How Did You Learn PSG?

Brett Day · Post by **Brett Day** » 5 Dec 2009 7:39 pm

Nine years ago, I got my first steel for Christmas-a 1974 student model Emmons with three pedals and one knee lever. I mainly teach myself new songs by playin' along with records and I'm really amazed by the steel. I'll be gettin' me a Jackson in 2010 to add to the GFI.

Brett

Tony Glassman · Post by **Tony Glassman** » 6 Dec 2009 12:24 am

1st: several lessons w/ Lucky Oceans
2nd: many lessons w/ Greg Lasser (great: player, teacher ....and steel mechanic)
3rd: slowing records down to 16 RPM

Danny Bates · Post by **Danny Bates** » 6 Dec 2009 4:22 am

For years I blasted my way through tons of gigs with lap steels not knowing what the hell I was doing.

I can fake my way thru gigs (playing country standards) on pedal E9th. But that's about it for that neck.

Now I'm learning all the notes and scales to become as fluent on C6 pedal steel as I am on guitar and piano. I love pedal C6th with a passion.

BTW, I don't learn anybody's licks. I quit all session work to work on original music. For over a year I've been working on an album with a very creative co-writer/drummer ...

It's my life. We're both crazy... and I like it that way...

Here's a pic of where I've been gigging the last 3 yrs... (link below) We play in a bar by the pool.

Of course you can tell that I play enough "crap" on my steady gig to fill a football stadium.

http://www.tachipalace.com/

Wesley Medlen · Post by **Wesley Medlen** » 6 Dec 2009 10:31 am

I played a BR9 Gibson off and on for yrs. 4 1/2 yrs. ago I got talked into psg by people I played with. I plated the BR9 tuned to open E so the 4.5.6 & 8th strings is what I started on. Then DeWitts Anthopology of steel helped me a lot. Try to play with cd,s to keep my timing. I'm 73 if I live long enough maybe UI'll learn to play.

Frank Parish · Post by **Frank Parish** » 6 Dec 2009 11:08 am

The first two albums were the Emmons black album and Jimmy Days Steel and Strings and are still two of my favorite ones. The Winston book has got to be required for any beginner and never throw it away as you'll use it for years after that. I gave mine away to a friend that was learning and then went out and bought another one. I bought a chord chart from Mel Bay for $1.50 and it has 144 chords on it that are invaluable as far as I'm concerned. The Jeff Newman 30 intros is required learning material too and there was the Weldon Myrick Amazing "One pedal-two finger-three string song that you will use forever. Those three things and those two albums were a good beginning for me and then it was see something somewhere and try to learn it by ear or just ask somebody what they're doing and they'll usually show you. Jim Vest showed me that lowering thing he does with the 10th string to get that Gosdin lick in Set Em Up Joe and Mike Cass played my guitar nearly as much as I did and I'd pick up stuff from him. Being a student of the instrument and devoting at least two hours a day and playing as many gigs as you can a week will get you headed in the right direction. There is no end to this thing and I think learning to play the melody will help you to learn the neck of the guitar. When you can do that the rest is just gravy and dressing.

Cal Sharp · Post by **Cal Sharp** » 6 Dec 2009 11:27 am

Came to Nashville and got an apartment for a couple weeks and hung out on Broadway and germed all the steel players who were down there at the time - Billy Poe, George Edwards, Wayne Kincaid, Neil Flanz... Practiced in the apt. all day with Neil's Sho~Bud Instruction record. Went back home to IN and practiced along with records and played local gigs for a few years, then came back to Nashville and got an Opry gig. Nothin' to it.

Barry Hyman · Post by **Barry Hyman** » 6 Dec 2009 3:03 pm

I started in '72; bought an Emmons black mica D-10 that I wish I still owned. But it had no knee levers, so when I got Winnie Winston's book, I couldn't do much with the tab, which frustrated the hell out of me. I had already been playing guitar for eight years, and was a music major in college soaking up the theory, so I just played along with a Tammy Wynette album, teaching myself by ear until I built up the nerve to take the steel to a gig. There were no pedal steel players or teachers anywhere near where I lived in those days, so I just joined a succession of country bands and learned on the bandstand, playing four hours a night three nights a week. Then I traded my Emmons in for an MSA S-12 that had five pedals and four knees.

