posted 30 December 2001 06:49 AM         

I look back on the Leo Fender days, when the designers put so much
emphasis on materials, bridge to bridge distance, selected wood,
pulley arrangements, etc. In the
early 50's, bridge problems came
into full view, with the onset of
strings that were subjected to a
constant wearing action, caused by
dragging, and mutilation of the
strings surface. Take particular
notice of the slight string angle
at the Fender 1000's changer. The "Lucky 7" features the slight angle at the bridge; also. However, it forces the troublesome .011 to move
and tighten beyond the bridge, that
is, between the bridges. Fender's
design negates this action, due to
placement of changer to bridge distance, allowing for an excessive
amount of stress at the bridge.

Bill H.

[This message was edited by Bill Hankey on 30 December 2001 at 07:52 AM.]

posted 02 January 2002 04:53 PM         

I'm still working on the "Lucky 7 concept). What I have designed already, is working fine. I want
to add a small part to the "Lucky 7 design", that will add much to the break-resistant capabilities. I will provide pictures after the work is finished.

The Fender 1000 was very popular back in the 50's and 60's. The bridge design on that instrument
supports my theory in this thread.
The angle of the strings on the Fender 1000 proved beyond doubt that no great angling of the strings is necessary to maintain good resonance. Hundreds of players
have attempted to improve the bridges on the Fender 1000's. Some
of those stories are needed in this
thread.

posted 02 January 2002 09:06 PM         

quote:

---

Some of those stories are needed in this thread.

---

posted 03 January 2002 01:25 PM         

Bill H.

[This message was edited by Bill Hankey on 05 January 2002 at 03:10 AM.]

posted 09 January 2002 01:31 PM         

Would you list your tuning, from the 1st string through the 6th? If
you could list the gauges of those
strings, it would be appreciated.
Thank you for the input.

posted 09 January 2002 01:54 PM         

------------------
Jim Smith jimsmith94@charter.net
-=Dekley D-12 10&12=-
-=Fessenden Ext. E9/U-13 8&8=-

posted 10 January 2002 06:09 AM         

Bill H.

[This message was edited by Bill Hankey on 10 January 2002 at 03:01 PM.]

posted 10 January 2002 07:12 AM         

Much has been said about finding C on the first fret in one tuning or E at the second fret in another. It's like the circle of fifths and goes back where it began everytime and to what end ?? The quality of a key is in the ears of the listener and this has been so since classical times in the beginning when compositions were said to be better in this or that key for the same reasons.

I think Jerry Byrd said somewhere that the open tuning of E (minor ??)on standard guitars and basses is what pushes towards the key of E or at least the use of a standard E note in any tuning on steel guitars.

I feel the concentration on the breakage of just the 3rd string is kind of myopic. Other strings on steel guitars break at times as they do on other instruments including our bass player who always seems to break his A string. I don't know if he is having sympathy pains for me or what but there it is. Perhaps it's the A note that is the culprit and not the E.......

Regards, Paul

[This message was edited by Paul Graupp on 10 January 2002 at 07:13 AM.]

posted 11 January 2002 03:39 AM         

1. .013
2. .014
3. .011
4. .014
5. .018
6. .020
7. .024 W
8. .030 W
9. .036 W
10..036 or .038 W.

Bill H.

[This message was edited by Bill Hankey on 11 January 2002 at 10:11 PM.]

posted 22 January 2002 08:51 AM         

I don't recall advocating that a
musician should not change the worn
strings on the steel guitar. Rather
I would emphasize, by all means,
once you determine that your set of
strings have reached a point where
they become quirky, and no longer
produce the sounds needed to
enhance note values, replace them.

posted 22 January 2002 04:40 PM         

The "Golo" is a spring loaded device, that pulls the string down
or holds it down, depending on what
you want for changes. If you wish
to lower a string, the Golo will
adjust to a 1/2 tone or full tone
by spring loading, and pulling down
the string. It works the same as the universal changer, but it is located near the tuning keys. The
device is linked into the knee lever train, and is independent of
the universal changer. The effect
can be experimented on your guitar
by pushing down the string near the
keys. If you pick a string, and then force it down, you are doing
what the"Golo" does. It works well
on raise or lower. Use a soft object to avoid slipping off the
strings. A pencil eraser should be
all that is needed. My intention is
to tie into the 3rd string, and
stretch both ends of the .011. The
end result will facilitate a 1/4
tone raise on both ends of the
instrument. A big plus in minimal
string breakage.

posted 22 January 2002 06:11 PM         

You said they could do raises with
coat hangers, but you didn't say
a word about the lowers. Would you
care to elucidate further by
becoming more explanatory, and to
tell us when, and who used coat
hangers to successfully raise
strings to one's satisfaction. Of
all the choices of materials that
are available to use, the coat
hanger is by far the least favorable. I must say though, your
accounts of bygone days, complete
with references to trial and error,
contain interesting subject matter.
Thank you for your responses.

Bill H.

[This message was edited by Bill Hankey on 23 January 2002 at 03:58 AM.]