Have YOU been an equipment chaser?

Ray Montee · From: Portland, Oregon (deceased)

Many serious steel guitar players have spent much of a musical lifetime, pursuing 'that sound'. They've bought, traded, sold and packed away many an expensive instrument while attemting to achieve that 'sound of perfection' that rings in their ear.

How many Hawaiian guitars have you purchased over how many years?

How many amps and what kinds? Music Man? Standel?
Gibson? Epiphone?

How many pedal steel guitars?

What would you estimate your total financial investment to be in this quest?

Bottom line: Did any of the frustration help you achieve your goal?

Robert Thomas · From: Mehama, Oregon, USA

I have to use my memory for this one.
I started with an o-holed six string guitar with a raised nut back in about 1944. By 1950 I progressed to a BR-9 Gibson six string electric with a matching amp. From there in 1952 I went to a double neck Fender String master and then shortly after that I went to a triple neck Fender, because I wanted more choices in tunings. That worked well for me until 1971 and then I decided I had to have pedals, so I went to a new Sho-bud D-10 with 8 and 4. I played that for 27 years and then I decided I needed something a little more up to date and lighter. I went to an HWP Mullen D-10 with 8 and 4 and am still playing it a lot. I have always been very happy with my sound, but have added a few things to accenutate the sound that I enjoyed. I feel fortunate to have always enjoyed playing and making music on the steel guitar. The one thing I wish is that I were younger and didn't tire so easily, but after all I am now pushing 76.
Thanks for listening, it was fun to reminisce and share with you all who read this.
Oh, by the way, I have the same wife of 54 years and she still insists that she loves to sit and listen to me play. I feel so lucky to have both her and my music.
Now I am getting nostalgic, sorry!

Larry Bressington · From: Nebraska

I have somewhat done some of that ray, but i learned quick that the equipment was only 'some of it' !!!
Un-fortunatly for me, i'm still trying to make a 'Steel Guitar' sound good, and more gear wont get me there! Confused

I plug a Sho-bud into an amp, and the rest is up to me.

I will have to say that i bought a Sho-bud years ago and i learned to love it after a few years, but 'YES' i was also searching for that sound, that i did not have. I went to E66 pick-ups, about 10 years ago and i haven't searched since.
I exsperimented with amps an awful lot, but not the Steel.

To answer your question, i'd say 'Yes' because without a bit of frustration, one does not ' pursue'

Good Blocking really helps 'THAT TONE' thats why my tone sucks! Laughing

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A.K.A Chappy.

chris ivey · From: california (deceased)

i've had several steels (emmons, sho-bud, zum) and amps over my 40 year steel time but never spent hugh dollars...always looked for deals...and was always pretty happy trying to make what i had sound good. i get a kick out of hearing great sounds from beat up or questionable gear.

Alan Brookes · From: Brummy living in Southern California

I have a house full of them. Unfortunately, what I've found is that, no matter how many instruments and recording equipment you buy, what really matters is talent, and without it even the best equipment will sound poor.

I think Jerry Byrd would have been able to make music with a steel wire with weights on each end. Very Happy

(I guess Pythagoras did just that.)

Gary Preston · From: Columbus, Ohio, USA

My first steel guitar was a M.S.A. single neck student model ,i bought it in 1976. It had one knee lever . I had it for one year and bought a new Sho~Bud Pro ll Custom in 1977 . By the way i still have it and is still the best steel that i have ever bought . I have had a new Williams and two L.D.G.S and i still have a great L.D.G. And a new 2008 Emmons LeGrande lll . I have a Fender Vibrosonic ( 1976 ) with a 15'' J.B.L. And two Nashville 400's . I use Lexicon Processors which i think is the best in the business . I have found that each guitar has it's own little something that is different about each of them . While loving each of them though . I think i have found that a lot of the sound or tone as some may say comes from the way we adjust our equipment along with the playing style that each of us have or the touch some may say . I think that we all look for something that may be at our finger tips all along ! A Lot of folks never find( that sound ) and will keep buying everything that someone comes out with that is the ''Latest '' thing in steel guitar . This brings me to one of my pet peaves that upsets me very much . I'm not picking on any company at all just venting .''BUT'' it seems to me that if you have a amp that is not that heavy to carry like the Peavey Session 400 that was built back in 1976 with the 15'' J.B.L. or the Fender Vibrosonic (100 wt.) which was heavy by the way but sounded great THEN someone gets the big idea that we will stop making it ''WHY ''? You think you have made something that is better I DON'T THINK SO ! Then comes the Nashville 400 to skip along a little which is one of the best amps that Peavey made for a long time for steel guitar then what happens ? IT'S GONE ! Nashville 112 is light but doesn't have the sound of the 400 . FLAME ME HERE ! Maybe i should just shut up and say that i do have two Nashville 400's and one is split up into one of Rick Johnsons cabinets that sounds awsome . And i do still have my 1976 Fender Vibrosonic .'' Whew '' i didn't mean to take up so much time so forgive me please ! G.P.

Mike Perlowin · From: Los Angeles CA

I used to have G.A.S. (Gear Acquisition Syndrome) but now that I work for a guitar company and get free guitars, I have so much stuff that I've run out of room to put everything.

I have 3 MSA steels, which is no more or less than what i feel i need. One for my recording studio, one in my living room, and one in the garage at the bottom of the hill, so I don't have to carry it up and down stairs every time I play out. (I live on an incline and have to climb 15 stairs to get from my house to the street.)

They all sound different, and rather than go crazy (or perhaps i should say crazier than I already am Laughing

) trying to duplicate exactly the tone I hear in my head, I tweak the knobs on whatever amp I'm using to get reasonably close and let it go at that.

I have several amps. a Music man HD 212, a Yamaha G100-112 (which will probably be my main amp from now on) a Carvin rack mount power amp and 2 speaker cabinets with Black Widows (which I use with a POD for a pre-amp,) and if I want to use just one of the cabinets, a Crate Power block with an Alisis midiverb in the effects loop. I also have a an original Crate 1 from the 70s that use for rehearsals, and a Pignose that sits on a shelf unused.

Since I'm playing in a classical music ensemble where I'm the only electric instrument, I need to keep the volume down to the level of the viola and cello (which are actually fairly loud, but not like a club band) and I need less power. The Yamaha seems just about right for this group.

Just as all the guitars sound different, so too do all the amps. but they all sound good. Like I said, I just turn the knobs till I'm satisfied with the tone.
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Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin

Mickey Adams · From: Bandera Texas

I have traded SO many musical things in my life. Very few have stood the test of time. The first is a Mesa Boogie MKIIC Combo that I had made in 1982 with a 15" EVM speaker. The next is a handmade Buscarino telecaster style electric with 3 pickups. As for the Steel Guitar, I can honestly say that I have found the RIGHT Steel Guitar, My new Mullen G2 S12 4+5. Along with a plethora of amps that I still own, I am mainly using my Furlong Split Cabs, and the Boogie most of the time. Im looking forward as well to the New Mullen preamp Ive been hearing about!
My GAS days are just about over...!
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ARTIST RELATIONS: MSA GUITARS
2017 MSA LEGEND XL D10, S10, Studio Pro S12 EXE9
Mullen G2, Rittenberry S10, Infinity D10, Zumsteel 8+9
Anderson, Buscarino, Fender, Roman Guitars, Sarno Octal, Revelation Preamps, BJS BARS, Lots of Blackface Fenders!

Rick Campbell · From: Sneedville, TN, USA

double post

Rick Campbell · From: Sneedville, TN, USA

In my early years of playing, I was not too much of an equipment chaser, mainly because I didn't have much money, and also because there was not a music store close enough to go shop for these things (before Internet). However, I was a very bad SKIRT CHASER. Smile

Robert Harper · From: Alabama, USA

There is no such thing as a bad skirt chaser. It goes bad when you catch them
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"Oh what a tangled web we weave when we first begin to deceive" Someone Famous

Jim Sliff · From: Lawndale California, USA

I've ben through so much equipment in the last 40+ years it'd take me hours to type it all up - if I could even remember it all!

But I can think of a few major mistakes - ones that were not mistakes at the time, but looking back they sure were:

Selling my original '64 Vibroverb for $250.00 (finally rectified when I got #3 of the reissues from Artist Relations - but I'd still love to know where my old one is!

Helping a buddy strip the "ugly paisley finish" off a '68 Tele. Tele players would understand this one...and are probably crying...

Selling a wide panel tweed Super for $200.

Buying a Gibson L6S - worst electric guitar I ever owned. I've had Teiscos I liked better.

Buying an MSA Classic D10 before I knew squat about steels. Heavy, toneless and had a LKL so far to the right it was unplayable.

Those are the major goofs that come to mind....although I've been through many, many guitars, amps, effects, etc. it was always with a particular purpose in mind and useful (except for those mentioned) for the particular situation. Other deals were trades - usually trade-ups. I've actually amassed a pretty good collection of playable vintage and modern instruments with very little cash outlay.
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Very early on, I was impressed by brand names. But after many years of playing, and hearing thousands of musicians, I began to notice something. The great players always sounded great, and the average players always sounded, well...kinda average. One revelation (which happened many times) was seeing a player with the best of everything. You know the type, the guy that spent more on guitars and amps than I spent on my first house. Yeah, best of everything, right down to the boutique amp and custom alligator strap. And he plays guitar like Mother Maybelle. Rolling Eyes

The there's the other extreme. The guy that pulls out a cheap instrument that looks like it was discarded from Goodwill store. You shake your head and whisper to yourself ("hmmpf, this ought be good"). Then the dude fires it up and HOLY S#!& - it's like Alvin Lee meets Danny Gatton!

I've heard tons of great music played on what I would consider "crappy gear". By the same token, I've seen guys who couldn't play "Cold, Cold Heart" decently working on their 3rd amp, 4th guitar, and 5th pickup in 2 years.

"So, Donny, do you think I need a new pickup or a new guitar?"

"I think you need lessons and practice, lotsa practice."

KENNY KRUPNICK · From: Columbus, Ohio

Everyone buys the equipment that they like. Very Happy

Edward Meisse · From: Santa Rosa, California, USA

Actually, I went through a great many non pedal guitars. I was chasing the perfect tuning and the perfect number of strings. But now that I have a pedal guitar, I expect to be with it for some time. I use 9 of the 10 strings quite alot. And I love the, "Chromatic," string on top. I have found that Kustom keyboard amp is great for any guitar with a George L pickup in it.
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Amor vincit omnia

Jerry Eilander · From: Hadspen, Tasmania, Australia

if I was aloud to do the last 20 years again,
I would of kept every instrument, or amp,
I was always short of money ,and trading up to a better brand name wasn't always the best thing to do.
But its a muso's curse, ever met one that was contend?
cheers

Bob Hoffnar · From: Austin, Tx

I have been through all sorts of steels and amps. I enjoy playing good instruments. The great ones have a voice of there own that may suit a gig or match some musical sound I am into. I can't afford to keep them so they come and go. Its not frustrating at all though. Its good to get to know the differences in gear and how it affects the music.
Right now I'm loving my Clinesmith D8 console and my Rains D10's.
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Bob

Eric Philippsen · From: Central Florida USA

Wow, now here's a subject.

As a player (not a very good one) and a vintage dealer (not a big one) I have had just about every type, model and year of vintage guitars, amps and effects. At times it was insane.

It took me awhile to realize a fundamental truth. That is, yes, a particular guitar or amp might inspire you but it won't make you a great player. "If only I had a 1962 Strat I would be a contender!" of "If I add another knee lever, look out world!" Nope. Nope. Nope.