The knee levers forced me to do something smart -- I started a file, writing down everything I figured out in terms of chords, licks, scales, and theory. I had to do a lot of agonizing with music theory to figure out what the knee levers and extra pedals were good for, but that was really good in the long run because it made me think about what I was doing rather than just winging it on trial and error. I still have that file, it is about an inch thick now, and I add to it every week.

In recent years I have been having a pedal steel resurgence -- I've gone from mild obsession to overwhelming obsession -- as readers of this Forum have heard about ad nauseum. (This was after many years in which none of my bands or gigs seemed interested in psg and I played mostly guitar.) I bought a new steel with more pulls, and a new volume pedal, bar, and reverb unit. And I bought some psg cds, which are scary (because they remind me of how much I still have to learn!) and am about to buy an instructional book or two if I can figure out which one(s) would be best for someone at my advanced-but-still-dissatisfied level. I recently got my computer fixed so I can finally enjoy the psg videos on YouTube -- watched Lloyd Green, Jeff Newman, Sarah Jory, and some Mickey Adams just last night. And I have been meeting other steel players in the area through the Forum, so I might finally take a lesson or two. I'm 58, I had cancer removed with major surgery a few months ago, and it seems clear to me that I should devote the rest of my life to pedal steel. Luckily I am a fulltime music teacher, and I'm in three working bands, so I do nothing all day but play guitar and steel. Maybe I'll learn this sucker someday -- I sure am giving it all I've got at this point!

David Bolin · Post by **David Bolin** » 7 Dec 2009 9:03 pm

I started playing steel in 1968 on an old used Multichord that had 4 pedals and no knee levers. About six months later I got a brand new ZB Custom. What really turned me on to steel guitar was Charley Pride's "Live at Panther Hall Album". The Steel player was Lloyd Green. I knew I had to get that sound. I listend to every Lloyd Green album I could get my hands on and Connie Smith albums with Weldon Myrick and listened to them constantly even playing my 8 track player in my Jeep. I played along with the records over and over to find the phrases and licks on my guitar playing two to three hours a night. I know that sounds like an obsession, and it still is, and thats what it takes to learn it on your own. At that time there was very little material for learning Steel guitar. I still practice at least an hour or more every night, you never stop learning new things.

Ray Montee · Post by **Ray Montee** » 7 Dec 2009 11:55 pm

When I took delivery of my Four Neck BIgsby in 1956, there was no Winnie Winston square record instrucitonal book available.

I glued my ear to the dinky speaker in my little Webcor single record, player........and listened to Bud Issacs until he was coming out my other ear.

I found that by playing in E7th until I ran out of the next tone/notes I needed.......I'd press a pedal and WOW! There was the mystery notes/chords or what have you.

It was a good solid way to learn. It gave me a good ear for steel guitar music.

Mike Perlowin · Post by **Mike Perlowin** » 8 Dec 2009 12:45 am

Winnie's book. I was already working the So Cal country scene as a lead guitarist, so I started bringing the steel to gigs before I was really ready. At first I played it on just one song a night. Then 2 then 3 etc and I gradually increased the proportion of steel to guitar songs. Eventually I stopped playing lead and only played steel.

John De Maille · Post by **John De Maille** » 8 Dec 2009 3:02 pm

I picked up a Maverick with 3+1, in 73' or 74' ( I can't remember exactly when ) and started to teach myself to play it. Having played finger picking style six string enabled me to adapt to picking the steel. For some unexplained reason, I was able to play the thing and get some recognizable sounds from it. I played it in a "Country Rock" band and it fit in really well. In 76', I bought a brand new S-11 RusLer with 5+4 and practised and played out, till I dreamed of steel in my sleep. I participated in 2 of Jeff Newman's seminars, which, really opened up all the doors and windows of knowledge for me. ( He was a great man! ) I continued to play steel right through the early 2,000's, working 4-5 gigs a week and doing many sessions for mainly local Wannabe's.
It's been an exiting and interesting career, so far. I'd like to think that, it's not over yet, but, the gigs are few and far between and I'm too lazy to travel very far to play. Our band does about 5-6 gigs a year and I play several steel shows, when I'm asked to and I like to teach PSG. Other than that, I play to amuse myself and hopefully others, who, might be in earshot.

