The Steel Guitar Forum

Help!!
Newbie to pedal steel with a Zumsteel Encore. What is the secret to harmonics? I have Winnie Winston's book "Pedal Steel Guitar" and have tried striking harmonics all 3-ways mentioned in his book and I just can't seem to "get it". The only technique that sporadically works is using my ring finger knuckle but, even then, its either not a clean harmonic OR its not very loud. Any suggestions? Otherwise I really like playing the Encore but this harmonic thing is about to drive me nuts. But I won't quit...instrument sounds great with even me playing. Look forward to any comments.
--Jim

I usually use a karate chop thing, or sometimes I fold my ring fit under to hit the node.
Ideally you hit EXACTLY on the halfway point.
Try to figure out what Melinda is doing: I've been playing since 1980, and I can't do it this good. https://m.youtube.com/watch?v=nDJ4toUavBg

The only one that I can do is the palm harmonics. I have practiced the others until I'm blue in face, but can't get it. 44 years of failure.

I asked someone at the Dallas show how to do it. He showed me the "bent pinky" method and I get pretty good results

It's nothing but practice. And the most critical element is getting as small a point at the node as possible, and EXACTLY on the node. If you do the palm/karate chop, use about zero pressure, because pressure will deform the skin, and if the point of contact spreads, it nukes the chime.

Harmonics are what happens when you practice palm blocking!

I use the nail of my pinky or ring finger if I want a loud clear harmonic. If I want chords or a softer more retro sound I use my palm. I worked on this one harmonic thing Jerry Byrd and Jimmy Day did for 3 years before I got it. Play the 3rd string and the 5th string and do a palm harmonic on the 5th string only. Very cool sound where the lower string hops up above the higher string.

Harmonics are pretty hard at first and they are not as loud anyway. So don't get too frustrated.

To make loud, clear harmonics, you need to have your volume turned up quite a bit. Use the volume pedal to raise the volume as you hit the harmonic. And if you cut the mids a lot, it's much harder to get a good harmonic. It's always tricky, and sometimes I miss it completely. Usually, I use the large knuckle of my little finger.

Harmonics have always been a hurdle for me too. Sometimes I can nail it and other times just don't seem to work at all. Some guitars chime better than others also. I had a Mullen that just would not chime but guitar sounded great.
I also use the palm method and once in a great while, the ring finger tucked under method. If I want clear and loud harmonics, I do the backward way with third finger and thumb behind finger but has to be a really slow song. I can't get around in position otherwise. Buddy is a master at harmonics and makes it look so easy.

Henry, check out (if you already haven't) Melinda's chimes. Actually, I like just about everything about her playing.

Greg Leisz's harmonic playing ability is astounding to me. He throws them in so nonchalantly, and perfectly timed.

Me? I do "ok" on lap steel & reso, but the chimes don't seem to ring out on PSG for me.

Jim, I'm far from expert, but I do occasionally manage to pull off harmonics. Of the 3 ways mentioned in the Winnie Winston book, I use the first one pictured on page 58 (assuming your book is the same as my 1975 copy)

Remember, there are only certain points where you can get a good harmonic: 5th, 7th, 12th, 17th, and 19th frets relative to the bar. The easiest to get is probably the 12th relative to the bar. It's also the safest one, since it's just an octave above the open note...so if you blow it, you haven't hit a clam.

Hold your hand in the position shown in the first photo....with the ring finger extended in front of your thumb. It's a little awkward feeling until you get used to it. With the tip of your ring finger, lightly touch the string directly over the harmonic location. Pick the string with your thumb, and immediately lift your ring finger. You also need to give it a lot of volume, as the chime isn't as loud as an open string.

Lane has identified the important factors - a small contact area accurately placed. The problem is that if like most people you use a folded third or fourth finger, you can't see exactly where it is. I haven't practised harmonics much because I've only been playing for two years, I'm under no pressure to use them and I have so many basic things to work on; but when I discover the secret of producing them flawlessly at all times, I'll be sure to pass it on. (I am 64 this year, so don't get too excited.)

Lane Gray wrote:Henry, check out (if you already haven't) Melinda's chimes. Actually, I like just about everything about her playing.

Amen! She is awesome.