Roger Edgington · From: San Antonio, Texas USA

I've played Fenders,Sho-Buds,MSA(24 years),Zum the last 11 years. I've had old Fender tube amps,Sho-Bud,Peavy Nashville 400, and currently a Walker Stereo Steel. The sound combination I liked was my permenant Sho-Bud through a pre cbs Fender twin with a 15" JBL, but I would not like to carry it at my age anymore. I don't have much left of knees and back. I'm already carrying 60 or more pounds that I don't need.

Clete Ritta · From: San Antonio, Texas

Ive been playing guitar most of my life and just recently started playing steel (better late than never). I got a Carter Starter and a NV1000 used about 3 years ago.
As far as buying musical equipment over say 30 years, I spent much less on guitar gear than studio recording and MIDI gear when it first arrived around 1982. Even though I didnt really play keyboard then, that's when everything relating to keyboard and drum machine was really getting revolutionized by the year. I was contantly getting the latest greatest, or what I could afford that had more features than last years Yamaha/Roland/Korg/etc. My career path has shifted directions a few times and I stopped chasing gear and didnt renew my MIX magazine subcription. I kept much of my equipment till I moved to Texas. One amp I wish I hadnt sold was an early 70s Bandmaster with a big 2x12 cab.

Back to the present...and to the topic at hand.
1. Ive yet to buy a Hawaiian guitar, though my wife and I did go to Maui last year.
2. & 3. I have been playing live a lot more these days again, and I feel that urge to improve my tone everytime I plug in. Ive bought a Mullen 3x4 and a KL kit, an E66 pup, a Tele and an Ernie Ball Steve Morse guitar just this year, as well as two Jensen P12N speakers (a 68 and a 92) for a vintage 66 Bandmaster.
4. probably $50,000 over the years, but its all been worth every penny. As far as pedal steel, probably around $4,000 so far. Those new Mullen S12s are VERY appealing to me now hehe.
Bottom line: Ive really tried to avoid frustration in any musical endeavor. Mastering an instrument includes learning the mechanics of how the sound is produced and altered. I must admit the steel guitar is a very complicated looking device which probably is the most intimidating aspect for a new player.
Nothing is more rewarding than having a tone youre NOT happy with, realizing what may improve it, getting the right parts and tools, soldering iron etc., making modifications, and getting it just the way you like it! IMHO

Dave Grafe · From: Hudson River Valley NY

yup, me too, did that and learned a lot.

like that a $6000 rack of toys won't sound any better than the old randall combo amp and the old shobud pro I with 3+2 is still gonna make more awesome sounds than the '74 PP with the George L pickups...unless of course the man behind the hands is not paying attention and being present in the moment, in which case it all sounds mediocre at best no matter what the equipment - 99% of the tone is in the hands and how they touch the strings. go figure.

Mike Bowles · From: Princeton, West Virginia, USA

i thought for a while i needed all the frills i could get but after posting asking for advice and talking to some of you more experienced players that have been there and done that i decided i dont have to have everything anybody mentions i just need to learn to use what i already have which is a mullen rp sd10 nv 1000 nv112 goodrich 120vp lexicon100 ibanez de7 delay 52 tele stage 100 fender and zoom 606 if that aint good enough then thats too bad most of you guys like donny probably saved me a lot of money oh i did buy some george l cables this was a good purchase thanks
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Mike Bowles

Billy Tonnesen · From: R.I.P., Buena Park, California

IMHO, as long as you have a decent Guitar and a good Amp, it's all in your hands and what your mind tells your hands what to do !

Twayn Williams · From: Portland, OR

Gear makes a difference. It does not make all the difference.

I've owned lots of guitars and amps and effects. The tonequest never ends.

I've only owned 2 PSG's: a Maverick and my current GFI. I don't feel the need for a new PSG, though I'm still looking for the perfect pickup/amp combo for the GFI. The Maverick is long gone.

Lap steels are another story. Mr. Green

They're like potato chips, you can't have just one. I currently own 4 counting my dobro. I'm holding off getting a console steel for a while, but I want a D8 Stringmaster at some point.
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Primitive Utility Steel

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