Brint Hannay · Post by **Brint Hannay** » 8 Dec 2009 5:07 pm

How did I learn pedal steel? I got here late, so Roger R. beat me to my line: If I ever do, I'll be sure to let you know!

I got to where I am on pedal steel essentially the same way (but starting 20 years later) that I got to where I am on guitar--self-taught with a smattering of dipping into instructional materials. I rented a Maverick and bought the Winnie Winston book in 1983 because I decided I could make more "authentic" "Country steel" sounds by playing actual steel than by faking it on guitar. I practiced for many hours every day and got far more hooked than I had anticipated. The Winnie Winston book was a huge help in the very beginning, but I probably only actually worked on seven or eight pages of it. Other than that, I spent time with Londonderry Air and Bars Of Steel and a few of the exercises from Scotty's Anthology book.

That's speaking of actually playing through tabbed stuff. Reading (reading reading, not music reading!--though I can read music when necessary) the Winnie book and Winnie's other book, Pedal Steel Guitar: A Manual of Style, was a major influence, especially in forming the "Crawford Cluster" tuning variant that I've been using since 1984. (Note: I only "play" E9th--my fooling around with C6th has so far (mercifully for all concerned) been not for public consumption!)

At present I remain a "Jack of both trades, master of neither", but play both steel and guitar at almost all of my gigs.

Brion Toland · Post by **Brion Toland** » 8 Dec 2009 5:53 pm

Books, videos and I spend alot of time going to bars and watching other players and how they play and their techniques. I am a very visual learner.

Dan Blaisdell · Post by **Dan Blaisdell** » 8 Dec 2009 6:04 pm

"Band In a Box" after struggling for a year with the basics. Rate of learning increased exponentially. Thanks MASGA.

Ernie Pollock · Post by **Ernie Pollock** » 9 Dec 2009 9:51 am

I started out without any help, just kept messing around with it for 2 years, playing in bands & screwing up. Then along came Jeff Newman & Herby Wallace, both helped me so much. Especially in how to get a decent tone [thanks Herby] I had used a drum machine, but never heard of rhythm tracks till Newman came into my life, I only wish he was still here. I started to get pretty serious after that. I also used work 11pm till 7am shift in a tire factory, & I would come home & practice 4 or 5 hrs, the sleep a couple & do another hr or two on steel. Many of my friends avoided me, cause all I talked about was steel guitar, sorry guys. I just hang in there doing the best I can. Right now I have a nasty back problem & cannot play steel at all, don't know how long that will last. I cannot use my left leg on the pedals at this time. I do, however play standard guitar [Les Paul look alike, with Bigsby tailpiece] & play that some while waiting to get my 'steel leg' back again.

Ernie Pollock

Jan Viljoen · Post by **Jan Viljoen** » 27 Jan 2013 9:46 am

Learning the pedal steel is a life long endeavour.

I started with the first Scotty Book en then got the other two as well.
I got the Winnie book too.
That cleared the path forward.

My musical experience with mandolin and sax in bands helped me tremendously, but the pedal steel passion is alive and well.

Steel on!

Eric Philippsen · Post by **Eric Philippsen** » 27 Jan 2013 3:39 pm

I was playing 6 string with a country band. Went into a music store, saw a brand new Sho-Bud Super Pro and bought it. Bought a NV400, too. OK, now I that I had spent all that money I HAD to learn how to play this thing. No teachers but I did (thank God) have Winnie Winston's book. It got me started.

Then I started using the pedal steel on the gigs we were playing. The other guys loved it even though I was terrible at first. I'm still terrible but just a tiny bit less so these 30 years later. After a year I spent a week at Jeff Newman's school. Another godsend.

Three steel players made me want to learn and play this contraption:

- I heard Buddy Cage with the New Riders. Jeez, what WAS that sound? That instrument? I HAD to know!
- I heard TC Furlong with the Jump In The Saddle Band. They played clubs in our area. Western Swing! I HAD to learn it!
- A pretty good steel player sat in with the band I was playing with. After the first set I pointed to the steel and said, "I gotta get me one of those!"

Mickey Adams · Post by **Mickey Adams** » 27 Jan 2013 4:17 pm

I learned the HARD way....Dewitt Scotts book....Still learning, still practicing...still struggling for a higher plane..(No Pun)...Im thankful to all of you that listed ME as a source...Its very very rewarding reading!....Peace !

