Standout Standardization

Howard Tate · Post by **Howard Tate** » 10 Feb 2006 2:37 pm

This is my favorite thread, I'll print it and study it every day until I understand it completely, at which time it's off to the rubber room.

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So Many Strings, So Few Fingers

Ben Jones · Post by **Ben Jones** » 10 Feb 2006 3:01 pm

The steel guitar of pedal was invented in Nashville and initially used on Webb bore the crash of country "slowly" (1954). Since then, it was primordially associated the music country, in particular the model known under the name of honky-tonk. But the expressive instrument, of the emotive possibilities called upon much. The notes raised in the noise of Skeeter Davis struck "the end of the world" were created by a steel guitar (1963). You could also allege that the development of California known under the name of music of "country-rock" mainly occurred because the bands of rock wanted to include the steel guitar in their noise. In more recent years, a development known under the name of "crowned steel" emerged from the African-American churches. Robert Randolph is the best player known in this kind. But in although it found a house the rock and the gospel, the steel guitar of pedal remains an instrument to define noise of country.

Terry Edwards · Post by **Terry Edwards** » 10 Feb 2006 3:36 pm

"Acceptation"?? Is that like "Acceptance"?

Jim, You obviously just don't get it!!!

Terry

Jim Cohen · Post by **Jim Cohen** » 10 Feb 2006 4:50 pm

Obviously.

chuck lemasters · Post by **chuck lemasters** » 10 Feb 2006 5:14 pm

Although Bill Hankey's pontificated palaver is at times obscured by his diffusion of language, at once disconcerting, and beguiling in its loquacity, it also serves the purpose of enlightening the reader through his elusive discourse. Albeit somewhat ambiguous, I find Bill's posts very entertaining, a respite from the usual discussion of push pull tone vs. all pull tone.

Richard Sinkler · Post by **Richard Sinkler** » 10 Feb 2006 7:28 pm

My head hurts.

Pat Kelly · Post by **Pat Kelly** » 10 Feb 2006 8:24 pm

Anyone familiar with Dilbert will have no trouble with most of the above. Actually working with him is even better.

Bill Hankey · Post by **Bill Hankey** » 11 Feb 2006 6:45 am

Aside from the difficulty of striving to master the steel guitar, possessing a sense of good TIMING, is essential in the quest for advancement. It is noted that a standout performance on the steel guitar, includes not losing beats in a given melody. "Blue Spanish Eyes" is a good example, which requires counting beats. Darting in and out of melody lines, will tend to raise eyebrows, and detract from a listener's attention level. It is indubitable, that scrutiny will abound with every classic performance, in an appreciative audience.

Bill

David Wren · Post by **David Wren** » 11 Feb 2006 2:02 pm

Jim, "You are a fluke of the Universe, and have no right to be here!" hee hee, loved Fire Sign Theater!

Standards, we don't need no stink'in standards.... how do we assess quality of playing? 1.) How well is the steel music executed;
2.) How well does it support the musical framework it is part of?
3.) Is it interesting?
Three are good enough for me... but if you need a 4th...How well can they use a %#@*%# Volume pedal!

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Dave Wren
'95Carter S12-E9/B6,7X7; Twin Session 500s; Hilton Pedal; Black Box
www.ameechapman.com

Terry Edwards · Post by **Terry Edwards** » 11 Feb 2006 5:15 pm

4.) How well they dress!

Terry

Chris Lasher · Post by **Chris Lasher** » 11 Feb 2006 6:53 pm

push pull tone vs. all pull tone

I ascertain the proper means to address the subject matter of the statement above would veritably be "abduction-adduction timbre vs. wholly-adduction timbre". That's really only for those who care about the nicities, however.

But, really, guys, go play some steel while we find you some nice coats to wrap you up in. You guys are off your rockers...

Bill Hankey · Post by **Bill Hankey** » 12 Feb 2006 5:46 am

The malarkey and cacophonous outcries, fall short of musicianly demeanor. Joking around is a lot of fun, until it's time to play. Then the humor hunter becomes the hunted.

Bill

Rick Garrett · Post by **Rick Garrett** » 12 Feb 2006 6:23 am

Did someone say "Cosmic Enema"? If not they should have.

Welcome back Bill!

Rick

richard burton · Post by **richard burton** » 12 Feb 2006 6:44 am

Cosmic Enema ?

Verbal Diarrhea would be a more accurate assessment, in my opinion.

Bill's obviously got too much time, and too little to do.

Bob Hoffnar · Post by **Bob Hoffnar** » 12 Feb 2006 6:54 am

Bill,
I couldn't have put it better myself. Welcome back !

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Bob
upcoming gigs
My Website

Bill McCloskey · Post by **Bill McCloskey** » 12 Feb 2006 7:10 am

Speaking of timing,

Bill has the most unique comma placement methodology I've ever cognized.