I’ve always had trouble with harmonics... I think I can get the technique if I get less lost on the way to making the chime... I mainly use palm, but have been trying to work on the little finger or ring finger cause I like the tone a little better... I’ve seen guys use the tip of their ring finger, almost on top of where they’re picking and that one will take more time then I think I have... Watch Gary Carter her at about 2:10 and on as he goes down the neck with several chimes... impressive!!!

https://www.youtube.com/watch?v=BIWuQgz ... ture=share

The only part of Melinda that looks to be half way between the bridge and the bar is the edge of her palm. Richard says it's the only kind of harmonic he can do, but's wrong with that? It doesn't involve reshaping the hand and you've a good idea where the point of contact is.

Wow!!! Thanks a bunch everyone. I was beginning to think it was just me getting frustrated and making things worse. I'm going to try ALL of your suggestions and keep at it. This is obviously not something you pick-up right out of the gate. Thanks again. I'm a Winnie Winston/Jeff Newman/ self-taught player and your comments are valued!!!!

Ian Rae wrote:The only part of Melinda that looks to be half way between the bridge and the bar is the edge of her palm. Richard says it's the only kind of harmonic he can do, but's wrong with that? It doesn't involve reshaping the hand and you've a good idea where the point of contact is.

There's nothing wrong with it, but the others sound a little different to me. Plus it's hard to get the harmonics that are 5 and 7 frets above the bar. I wish I could do the others.

Thirds and quarters (5 and 7 frets) are harder because the node is smaller.

I used to use those for tuning my bass, but it could be a while before I need them on the steel!

I tend to use the knuckle of my little finger for single note harmonics. I've tried the fingernail method and although it does sound clear, I have difficulty forming my hand for that technique.

One thing that I've found is that I have learned the distance between my thumbpick blade and the fret where I want to make the harmonic (the node point). I then use the lower frets to determine where to strike the string with the pick simultaneously touching my knuckle to the harmonic node. I know this violates the "never look at your picking hand" rule, but it is a special case and works quite well for me. It does require memorization, for example I know if I have the bar on the 3rd fret and I pick at the 10th fret, my knuckle will touch at the 15th fret to trigger the harmonic. Likewise, 4th fret bar, 11th fret pick etc. After about the 5th bar fret the picking will need to be on partial fret spacings. This will vary with hand size and position so everyone needs to discover how it works for them. If I want to strum multiple harmonics I use the palm technique, but I still use a fret to mark where to pick. It is different, though, due to the different spacing between the pick blade and the side of my palm.

Most of y'all know the feeling of playing at the end of "Sleepwalk," when the band lays out and the whole room is waiting for the big ending with the harmonic slide... and you play a loud "CLICK."

I use a different method ... bar the note .. and then use the tip of my ring finger (with no picks on it) on the fret above (12 frets higher for example) .. and then stretch my thumb with thumb pick behind (higher on fret board about 3 frets) my ring finger and pick the note. It is important to have both the bar and muted ring finger position exactly over the fret. This is a method that I also use with electric guitar. It takes a little stretching and twisting at the wrist, but you can get used to it.

Here are two more technical recommendations .. 1. Try a thinner thumb pick. Craig Baker recently told me that this worked for him, because the thick blue herco picks can deaden the vibration quickly. I tried a Fred Kelly thin speed pick .. and can hear much more of the harmonic. You could also try thinning a regular pick with a dremel tool.

2. I think that EQ has some effect, as others have mentioned .. that scooping or boosting mids may hinder harmonics. I recently started using the Little Izzy as an
impedance booster, which also produces a brighter and better separated tone. With that on my guitar .. the harmonic is more noticeable.

With the combination of the LI and thinner picks I had great success at my gig this weekend producing harmonics at will. YRMV .. but give these approaches a try.

Whatever method you choose, rest assured it will likely take years to perfect it.

There are no short-cuts, it's just patience and seat time for proficiency. Practice them every day, and one day...it will happen.

Jamie Howze wrote:I have learned the distance between my thumbpick blade and the ... node point.

Jamie - I think you have set me on the right path. I was complaining above that you can't see the node point if you're using a third or fourth finger knuckle. The idea of learning the corresponding picking point for each node did occur to me as logical but seemed too daunting. But if you're saying that it can be done, I'll start on it. I don't have to learn them all at once so I'll proceed on a need-to-know basis.