posted 30 August 2001 06:54 AM         

I would like to quote words from a song.

Wind me up, turn me on, and let me cry
for you......

posted 30 August 2001 07:42 AM         

[This message was edited by Pat Burns on 30 August 2001 at 07:44 AM.]

posted 30 August 2001 12:07 PM         

After pondering your reel of .011 dispensable wire, my thoughts returned
to what the forum members have been writing about changing the strings
before they break. There must be some
mental telepathy going on here, because
I explained in detail, to the letter,
during May and June, the same reel idea
to one or two of my closest friends. I
felt so much better after reading the
post from June, 2000, showing clearly
that you had in fact envisaged the idea.

The Lucky 7 is offering more promise
with each day of use. At this time I am
thinking in terms of trying to put in
place an "EXTRA .011 STRING" to work in proximity to the 3rd .011 string.
A special design incorporated into the
roller bridge at the 3rd string roller,
may facilitate the use of two strings,
both tuned to standard G #. The extra
string could be brought to a minimal
separation at the changer end. If one
gives out during a set, trust the other
to last the set. The question at this
time is, would the idea impede speed
picking, or present other disadvantages.
This little squeak in the forest could
open the floodgates for those who are
seeking improved intonation. Bill H.

[This message was edited by Bill Hankey on 30 August 2001 at 02:24 PM.]

posted 30 August 2001 08:38 PM         

..the only reason that the strings have to bend 90 degrees at all on the pedal steel is so the player can sit up and play the pedals in comfort and ease...might as well put him in a Laz-E-Boy Chair while he's playing...but for that he sacrifices an occasional broken string, which apparently is worse than having the crowd toss a midget onto the bandstand and land on top of your axe...you still could build a guitar with no 90 degree angles on the strings, allowing them to pull in a straight line, simply by putting pedals on either end of the guitar at the same height above the floor as the strings, mounted vertically instead of horizontally...instead of a pac-a-seat or stool, the player would sit in a gynecologist's chair so he could get his feet up to work the pedals, which would be where the stirrups used to be...he would give up a little comfort but he would never break a string...

...why, we haven't even beaten this topic into submission, let alone beat it death...

[This message was edited by Pat Burns on 30 August 2001 at 08:45 PM.]

posted 31 August 2001 04:32 AM         

Your contributions, combined with the
generous amount of observations that
you have made, and shared, with forum
members, have not gone unnoticed. I
would point out that I agree with
you on the matter that entices readers
to decide how much discussion should go
into a particular interest. My feelings
reflect the belief that if there is a
thorn in your sock, seek it out, and
remove the discomfort. A neighbor's
gate, or door may squeak until he moves
away, and with good luck, a repairman
will fill the vacancy. It should be
obvious at this time, that the 3rd, G #
string breakage problem, has become
more accepted as a quirky nuisance that
comes with the business. This consensus is doomed to change, as new concepts are
brought forth. Bill H.

[This message was edited by Bill Hankey on 01 September 2001 at 04:54 AM.]

posted 31 August 2001 08:09 AM         

...the quantity of my observations has been more than generous, like blessing you with two fruit cakes instead of one, and the value of my contributions could be brought into question if only there was any merit to the question, but I agree they probably have not gone unnoticed, no more than would a passing wind in a house of worship...

posted 31 August 2001 09:09 AM         

For my part, no harangue is tedious
should it come from the lips of an
intellectually guided individual. I
am called upon to respond in that
regard, though misinterpretation is
the evil part of attempting to
convey a message of pure sincerity.
Noteworthiness on human nature, is
best left to the experts. My steel
guitar has always remained steadfast
in terms of perfunctory continuity.
That is the reason for the interest
in the instrument, which has developed
over the years. Bill H.

[This message was edited by Bill Hankey on 01 September 2001 at 02:36 PM.]

posted 31 August 2001 11:30 AM         

I was attempting to thwart criticism,
and pay compliments, to Pat Burns, except something was lost in the
translation. Huh?

posted 31 August 2001 03:27 PM         

------------------
B#

posted 31 August 2001 03:27 PM         

You can imagine how much better I feel
knowing that your feelings are much the
same as mine on many issues that pertain
to friendship, character, and trust.
Thank you for your help in this matter.

posted 31 August 2001 08:31 PM         

....goodbye...

(Let's get out there and win one for the Kipper!)

[This message was edited by Pat Burns on 31 August 2001 at 08:33 PM.]

posted 01 September 2001 07:44 AM         

When you wrote that your earlier labors
included mending fences, and becoming
somewhat inventive by the misplaced
wire cutters, or side cutters, it made
old memories reappear. I worked as a
helper, years ago, with a fence builder
in Berkshire County. You mentioned
breaking the barbed wire by twisting
and bending. That is quite the same
principle as what takes place on the
original universal changer. Bill H.

[This message was edited by Bill Hankey on 01 September 2001 at 06:39 PM.]

posted 02 September 2001 03:01 PM         

I have toured Manassas, Virginia and seen the grounds of the battle of Bull Run.
I have seen the "running of the bulls" in Spain. I now believe, after reading this thread, that I have experienced virtual "running bull".

Respectfully, Mr. Bill Hankey, my assessment:

Diagnosis: advanced Montezuma's revenge.

Rx: 1 tbs. of otc Imodium-AD (effective, few contraindications), repeat in 4 hrs. if needed.

Note: Drink plenty of water to replace depleated body fluids.

BTW: #7 isn't always lucky.

posted 03 September 2001 04:00 AM         

Please allow me to respond to the
conjectural inferences, submitted by
you, which are apparently productions
of your thoughts while evaluating the
"LUCKY 7's" practicality, when it is
applied to the 3rd string changer
finger. I'm sure that all steel guitar
enthusiasts have experienced a stinging
moment, while in practice, or at a gig,
but those moments have become obscured
for reasons not known by me. The term
"LUCKY 7" has nothing in common with
good fortune. It merely bears a strong
resemblance to the configuation of the
numeral 7.
Your prescription could very well suit
the needs of someone who experiences a
great need to halt the delimma.
Surely, your comedy routine is very
laughable in itself, however it would
be refreshing and helpful if you were
to submit some of the things that taxes
your patience in connection with the
3rd string replacement during a set.
Bill H.

[This message was edited by Bill Hankey on 03 September 2001 at 04:03 AM.]

posted 03 September 2001 05:46 AM         

------------------
BJ Bailey

[This message was edited by BJ Bailey on 03 September 2001 at 05:58 AM.]

posted 03 September 2001 08:56 AM         

quote:

---

My steel guitar has always remained steadfast in terms of perfunctory continuity.

---

posted 03 September 2001 09:16 AM         

Back in the 50s, Carl Perkins booked in as a single with our house band. This was after his initial success with Blue Suede Shoes when he was "down" and before he was picked back back up by someone (Cash?).

He was accompanied by another guitar player (and a fifth of bourbon)and he filled the time between his two sets backstage demonstrating to the band his "invention", which was some kind of "string stretcher or bender" attached to his guitar neck above the nut that he was convinced was his path to a "million dollar patent".

To shorten the story, that device broke two strings (just like the 3rd on our steels) while he was showing it to us!