The Steel Guitar Forum

Bill Hankey wrote:Jerry Hedge,

Some time ago I became a experimentalist with a "bar" that could be placed beneath the strings of a steel guitar. The idea was to change the pitch of the steel guitar tunings............

Bill, co-incidentally, the same procedure was carried out by Buddy Emmons, zillions of years ago. There is a video clip of this.

Sounds like Jeff Newman's "capo" for pedal steel guitar: a small bar placed under the strings.

Doug,

Buddy's and Jeff's experimental journeys down one-upmanship dead end streets are fairly well-known. It's because of that little extra twist that much of the groundwork required left many of their good ideas dangling. Various tunings are fine examples. One of Jeff's favorite quips was, "We don't do it that way."

I have used the "capo under the strings" to get that effect of playing the other side of the bar at frets 7, 12 and 19.
There was a song in D that really benefitted from that effect, so I capoed to 5.

Lane,

Thanks for lending support to a tricky maneuver on the pedal steel guitar when the heat is on. It makes me wonder about the countless methods of playing the pedal steel, and perfected by closet musicians. We'll never know who might share their talents at any given moment.

So the capo ISN'T unequivocally evil/lame/cheating?

I've noticed a huge problem that stands out among musicians in general. This habit exists of traveling full circle around new ideas that could promote a better approach to the pedal steel guitar. To be more specific, trying to make a point is difficult. A good idea is just that, and nothing more. The most interesting part of such a peculiar trait occurs when a new idea that actually improves the quality of playing gets booted out by disbelievers. Learning to play the melodic pathways on the pedal steel is second only to tolerating critical misgivings.

Bill Hankey wrote:trying to make a point is difficult

Evidently.

Jack,

Have you ever considered calling the C6th neck of the pedal steel guitar a mechanical contraption? I've considered that a pedal steel with multiple pedals (C6 tuning in particular) were suited for players such as Chalker, Emmons, Evans, etc. On the E9th neck tuning, anything in excess of 4 pedals and 6 knee levers becomes a mechanical contraption. If a player can master the formidable 4 and 6 of the 9th tuning, the C6 becomes excess baggage.

Bill, I would say that, unless I'm weird (a distinct possibility), the tuning under your fingers influences your thinking and therefore your playing.
That's why I'm going to a uni: I've been known to hop from neck to neck between phrases because the other neck, despite being REALLY similar, matches my thinking for the next phrase.
And having the hang of working with the mechanism makes these things EASIER to play. I have said before "this thing plays itself: I think the notes and they leap out of the speakers." On lap steel/Dobro, I often have to adjust my thoughts based on what the guitar can provide or think HOW to play what comes out of my head.

Lane,

One of the most rewarding moments while in practice on the pedal steel guitar happens when something new is played unexpectedly. That is the reason for the great popularity in prepared tablature. The greats of the steel guitar offer trade secrets that had taken them years to learn while burning the midnight oil. Combining shared tablature with self-study holds great promises for players of the future.

I'm no great, but that sentiment is EXACTLY why I occasionally do those videos on my youtube channel talking about and demonstrating uses for a change (or combination)

Bill Hankey wrote:Jack,
Have you ever considered calling the C6th neck of the pedal steel guitar a mechanical contraption?

Bill, I consider most every aspect of the pedal steel guitar a mechanical contraption, no matter what the tuning or pedal/knee lever configuration. That is the true nature of the beast, and that's one of the reasons why I love it so much.

Craig,

I spent the afternoon at a picnic in Stephentown, N.Y. My sister-in-law turned on a popular "country" station on her little radio. If you want to know what isn't country music, proceed to tune into what they are calling country music. All I heard was a blaring beat for 4 hours. Virtually all the recordings featured that "Proud Mary" 3 chord beat. I can't recall hearing one recording featuring the pedal steel guitar. One of the scarcest features in this 3 chord rock blending, is the lack of featured soloists that were once so prevalent in true country music.

