The Steel Guitar Forum

I have one brain but when I practise my pedal steel guitar I need much more: One brain for my right hand for picking (with one sub-brain for each finger), one brain for my left hand to control precision and vibrato, one brain for the left foot for the pedal action, one brain for the right foot for the volume control, one brain for the left knee and one for the right knee, one brain to see frets and strings and one last to listen what I play ... I don't know if there is any musical instrument which needs so many cerebral activities... And for keeping clean my "only one cerebral vascular system" of course: no smoking, no alcohol, no sugar and no cholesterol!... Pedal steel guitar is really an intellectual and healthy business.
<font size="1" color="#8e236b"><p align="left">Pedal Steel Guitar France<font size="1" color="#8e236b"><p align="center">[This message was edited by Patrick Laffrat on 05 December 2006 at 05:10 AM.]</p></FONT>

When I hit RKR the volume pedal goes full blast....

All good things come with time (I hope...)<font size="1" color="#8e236b"><p align="center">[This message was edited by Ray Minich on 05 December 2006 at 05:03 AM.]</p></FONT>

Hey Ray...That's funny! Just last night I was working on something that required me to use RKR...and the EXACT same thing was happening! (Up until now I very rarely had to use it.)Oh well, just another thing to add to my "to do" list of things to work on.

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Sho-Bud LDG, Gretsch Syncromatic Lap Steel, Fender Steel King amp, Bach Stradivarious 37 Trumpet, Getzen Eterna Flugelhorn, Fender Precision Bass (pre-CBS)

Here's a suggestion for those who may need some ideas...

To get the most independance between your foot and knee, your foot needs to point in basicly the same direction as your upper leg. Move your volume pedal out of the way and place your foot on the floor at a point where your foot and leg feels comfortable when positioned between the knee levers. Move your knee levers (left and right) while adjusting your foot position until you find the foot position that allows the most comfort. Place the volume pedal there.

The angle of the pedal can be whatever you like. Some like it pointing straight forward with their foot crossing over it at an angle, some like it pointed at the same angle as their foot. That's up to you...whatever you like is good. Just keep you foot/leg relationship correct and you'll find it will be easiest to maintain independence.

You'll know when it's correct when you can move your knee left or right and your foot isn't forced up or down. Think of your ankle as a pivot point that allows your foot to have the most freedom from your leg movement.

Hope this helps, then again, you may already know this stuff.

Thanks Mike... I know it but my ankle doesn't... <font size="1" color="#8e236b"><p align="center">[This message was edited by Ray Minich on 05 December 2006 at 08:41 AM.]</p></FONT>

Patrick,
The answer is Automatic Pilot
The only thing a musician should be thinking about while playing is the music. If mechanical or coordination issues are occupying your mind you won't be able to concentrate on what makes YOUR music unique: the notes YOU choose to play and the nuances YOU include in your playing.

There are many methods for learning the requisite skills for the pedal steel guitar but you are the one who must choose one and DO THE WORK. This includes picking and blocking and all right and left hand technique; learning to rock on and off the A pedal with the B pedal pressed; using your right knee levers without messing up your volume pedal; finding the right pedal on C6; etc. If practiced long enough with precision they will become second nature. If they don't become second nature you will need more than one brain. Since you (probably) don't have one to spare, you need to develop your Auto Pilot.

So many questions and issues that are concerned with playing pedal steel can be resolved with knowing what and how to practice and then just DOING IT.

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<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

I don’t suppose by any chance that the pedal steel guitar was designed by and octopus, was it?

Learn to play the banjo instead, then you won't have to use your brain at all...just kidding

You're welcome, Ray. I was hesitant to even post at all 'cause I wasn't sure who knew what. Then I remembered how hard it was for me, starting out, to get basic info back in the late 60's/early 70s. So, I decided, what the heck...maybe someone can use the info.

Larry, you're absolutely correct. But, sometimes the technique needs a little refinement for the whole system to gel...at least that's the way it's been for me. So, I try to give back to the Forum whenever I can...even when it's just the simplest, most (seemingly) obvious help.

I think when I'm singing and playing steel, maybe I should just stay off the volume pedal. One less thing to worry about.

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Gary Shepherd

Carter D-10

www.16tracks.com

Well, Gary....In my case, I'd just stay off the mic......then I'd have one less thing for people to COMPLAIN about.

If all I had is whats left of my brain to use I'd never play heee-hee.

I have a mike in front of me on stage...just for announcing the next song!

One Brain is enough
gettin it partioned comes w: mucho practice
Larry B's on the $$$ as usual
gettin' it understood & down by the brain first
& then turn ON the automatic pilot

Do keep away from mind altering substances but mind altering Musik is permitted of course<font size="1" color="#8e236b"><p align="center">[This message was edited by CrowBear Schmitt on 06 December 2006 at 08:09 AM.]</p></FONT>

I didn't know you need a brain to play this thing! Try this exercise: Take 10-15 minutes and just start playing. Not a particular song or pre determined series of licks or such. Kind of a free flow of movement using all the stuff you know. Intermittntly using all of your pedals and voume pedal etc. For me, this kind of helps make all the techiques become more second nature and don't have to think so hard. Because when I have to think hard, that's when everyone has to look out.

"One brain to rule them all..."

Starting to learn PSG has reminded me of learning to drive. All those controls, all those places to look (not to mention coordinating the gas and clutch) - I thought I'd never get the hang of it. Now it's almost second nature.

In other areas of music, my coordination is pretty good. I've had friends be amazed at the way I can fingerpick the guitar and sing at the same time. It's no big deal to me - just something I practiced until I could get it all happening together.

I can see the same "light at the end of the tunnel" on PSG. It's just further off, and I really feel like a beginner again. (Fair enough; I am one.)