The Steel Guitar Forum

Wondering how many folks her play with multiple steels rather than multiple necks?

I'm thinking of setting up my 10, 8, and 6 string laps in a U shape instead of using a double or triple neck and just move around like a drummer.

Anyone else do that?

I have used a steel on a stand and another in my lap.

I have not seen the U-shape setup, though, usually more of the console and multiple neck idea, sort of like organ keyboards.

Your U-shape idea reminds me of 70's era prog rock keyboard setups:




cape optional

It could work, it really depends on if you would rather mover sideways and turn to play each instrument, as opposed to just reaching over further.

I use two on a Deluxe34 stand. If you have arms like an NBA center, a triple may be just the ticket.

I think in addition to the multiple necks that the sheer mass of many console steels tends to improve sustain and tone, as well as the lack of "damping" from the back resting on the lap. But with the use of stands there's otherwise no reason not to do the same thing with single necks if it works for you.

Perhaps one of those stair-step staggered type keyboard stands would work for 3+ stacked steels?

Then there is The Thunderlog aproach...

The Hawaiian player, Pua Almeida, had two Rick frypans mounted on a stand. and the mount was also the case !

Bill McCloskey wrote:Wondering how many folks her play with multiple steels rather than multiple necks?

I'm thinking of setting up my 10, 8, and 6 string laps in a U shape instead of using a double or triple neck and just move around like a drummer.

Anyone else do that?

What do you see as the advantage of doing that, Bill? (Well I guess because it's hard to get a triple neck that's 10, 8 & 6?)

That and I like to be right over the neck and not reach. Also, each steel has it's own sound. The eharp sounds different than the Clinesmith, which sounds different than the Duesenberg. The other advantage is that you can just grab one of them for a jam without hauling a heavy triple neck around.

Boxing yourself in with three guitars sure uses up a lot of real estate. You might want to try to get used to the short reach over just one neck with a staggered setup like Jack's Deluxe 34 above and then set up the 10 string on its own. I think an "L" configuration would be more manageable than a "U".

Bill, I play quite often with two-thirds of your desired rig: Duesy and Clinesmith on a Deluxe34 stand. But instead of an Alkire Harp, I have a rack-o-harps

It complicates the electronics slightly. A multi-neck console can plug straight into one amp or effects chain with one cord. With multiple guitars you need multi-channel amps and/or AB switches. Not a big deal, but not as simple either.

Brad Davis wrote:It complicates the electronics slightly. A multi-neck console can plug straight into one amp or effects chain with one cord. With multiple guitars you need multi-channel amps and/or AB switches. Not a big deal, but not as simple either.

I've had good luck with the Morley ABC

Bill,

For some reason I like your idea.
I have 3 amps so I would just set them along the appropriate wall that the guitar is facing.
If I needed effects I'd just plug that guitar into the board.
It would also encourage me to play guitars I tend to leave sitting on the shelves.


Brooks,

Oh you just had to go and stick a picture of your Duesenberg up in here didn't you......
I have a Fairytale that is arriving at the shop in 3 weeks.
I feel like a 6 year old waiting for Christmas.
Only bigger of course.
And a lot older.

Bill McCloskey wrote:That and I like to be right over the neck and not reach. Also, each steel has it's own sound.

I think it depends on your reasons for multiple necks....if you want different sounds, multiple steels is going to be where it's at. If you simply want the same tone in different tunings, the multineck steels can provide that (I seem to get a different response from different necks on my T8 Stringmaster...each neck has a differing body thickness, but they are overall close in sound). If you were a Hawaiian player who played in C13 and B11 exclusively, it would make sense to get a double 8...no amp adjustments between tuning switches, etc. Similar to a country player jumping between E13 and C6 on pedal. My kumu plays single neck guitars these days just for convenience...he can retune quickly when he needs to and most of the tunings he uses don't require anything but a couple strings shifting a bit up or down.

Although, gotta say, I'm mostly in this thread for the Rick Wakeman reference

Nic Neufeld wrote:
Although, gotta say, I'm mostly in this thread for the Rick Wakeman reference

LOL Thanks!

Good responses all. Brooks, love your idea. I might look to do something similar and make it an L.

As for amps: I was planning on a simple A/B switch (the ABC Morley looks perfect) and then into the Kemper Profiler. I just got a Mission pedal that plugs directly into the Kemper with some TRS cables so I don't have to include that in signal chain, and I can add two more pedals to that set up directly into the Kemper. Steel to switch to kemper, and nothing else needed in the chain. I'm ordering a ATOMIC CLR NEO MKII for the speaker. reverb, delay and other effects are handled by the Kemper.

The Duesenberg will be in G/D tuning, the clinesmith with strings to do C6, B11, A6 and then the Eharp.

I use a simple Morley ABY and a Sho-Bud volume pedal, and have multiple instruments within reach on separate guitar stands. When I wanna play one that's not on the double Deluxe34, it's an easy matter to back off on the volume pedal and switch instruments in a jiffy.

Or just get a cable with a switch in the plug so there is no pop when you pull it out. Nutrik and others make the plug.

How unique the multi steel stands are. Why not however, I agree that your arms may need the stretch. In the Alabama Hall of Fame has a Steel Guitar made on a revolving block of wood which just requires a flip over. I noticed on one of reply’s that a picture of this type of steel in this configuration. Innovation at work!

I've toyed around with an "upper deck". A lapsteel on top of a pedal steel. High enough to play the lap standing up. Maybe a light under the lap as well. A second floor.

I am actually going the opposite direction. Getting rid of necks. Love A6 nonpedal and even C6 pedal, but dragging around doubles is getting old. I am down to one 10 string lap in E13/9 and one S10 E9 pedal rig. Trying to just work with that. It’s a compromise. But I had to do it. May go back one day. But not anytime soon.

Yeah, Tom. I posted this Excel steel that Mitsuo Fuiji Made for me in around 1989, when I was playing in Japan.
The pedal neck was a 12 string but recently changed it to a 10 string.

Well, Tom, since I posted this I'm sort of back to that as well. I tried putting the steels in a U. I tried putting one behind the other.

But I had a bigger problem that no amount of ergonomics is going to fix: The jarring difference between steels took me out of the music. the difference in tonality between the clinesmith and the eharp was so stark, that I couldn't imagine a piece of music I would play that would incorporate that dramatic a change.

Interesting, I was reading some letters from Bob Schaefer, the Eharp player I've been archiving on youtube and he said the same thing: He had a double neck made with A6 and the Alkire tuning. But practically, he said there was no musical situation that he was in where those two tunings worked together and he gave it up.

I admit, I really miss A6 sometimes, and those big lush C6 pedal chords. I totally see he use for the 2 neck steel, i just really want to focus on one tuning and get really internalized with it, plus ergonomics of grab and go single steel is nice. Everything a compromise I guess!

Bill, I use a two-sided Steel Seat to go betwen 12 and 8 stringers
I will try adding a third Steel!