posted 03 September 2001 05:19 PM         

The 3rd string changer will require space-age sensitivity, whereby, the slightest pressure will create a rotating movement to further compensate for the undue leverage. Eliminating the wound portion of the string, is a must, and the use of a tiny ball at the end of the string would contribute to its durability, by reducing "memory" of the excessive twisting and winding in the manufacturing process. Durability would be readily improved if the steel guitarist uses restraint while tuning the .011 string to proper pitch. Tuning the string flat, and dancing on the B pedal several times, will allow the spring wire to ameliorate to the sudden demands placed upon it to tighten and relax. There is a subtle connection in regard to string life and proper handling of the string. Bill H.

[This message was edited by Bill Hankey on 04 September 2001 at 06:34 AM.]

posted 03 September 2001 11:34 PM         

I was at the music store on Fenn St. in
Pittsfield, Ma. in the mid-seventies,
when you were demonstrating Sho-Bud
guitars, during the corporation change
period. I think you played a Lloyd
Green model. I also heard your rendition of "JONESY". The show was
video-taped. Bill H.

[This message was edited by Bill Hankey on 03 September 2001 at 11:39 PM.]

posted 05 September 2001 03:04 AM         

By the same token, I have always
thought, since first reading your posts,
that there is a man whom I do not know,
nor have I ever had the pleasure of
meeting. Chance meetings have taken
place at Massachusetts' Steel Guitar
Bashes, which have been held since 1981.
Many times steel guitarists have visited friends in the surrounding area, and have attended The steel guitar BASH.

I once read a good book, which was in
our library in Pittsfield, Ma. It was
written by a person who sought to
expressly give accounts of steel guitar
information, that would otherwise not
be known. I would be delighted to
hear more of one particular situation
that had taken place in Alaska. The
writer had stated that a steel guitarist
after 6 years on the road, suddenly
gave up playing, and moved to Alaska to
" pan for gold." " He buried his steel
guitar 6' deep, and placed a tombstone
above it, reading, 'Here lies the heart
of (........).' Have you ever heard
anything mentioned in Alaska, that
would allude to this man ? As you can
see, I have excluded the person's name
because my recall has failed to allow
a remembrance of it. This touching
event took place years ago. It would be
of great interest to know more about
his life in the years that followed the
heartbreaking event. Thank you for
your reply, and there is no doubt in my
mind, that we could have a fireside
chat over hot coffee and donuts, which
might cover many aspects of the 3rd
string's tendencies to provide many
unwelcome surprises. Bill Hankey

[This message was edited by Bill Hankey on 05 September 2001 at 03:09 AM.]

posted 05 September 2001 05:58 AM         

On my Carter D-12, on the 6th tuning neck, my first string is an A 10ga and it has never broken. I change every 6-8 weeks if I'm working. Use them Cobalt-Brass strings that Bobbe sells and they work very acceptably. On the other neck, E9th I use an 11ga for a third string and the only one that ever broke before I changed it was when some other fellow was setting in for me. If they ever start to break I will look into your solution for assistance.

posted 05 September 2001 08:09 AM         

I appreciate the time you have given in
responding to this thread. It surely
had to be back during the eighties,
when I located the book, that provided
much information about the players of
the steel guitars, and unusual accounts,
which further held my interest. The
best approach that I can make in trying
to locate the author, would be, to go
back to the library, and try to assign
a librarian to assist me. Past requests
have produced surprising results on
other searches.

The author did not stress the maker in
his account. Alaska was its resting
place. This may differ from Bobby K's
preference of burial location, and his
departure from his usual inseparable
great joy of owning, and playing the
triple neck Fender steel guitar.

Paul, I explained earlier, that test
comparisons are only made on E9th
chromatic tunings, with the typical 10
string setup. The C6th or twelve string
extended E9th guitar tunings differ to
some degree. The C6th strings are much
less prone to breakages, due to size
and pitch. The 12 string extended 9th
offers a slight "buffer zone" which may,
or may not prevent the player from
picking with excessive force. It's just
natural that the player of a 12 string
would rake the 3rd fewer times during
a set, than a player of a 10 string. If
someone built a 25 string guitar, there
is every reason to believe that the
fragile .011 would reach a normal life
span. As the saying goes, when he is
picking on someone else, he's not
picking on me. Bill H.

posted 05 September 2001 08:10 PM         

quote:

---

Thanks Carl Dixon for the time you take to explain my questions. What a guy ! What a friend !!
What a man !!!

---

posted 06 September 2001 08:33 AM         

I like your poem's ending. If possible,
could you let me know privately, or on
this forum, if you retained copies of
"The S.G. Prayer" poem? When did you
write it, and what inspired you to be
motivated in thought sufficiently to
reflect the power through the pen?
The poem's rare spice has added an
abundance of flavor to this thread. I
am aware that you have the ability to
pass along hundreds of pertinent data,
connected with the trying circumstances
that steel guitarists face throughout
their careers; string breakage,not the
least of all. Thanks Ed, Bill H.

posted 06 September 2001 09:20 AM         

The issue of producing photos of the
"Lucky 7" is a matter of preparation,
and presentableness. I would enjoy
having the option to shape its simple
design, and convert the simplistic
appearance to one of unique identity.
Otherwise, there is an urgency within
me, to answer a number of requests to
place it where viewers may click on
to approve, or disapprove.

The measurements of the add-on are 1"x1"
x1/4" wide. A 1/4" piece extends down
at the outermost edge to accommodate
the string placement.
Bill H.

posted 06 September 2001 04:34 PM         

quote:

---

Remember, Bill Rudolph calls his changer the stressless, not the stress free changer.

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posted 06 September 2001 06:35 PM         

Please acknowledge my thanks for the responses on this thread. It has always been my belief that steel guitarists are very special people. Again, I wish to thank all of you for your kindness. I'm very excited about the test results. I look forward in quest of the data.