The words “volume pedal” suggests the pedal is to be used for increased or decreased volume levels. However, when one thinks of it as an “expression pedal”, it provides a totally different mental picture.

It has been my experience that having a different mental image other than that of a “volume pedal”, will achieve remarkable results.

I believe most who have the mental image of the pedal as an “expression pedal” have mastered the art of its use, while those who consider it a “volume pedal” have yet to experience the marvelous advantages it can offer while being an extension of the musical soul.

EJL

My favorite recollection of him was his having me come onto the children's show and explain my guitar to them as they gathered round it. Tom Vollmer in PA recently told me he was involved in those kind of shows and they can be very rewarding.

Chalker was mentioned. His 'gutting' technique that manually compressed the sound is an example. He would start near wide open and then choke it down after the initial peak and even out through the duration of the note, much like a compressor.

Day was a master of milking all the soul out of a steel guitar. One component of this was his use of the volume pedal for dynamics. You could hear a pin drop when he played the first line of 'I Love You Because' and could get pretty rowdy when playing an uptempo C6 tune like 'Watermelon Man'.

And then there's Emmons. He uses everything every way possible. The steel guitar, and the volume pedal and any effects he chooses, become an extension of his soul.

Yes, I love to learn from the masters on the use of expression, whether it comes from the volume control, hands, or just from the heart.

And I'd be remiss if I failed to mention that Reece Anderson is one of the most soulful players ever.

....as for the Chalker "gutting" technique...the contemporary player who has that ability mastered is David Wright!
www.genejones.com

[This message was edited by Gene Jones on 14 July 2003 at 10:00 AM.]

Richard G....It is never my intention to vary from my natural right hand interaction, regardless of how the expression pedal is being used.

I have always believed in the importance of consistency, and also believe it to be a blue print for success. Any variance I might make contrary to consistency, would provide me the potential of having a musical train wreck.

As Larry B, mentioned "gutting" is a technique using it as a tone control. I have, as I'm sure others do a thing I do where I pick the string barely muted, and let it ring, though it is less "edgy". Without a pot control it wouldn't carry or sustain. Also on the muted "violin" pizzacatto, or the less muted "Steel Drum" right hand effects, it also allows you to bring forth the TONE a person is looking for.

Having watched many top players, I invariably see a "reflexive" reaction, though sometimes barely perceptable of a slight lowering of the volume apon attack. That being different from the "bad habit", or what you see when an intermediately skilled guitar player tries to "ape" "pedal steel".

I was taught to try to play without your foot on the pedal at all when you can, as an awareness raising excersize. I'm sure we've all done without it entirely once or twice, and it is a rather rude awareness raising experience. I honestly do it at least once a night, and not just when Im using the right foot on the C6 #7 pedal with the left running #5. It's good "therapy".

I do though think of the volume pedal as something that controls my "TONE" inasmuch as it facilitates right hand techniques, and allows the tone of a decaying or string to ring forth. It is not just a "sustain tool".

I suppose "expression" is correct, in fact I'm sure it is. I've just never thought of it that way.

At least that's what I've gotten out of it from my observations and OTJ experiences.

Thanks for asking, AND answering "our" questions. Input here from you, Mr Emmons, and Mr Franklin lately have helped me a lot, ( know there are others too) and I'm not just saying that. You seem to have the prize for humbly humorous interactions, when called for, and answering things that others of your caliber would simply possibly "turn off", and I think we all appreciate that. I know I do.

Thank you.

EJL

PS. being a veteran of a lot of Musical Train Wrecks, sometimes those are the most memorable. The trick is to be on the right side of the Train.

Also I suppose I could call it the "End Pedal". I can kill it almost instantly If I find I'm the only one playing "after" the end.

I LOVED that William Shatner thing telling Mr Paisley how he liked "that part" the best in his latest video. Everybody needs to check it out. It really needed doing.

Sometimes that's my favorite part too....

Maybe even the best part of some of my posts...

[This message was edited by Eric West on 14 July 2003 at 11:00 AM.]

Jody

[This message was edited by Jody Carver on 14 July 2003 at 12:49 PM.]

I want to also thank you for your very kind words.

Rex T....Very good question. I'll try to explain my approach to the expression pedal relative to playing through an amp.

I set the amp volume level so that while my pedal is about half depressed I have achieved the volume level necessary for me to hear myself and be heard. This procedure dedicates the top portion of the expression pedal for sustain, dynamics, emotion and etc.

My focus is to instantly know the point of reference on my pedal, which again, for me is about half way down.

Were this not to be consistent, the volume would vary dramatically and interfere with the overall expressive control of the instrument.

I found a picture a few months ago of you, Teresa and I when we were playing with T.J. in Ft.Worth. Surely you remember that job!

