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Topic: What is the Jimmy Crawford Split-Tuning Method on PP's? |
Marty Broussard
From:
Broussard, Louisiana, USA
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Posted 23 Apr 2016 9:37 am |
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The more I live the more I'm intrigued about the capabilities of the PP. does anyone have a pic of this?
Why wasn't Buddy's 64 PP with splits seemingly a keeper?
Is anyone gatthering and saving the knowledge that Cass, Flood , Bowman and the others have?
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RETIRED
Former steel guitarist for Tracy Byrd & The Byrd Dawgs, Mark Chesnut & The New South Band, Mark Nesler & Texas Tradition, Wayne Toups & ZydeCajun, Belton Richard & The Musical Aces
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
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chris ivey
From:
california (deceased)
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Posted 23 Apr 2016 2:13 pm
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mike 'should ' write a book someday.
he'd have to charge a pretty penny for all that secret knowledge, though.
i'd want to read about the personalities he had to deal with, too.
and as marty alludes to, why were so many steels traded around so often.
in my case, once i found the best steel i could afford i'd hang onto it for decades. |
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Tony Dingus
From:
Kingsport, Tennessee, USA
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Posted 23 Apr 2016 6:11 pm
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If I remember correct, a knee lever lowered the 6th to F# and press the A pedal and it pulled the 6th back up to G. Is that the split you're thinking of ? I'll look in a couple books I have for that.
Tony |
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Tony Dingus
From:
Kingsport, Tennessee, USA
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Posted 23 Apr 2016 6:16 pm
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I looked at Jimmy's copedant and that's how he has his setup.
Tony |
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Lane Gray
From:
Topeka, KS
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Posted 23 Apr 2016 6:41 pm
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Marty, Richard Burton has some diagrams of it, but you put a bellcrank, swivel and half-tone tuner on the A pedal restricting the slack on the B pedal pullrod, so that when the A pedal is depressed, the 6th string can only drop to G.
_________________
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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Marty Broussard
From:
Broussard, Louisiana, USA
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Posted 23 Apr 2016 6:48 pm
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Thanks folks!!
_________________
RETIRED
Former steel guitarist for Tracy Byrd & The Byrd Dawgs, Mark Chesnut & The New South Band, Mark Nesler & Texas Tradition, Wayne Toups & ZydeCajun, Belton Richard & The Musical Aces
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 23 Apr 2016 10:29 pm
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I just put a read rigid spring loaded half stop on my 6th lower to get a half and a whole tone lower. Of course you have to come off B pedal to use it but works fine once you get used to it. I also have it tuned to raise top string a half and a whole.
Richard Burtons way also works good and more accurate than mine. Neither configuration effects use of B pedal, still works fine.
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Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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Ian Worley
From:
Sacramento, CA
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Posted 23 Apr 2016 10:35 pm
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Here is a picture that shows the faux string 6 "split" on a PP. You need a longer raise rod that reaches all the way to the A pedal on string 6. This is the raise-side limiting rod. The knee lever (RKL2 on this guitar) is set up to lower 6 a whole step.
Normally on a lower, the raise finger remains in contact with the stop screw in the lower finger and just follows it over until it hits the lower stop screw in the end plate. The additional pull on the A pedal limits how far the raise finger on 6 can travel to a half-step in the lower direction (tunable with a half-tone tuner underneath). The lower finger still makes the whole journey when you push the knee lever, but the raise finger, and hence the pitch of the string, stops short when the A pedal is depressed. None of this has any effect on the "open" position, that is, the A pedal has no effect on string 6 until it is lowered more than 1/2 step.
The caveat is that the B pedal must be released for all of this to work. Raises always trump lowers, so pressing the B pedal negates all of the above. That's why it's not actually a "split", even though everyone calls it that. It's just a trick, a work-around.
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