Split Franklin pedal question

Paul Sutherland · From: Placerville, California

I could split the Franklin pedal on my guitar and I am pondering whether or not to do so, and how. I previously lowered the sixth string to F# on a knee lever so I understand (at least somewhat) the value of that change. My question is: what could I accomplish musically by lowering the 5th (& 10th) string(s) without also lowering the sixth string?

Because my guitar is a Push-Pull, I could keep my current standard Franklin pedal (that I use only occasionally) and simply add to an existing knee lever another bell-crank and collar to again lower the sixth string a full tone. This would give me part of the benefit of a split Franklin. But what would I be losing by not going all the way?

Jeff Evans · From: Cowtown and The Bill Cox Outfit

Interesting, Paul. I can't answer your questions, but maybe you can elaborate here or in a new thread about how well The Franklin Drop works in a push-pull in terms of travel, slack, feel, etc. There has been some strong advice against implementing these changes on a push-pull; have you had problems or had to adapt to long throws and excessive slack?

Paul Sutherland · From: Placerville, California

Jeff

I have only had the Franklin pedal for about six weeks. I installed it myself in the pedal four position, which makes sense to me given that I play the Day set-up.

I am not entirely convinced that I will keep it, but then I don't have any of the instruction materials that might broaden my horizons on what can be done with the change. I intend to delay a final decision on whether to keep the change until after I have obtained Paul Franklin's course on the subject.

Regarding the mechanics of the change as applied to a push-pull; I can say that the travel required for the sixth string raise (the B pedal: G#s to As) does not appear to me to need to be any longer because of the addition of the PF change. I presume this is because the pedal travel for the B pedal is determined by the mechanical requirements for the third string raise, and not by the requirements for the sixth string raise, and there is enough of a difference in the travel requirements of these two strings that the extra travel needed to accommodate a lower on the sixth string is available without lengthening the overall pedal travel.

I set the third string raise hook on the lowest changer finger hole with no spring at the bell-crank. This gives the fastest and shortest raise. Then on the sixth string raise I set the raise hook on the middle finger hole with a small spring (about 4 loops) at the bell-crank. My B pedal is very quick and precise, and I do not detect any slop through my foot. As soon as I touch the pedal the third string starts to raise, and the sixth string follows almost as quickly. And the PF lower makes it all the way down to the A pitch without problems.

The Franklin pedal does, however, add noticeable pedal travel (slop) to the fifth string raise. (At this point I have disconnected the tenth string lower to make the PF pedal a bit lighter and I haven't reconnected it, but I could. My comments are limited to my observations regarding the impacts on the fifth string)

The pedal travel for the A pedal is set by the fifth string raise, not the tenth string raise. This requires that the extra slack required to accommodate the PF lowers be added to the overall travel of the pedal.

With the PF change added to my guitar, my A pedal (Bs to C#s) has a lot of extra pedal travel or slop to accommodate the whole-tone lower on the fifth string. And of course the pedal travel for this pedal is lot longer than the travel for the B pedal even without a PF change, because pedal A is a whole tone raise whereas pedal B is only a half-tone raise. Even though I have set the fifth string raise hook in the lowest finger hole and use no spring, this is a fairly long throw pedal. (On the tenth string the raise hook is in the middle finger hole and I use a very small (about 2 loop) spring at the bell-crank.)

When I play the slop in the A pedal seems to not really be important. I can easily feel the slop with my foot if I think about, but once I focus on the music it quickly becomes a non-issue.

To summarize, the PF change works just fine on my PP, but it comes with a price (the requirement that extra pedal travel be added to the fifth string raise). I will probably keep the change if I learn to use it effectively and find more than just novelty licks. If not, it will be removed.

Good luck. Paul

Paul Sutherland · From: Placerville, California

Correction:

The sixth string lowers from G# down to F#, not to A.

pdl20 · From: Benton, Ar . USA,

Take a listen to Tommy White,he uses a split of the 5 and 6 string lowers. i lower mine like he does and find many uses for it,single string licks to some really neat chord changes. i use dropping the 5th a whole tone along with the 4th 1/2 tone drop,and so many more things i can get on the all pull Emmons, i have the split tuners and that helps.not sure what can be done on a push pull. i had one many years ago but don't remember if you can adjust it for those half stops someway or not. Rudy
_________________
Mullen G 2 D 10 8 & 6 , Emmons D 10 8& 6 Evans Amps , Revelation,MPX1,Steward PA 1000 rack, Steelers Choice Cross country Seat ,Hilton Pedal, Curt Mangan strings . When everything is coming your way, you're in the wrong lane.

Jeff Evans · From: Cowtown and The Bill Cox Outfit

Paul:

Thanks for that thoughtful, very comprehensive answer. Your post could be a real resource for folks pondering these changes.

kevin ryan · From: San Marcos, California

Hey Paul... I didn't know you where on this board. It's great to see your name and be able to thank you. I use to go hear you at the Alamo in the seventies and you where a huge inspiration for me. What a great player you are. I took a few lessons from you and learned a great deal from you. Thanks so much..

I think that splitting that change is the best way to go. It allows me to create some really cool counterpoint and harmony movements. As you know, the PP guitars have some problems with this and I would talk with Frank Carter or JayDee about doing this. Both have extensive knowledge with the PP..

Paul Sutherland · From: Placerville, California

Kevin

Thank you for the gracious remarks. I just looked up your website and was greatly pleased to see what you have accomplished in the music world. One of the best things about playing the Alamo six nights a week for 18 months straight was the guest bands that occasionally passed through. I vividly remember the night JD Manness (sp?) was there. I don't remember the band, but I remember him. What an incredible player!!

I left the music business at the end of the 70s and pursued another career. I am now retired from that endeavor and I am pursing music in this vastly different world. The challenge for me is teaching the old dog new tricks? If physical impairments don't stop me I intend to push music harder than ever before. When I was young I had an eternity to get good. Now I sense that time is limited so I better get to work.

Where are you located? Somewhere in the LA area I presume. If we get the chance to meet I suspect the teacher will become the student, and vice versa.

Best wishes. Paul

kevin ryan · From: San Marcos, California

Paul...thats so funny that you mention JD. I was taking a lesson from you and you were excited to tell me that you were going to see JD that night playing with Gene Davis! I had the pleasure of working with Gene a few times. I'm located in San Marcos, ca and give me a call sometime and we can talk some steel guitar and all else! You might think of taking a trip down south and visiting Jim Palenscar's steel guitars of north county shop in Oceanside. he'll get that thing dialed for you...It'd also a great hang.
Great hearing back
Kevin
760 839 0528

Forum Index > Pedal Steel		Next oldest topic :: Next newest topic

All times are GMT - 8 Hours	Jump to: