Most "recognizable" steel sound....
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- Mike Hoover
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Most of those mentioned above are recognizable to me also....but I have to name the one who was the "First" most commercially recognizable steel guitarist, primarily because of his recordings with Eddy Arnold more than 50 years ago, "Little Roy Wiggins"!
Like Don Helms, who was the "next" most recognizable steeler, they have both helped feed my family during my career by my shameless "cover" of their "original" styling!
As has been said.......many do it better, but they did it first!
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Edited for clarification: This topic is about the most "recognizable" steel players, not about one's "favorite" steel players!
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Gene Jones on 28 September 2004 at 01:40 PM.]</p></FONT>
Like Don Helms, who was the "next" most recognizable steeler, they have both helped feed my family during my career by my shameless "cover" of their "original" styling!
As has been said.......many do it better, but they did it first!
www.genejones.com
Edited for clarification: This topic is about the most "recognizable" steel players, not about one's "favorite" steel players!
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Gene Jones on 28 September 2004 at 01:40 PM.]</p></FONT>
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- John Bechtel
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In my opinion, the two most recognizable sounds are Jerry Byrd and Buddy Emmons, but then; they're my favorites!
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Style seems to be what everyone is posting about. Tone is a completely different subject.
What if every player was recorded playing the same few chords, whose tone would be instantly definable? I could pick out Byrd and Emmon's, the rest is a crap shoot.
Every players picking style helps define who they are, more than their tone. In my opinion they ALL have a great tone to compliment their style.
Paul
What if every player was recorded playing the same few chords, whose tone would be instantly definable? I could pick out Byrd and Emmon's, the rest is a crap shoot.
Every players picking style helps define who they are, more than their tone. In my opinion they ALL have a great tone to compliment their style.
Paul
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If the question was what the most recognizable steel 'style', I'd say Emmons or Day or Franklin or Green or Mooney or (enter icon of the steel guitar). But I have heard too many *perfect* imitation of styles to be able to tell for sure. I can usually tell the difference between Buddy and Day on old Price records. But I have sat in the Den in Nashville with both Buddy and Randy Reinhart playing and if I closed my eyes I couldn't tell you who was on at the moment.
With Nashville stuff at the moment, I know that I can't tell the difference between Paul Franklin and folks like Mike Johnstone (and neither can his father, so I don't feel bad).
While Lloyd has such a recognizable style, it is so imitated that sometimes it's hard for me to tell for sure. The same goes for most of the Nashville icons (Weldon, Hal, etc.).
The guys that I am pretty sure of right off the bat are Sneaky Pete (actually, I am 100% sure of him), Jerry Byrd, and Pete Drake (Paul gets pretty close, but his underlying technique gives him away every time).
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With Nashville stuff at the moment, I know that I can't tell the difference between Paul Franklin and folks like Mike Johnstone (and neither can his father, so I don't feel bad).
While Lloyd has such a recognizable style, it is so imitated that sometimes it's hard for me to tell for sure. The same goes for most of the Nashville icons (Weldon, Hal, etc.).
The guys that I am pretty sure of right off the bat are Sneaky Pete (actually, I am 100% sure of him), Jerry Byrd, and Pete Drake (Paul gets pretty close, but his underlying technique gives him away every time).
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I think the 5th string B to C# raise ("Emmons" or "Day" Pedal Steel Guitar setup respectively), is the single most "recognizable" steel sound.
As a tie for second place, I would list the half fret slide up, and/or the 12 fret octave slide up (any tuning pedal or non-pedal).
Note: This analysis rules out the player, and focuses on the instrument.
As a tie for second place, I would list the half fret slide up, and/or the 12 fret octave slide up (any tuning pedal or non-pedal).
Note: This analysis rules out the player, and focuses on the instrument.
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