPNieA/feed?activity_view=3 |
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richard burton
From:
Britain
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Posted 12 Apr 2015 1:39 am
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I notice that you are using an Ernie Ball volume pedal.
It's possible that its potentiometer is the wrong type, linear, instead of logarithmic.
Human ears perceive logarithmic pots as giving a smooth transition from quiet to loud, which is why log pots are suitable for volume pedals. |
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richard burton
From:
Britain
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Posted 12 Apr 2015 1:53 am
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It might also be beneficial to use the "3 cord" method of connecting your equipment (perhaps you already do)
steel > amp input (low gain input if the steel has a hot pickup)
amp pre-eq patch send > volume pedal input
volume pedal output > digital delay input
digital delay output > amp pre-eq patch return |
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Lane Gray
From:
Topeka, KS
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Posted 12 Apr 2015 4:41 am
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It comes down to making the transition from thinking about HOW to play into thinking of WHAT to play.
It's like using the guitar to do your singing.
Assuming you also sing, at one point you gathered the breath control, pitch control and enunciation skills so that you didn't have to think about singing, you just SANG.
You can't quite teach getting to that point in playing what will become your style, I don't think.
I CAN offer some suggestions to start forcing the beginning of it.
Put on some something slow, relaxed and bluesy, like perhaps this wfmu.org/listen.m3u?show=60193&archive=129050&starttime=1:26:42 which is Worried Mind by Tennessee Ernie Ford (I have tried to find it in video or mp3 form, no luck)¹. Lay in simple fills, like dropping two frets down from tonic, hitting 4&5 and adding the A pedal. Little things like that. Choose little lines you can play without thinking. And you'll find that once you start playing without thinking,it's a skill that snowballs quickly.
¹see the whole show's playlist at www.hinkydinky.net and if you go after April 16, 2015, choose the one from April 10, although ALL his shows are enjoyable.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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