Ken Metcalf · Post by **Ken Metcalf** » 27 Jan 2013 4:18 pm

One thing these old pros are not telling you is....
It used to be that you could be a hack in a hack band and get a gig playing 4-5 nights a week.
In 2-3 months you and this band would improve immensely.
Now days you practice and get into a band playing 3-4-5 nights a month.
Improvement at this rate can take several life times.

That being said I got my first steel from a friend who gave me free lessons as long as I would show improvement.

One on one is the best on top of numerous courses and much live experiences in many bands.

Clyde Mattocks · Post by **Clyde Mattocks** » 27 Jan 2013 7:51 pm

You know that guy that says he can teach you how to play like a pro in one week? I learned from his grandad who was twice as good. I learned in three and a half days.

Mickey Adams · Post by **Mickey Adams** » 27 Jan 2013 7:52 pm

LMAO!

Bill Ladd · Post by **Bill Ladd** » 28 Jan 2013 4:41 am

Hey since this is a revival of a thread from '09 started by Barry Hyman, I'm wondering what happened to him? Haven't seen him on here for a long long time.

Howard Steinberg · Post by **Howard Steinberg** » 28 Jan 2013 5:27 am

I learned on a Market-rite kit that came with a 3 volume course that, if my memory is working, may have been by Fred Layman. The course was much better than the guitar and was very helpful in getting off to a good start. I followed this with the Winnie Winston book. In the early 80's PSGA in New York had seminars with Jeff Newman, Buddy Emmons and Paul Franklin. These were absolutely incredible. For me, the more I learn the more I realize that I don't know. it's a reasonably healthy obsession .

Ken Metcalf · Post by **Ken Metcalf** » 28 Jan 2013 6:11 am

I told that guy I wanted to play steel real bad..
He said he could show me how to play real bad in about 5 min.

Bobby Burns · Post by **Bobby Burns** » 28 Jan 2013 6:29 am

I was really lucky in a lot of ways musically. My parents played music around the house, and all my brothers and sister were very musical, and most played at least a little. My maternal grandparents played old time music, as did several of my aunts and uncles. I'd have really felt like the unwanted stepchild, if I hadn't had some kind of musical ability. It was just part of life, and I just assumed that music, and creative self expression were that important to everybody (yes my parents were democrats, although being southern country folks as they were, I'm sure it would amaze them how similar their values were to the hippies of the time!). I started playing guitar when I was really too young to remember it, but I got my first real guitar for Christmas when I was eight.

I never really had much aspiration to do much of any thing else.
Anyway, (second reason I was lucky) Sometime in the seventies, Herby Wallace opened a music store in my neighborhood. I could ride my bike to Herby's "Music Mart" and I was in heaven. I knew that Herby was touring professionally, and playing with a lot of the more popular local bands, but somehow all of this just seemed normal.

When I was a senior in high school, after playing several other instruments for years, I spent $450 of my graduation gift money on a used single neck Emmons push-pull (wish I still had that one!). I thought that with all my experience, I could woodshed for a few days, and I should be able to play the steel. After several very frustrating days of sitting at the steel until my back was sore, I called Herby, took a few very informative lessons, got his E9 book and tapes, and woodsheded nonstop. I will forever hear Herbie's voice saying "Run number One, Run Number Two etc.." in my subconscience.

By the end of that summer, I could play enough that the band I was playing with would let me play steel on a couple of songs a night. We did "Fire on the Mountain", and Pick Me Up On Your Way Down" ("Intro Number One"?). I still sucked, but I played steel better than anyone else they knew, so they thought it was great.

I never got as good as Herby (surprised?), but I am really grateful that he was around, and I was exposed to steel guitar at such a high level early on.

I never sit down at the steel that I don't learn something. I haven't learned from any one method, I have all the books, and some instructional recordings that I play along with. Lot's of times, I just put on a CD (containing steel or not) and play along.

I have always learned the most from listening, and trying to ACCURATELY reproduce what I heard as close as possible. Then I'll try to come up with the way I want to change something, and reproduce the sound I have in my head as accurately as possible.

I think the key is trying to be accurate. Sound like you sound because it's the way you want to sound, and you have control over it. Don't sound the way you sound just because it's the only lick you know, and you just don't have the discipline to learn to do anything else.

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