Bill Hankey · Post by **Bill Hankey** » 12 Feb 2006 7:52 am

Bill M.,

One thing that I learned very early on was to avoid saying more unique or very unique. If something is unique, there is no need to add very, more, or most. Thanks....

Bill H.

Fred Shannon · Post by **Fred Shannon** » 12 Feb 2006 8:20 am

Bill, great to have you back and please don't let the naysayers, and snide remarks drive you off the forum again. Hang in there podnuh. Standardization may be great but for folks, like yourself, and your creations, it may be a thing of the past.
phred

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"From Truth, Justice is Born"--Quanah Parker-1904

John McGann · Post by **John McGann** » 12 Feb 2006 10:00 am

I hope Bill H. will forgive me for interpreting incorrectly if I am amiss here:

The malarkey and cacophonous outcries, fall short of musicianly demeanor.

My interpretation: "Musicianly demeanor"= have some respect for your fellow musician, those who mess with Bill. There is a lot in between the lines there, if you puzzle it over for 20 seconds.

If yiz don't have time for it, get yiz to another thread, why don't chez. Where dey tawk nawmill.

Joking around is a lot of fun, until it's time to play. Then the humor hunter becomes the hunted.

My interpretation: Don't poke fun at non-standard stuff unless you can play your ass off.

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

Charlie McDonald · Post by **Charlie McDonald** » 12 Feb 2006 10:34 am

I personally am a fan of rhetoric--and diction as well--that slips the bonds of standardization.
What do we want in music? Music that is like the cookie-cutter strip malls, stores, and restaurants that are equally at home in Detroit and Dallas?
No thanks.

Eric West · Post by **Eric West** » 12 Feb 2006 11:59 am

Again GREAT to read Bill, and reflect.

Standardization of Tempo. A major component of the musical performance:

Sometimes there is a sheet music type designation for rising, falling or otherwise fluctuating tempi. "Ramble Tamble" of CCR fame is a good example.

Absent that, there is little room for non standard tempo playing of individual passages in the "finished product" unless it is to sound primitive, unprofessional, and "garage band"ish.

Oh, one can say that "top guys" rush or drag their passages over a steady tempo, and possibly as in Brent Mason's "Hot Wired" the steel track and/or other tracks are sped up to match the recording artist's taste. Maybe a "smoothing" for "other considerations. There are all kinds of variables there. Maybe the "artist" simply ran out of money to get the group back into the studio...

Also possibly "The Ear" expects to hear the dominant chord passage rushed a little bit.

Isn't "Standardization" of Tempo the desireable medium?

There are obviously many examples of artists and craftsmen that do not take liberties with tempo in their riffs, passages, accents, take great pains in maintaining tempo, nor do they believe it is well to strive otherwise.

Are those that do believe that it is a willy nilly "averaging system" because of a prevailing tendency toward chaos, or in any Perfection, the slightest amount of non comformity to said same just being difficult by reason of no "controlling musical authority"?

Are those that strive otherwise simply mistaken in their quest, when "other instruments", modern engineering tricks, or just the simple "Well ____ ")Insert this great star), seems to like it.. seem to commonly take the place of meaningful effort?

Is then considering such "Standardization of Tempo" unnatainable by say "lead guitar" or "pedal steel" flimsy at best, a liscence for poor playing, or execution and an unfair and overexpectational, putting of an unfair burden of maintaining Credible and Standard Tempo on other band members, studio engineers, vocalists, or the "Fixed Tempo" parts of any given musical emsemble? Possibly dumping a participants' "ad libitum" passages into the Collective to sort out in total unfairness?

I think so.

Is not then, the endeavor of tuning and playing one's instrument, since it too is a matter of frequencies, on a fixed 12 note grid, regardless of innate gutteral "tendencies" being Generally Accepted as Standard by "Serious Instruments" a similar quest?

Again, that is my well considered, and well worn and practiced opinion.

Or do we all wait for the next "Saviour" of "Our Instrument" to appear, and wait for our chance to again call for the freeing of "Barrabas" while the grisly scene absolves us of our iniquities?

Or is it inequities?

Thanks Bill for making your catalytic and fertile mind available again for us.

Your Friend and Obedient Servant,

EJL

[This message was edited by Eric West on 12 February 2006 at 03:24 PM.]

Jim Cohen · Post by **Jim Cohen** » 12 Feb 2006 12:09 pm

Eric, maybe you and Bill ought to take this off-line... Just a thought...

Eric West · Post by **Eric West** » 12 Feb 2006 12:24 pm

Well Maybe we did...

EJL

Stephen Gambrell · Post by **Stephen Gambrell** » 12 Feb 2006 12:52 pm

"One thing that I learned very early on was to avoid saying more unique or very unique. If something is unique, there is no need to add very, more, or most. Thanks"

GREAT, Bill! What about when newscasters use "Brutally murdered?" Is there such a thing as "humanely murdered?"