Craig and others asked what country music "is" NOT what it "isn't". Not only does that remain unanswered we are also given the odd idea of "that "Proud Mary" 3 chord beat". Since Proud Mary contains more than 3 chords we have another mystery before us.

Not to mention that the standout element of PM lies not in the chords, but in the groove.
Chords have neither beat nor groove.

Chuck,

A good rhythm guitarist is a waste of time and travel in so-called new country bands. What a slap in the face! True country bands consist of 6 pieces to sound their best. One "fiddle", one lead guitarist, one steel guitar, a good front singer/vocalist/rhythm guitarist, a bassist, and a percussionist would round out the true country sound. Whosoever is picking up the tab to cover band expenses that often include multiples of guitarists and singers must have an open road in finances. Advance ticket sales have been stripping the savings from the coffers of hardworking citizens for much too long. Many of the recipients of these particular
cash exploitations own several mansions on the hill that Hank Williams once wrote about.

Lee Baucum wrote:

Lee Baucum wrote:

Lee Baucum wrote:Who gets to define "true country music"?

Who gets to define "true country music"?

Who gets to define "true country music"?

Who gets to define "true country music"?

Bill

ahh so that's what a Proud Mary 3 beat is.....


btw you just disqualified the Waylors, The Cherokee Cowboys The Strangers and The Time Jumpers in one post. Now we are making progress...

Bill I always found 5 pieces to be my best bet to keep everybody working and paid well. Sometimes I got lucky with a Multi instrumentalist that could be used for a variety of songs. My bass player Bobby Suzor was one as he played 3 instruments. Sax, Guitar,and was a great bass player. Jack Smith my drummer played Trumpet so we did have a haggard type band. Getting say a Terry Sutton great steel guitar and Fiddle is a great deal and thanks to Bernie my Drummer I had terry as a fillin for a week.. I was only lucky enough to have both a fiddle and a steel and that was a six piece band at Billy "Ts'With Jimmy Roule on steel and the great Craig Eastman on Fiddle. Billy T's In West Springfield was the only club that gave me the money for the extra piece.Heck she gave me a Salary and paid me once a week but the band every night. That band had Craig Jones as well on Lead Guitar. Towards the end when we decided to stay at one place again we were down to four pieces.But Chuck Gokey played Guitar and Steel so once again a bonus. Guys like Doug Beaumier and Jimmy Roule who play both are still working because of how good they are at both.

Attempting to better country music of late is the equivalent of selling a truckload of air conditioner units to Eskimos. Interest in true country music has dwindled shamefully. From now on, it remains a wait and see how long this merry-go-round of light rock will last among true country music artistry.

Bill, I beg to differ.
Dale Watson
Heather Myles
Justin Trevino
Amber Digby
Raul Malo (last I heard)
The Time Jumpers

And the list goes on.
The kind of music you dig may fall off the charts, but more people are playing it than ever, just like more people than ever are making our instrument.
AND since it has fallen out of favor with the big money, the pressure to water it down is less.
I'd say it's BETTER when the people chasing the dollars are not interested in what we like.

Lane,

Many of the players who were once fit and trim, are no longer banging on doors. Checking their mail has become a daily routine, so I'm told. I've also been reminded that, "Good things don't last."

Lane:
I think Bill was alluding to country music in the main, not specifically Texas, which IMHO, is where all the true country music is coming from these days.

I am a big supporter of Heart of Texas music and have the cd's of most all of the artists who record with the label and also artists who don't record there but still put out great country music.

I was extremely pleased to find out this past week that Gene Watson and Tony Booth are both playing a jamboree in our small eastern Ontario town in September. Long been a fan of both of them, all of Tony's early lp's and his latest cd releases and 29 of Gene's lp's but don't have his latest release ---- yet!

Good point, although Dale seems to live in a bus, and Heather is from Oceanside CA, just down the road from Jim Palenscar.