Teresa and I send you and yours our very best.

Jody C....The name Joe Monte is honestly familiar. So let's hear the story, and don't beat me up too bad if I'm in it!

I started studying steel guitar from a friend
of my dad.His name was Joe Monte. Joe was a fine musician and his knowledge of harmony and theory was unsurpassed. He taught at Julliard Univerisity in New York City for a while,but his love for music kept him playing
guitar as a livelihood. And he no longer kept his position as proffesor at Julliard.

I warn you, this may be longer that you would
like,but since I feel this should be told,I would appreciate all of you bearing with me as you have done many times before.

I started taking lessons from Joe Monte,he did this as a special favor for my dad and this is the story and it is in part about you.

I would often take recordings of my favorite
steel players to Joe's home which was a three
subway ride for a young fellow. I couldnt wait for the day of week when I would go to take my lesson.

I would take recordings of Joaquin, Boggs and other great players for Joe to listen to
he would always comment on how fine they played,but explained that in his kind of work
the steel guitar had to be a large part of the group and not just another instrument.

By that he meant,he worked with groups that consisted of bass,sax drums & piano, and the
steel guitar played a major role and not just
playing a chorus here and there.

His place in the group had to be more than just steel fills and glissando's,he had to
fill the room with chords and then some.

Joe was aware of my admiration for those western swing greats I mentioned,but told me how important it was to concentrate on chord
structure and the how and why's of chord construction and tone.

My head was tuned to Spade Cooley and Tex Williams and Bob Wills like some many others
and that more than likely includes you as well Maurice.

I would often times listen to Joe as he played his Gibson console grande and then his
Multi-Chord guitar and his Gibson Harp guitar
He amazed me with his playing,so full and tasty and Yet,I was hung up on another style
that was my favorite.

As I studied with Joe,it became more than a lesson,it became a close friendship and I would spend hours on end at his home working
on chords structure and theory,but all I had to work with was a little ole Supro guitar.

Joe was staff guitarist at Radio City Music Hall in NYC and would often play parts on the steel when needed. His playing was excellent,his tone was exceptional,his straight guitar playing was second to none in NYC,but Joe had something few others had.

He had his steel guitar. I rememeber his playing the Ice Capades in NYC Rockefeller
Plaza and heard his full chords filling the arena.

He emphasized on the use of a volume pedal and explained it in this manner.

He told me that the brain (I didnt have much of that) gives a signal to the hands which execute the technique and tone, and the hands then depend on the tone and use of the volume pedal which he reffered to as an extension of what the hands and brain were doing. I scratched my head as he told me this and said to myself..What is this all about?.

He went on to explain that the volume control
was not in fact to increase or decrease the output of the guitar,but to add feeling and treat it as an important part of the guitar and amp as a whole.

Joe worked at the Rustic Cabin years ago with
Tommy Dorsey when a young kid from Hoboken NJ
sang with the Dorsey Orchestra.

He told me something that nowadays most all of us are aware of.Tommy Dorsey used his method of what he reffered to as "breath control" to bleed out those trombone embellishments,and how the young vocalist who
had a thin voice would listen to Dorsey and
adapt that to his singing. The rest is history,that young man became the greatest pop ballad singer ever.

Joe used that technique of Dorsey's in the use of his volume pedal which was a Epi-Rocco
pedal,which in addition to volume was probably one of the first ever with a tone control unlike the Fender and Bigsby pedals which came about much later on.

Joe worked with me on the proper use of the pedal,this went on for what seemed forever.
Tone he would say,use your pedal as though you were taking a breath,inhale the notes and then exhale the notes you played.

Somewhat familiar,,somewhat like Dorsey did with his trombone and Frank did with his voice. I then had the feel,Joe would smile and say..you got it kiddo, .

As time went by,would often stop by Joe's house to spend the day with him,he was always
wonderful to me and proud as well as I was then doing all the staff work at RCA Decca Columbia etc,and he was proud to say that it was he who as he put it,,brought out the talent that was in me and NEVER took credit for "teaching me".

Joe admired great steel players,but back here
there were very few who could match Joe's talent and ability on steel guitar.

His love was full chords and tasty playing and clean execution and most of all, the use of the volume pedal which was the key to tone
and feeling.

I took an LP to Joe's one day back in the early 1970's maybe earlier than that,he listened and I explained that this steel player was from Texas,as we listened he would stop the record player and say,listen to that fellow play,what a sound,what a great tone and his use of the "volume pedal" is exactly what I have told you all these years Jody..whats this fellows name??? I replied "Maurice Anderson" and the LP Title
was "MODERN STEEL GUITAR" which had Bill Miner on drums,Jess Hudson on Piano, Mac McRay on Bass, Jack Pierce on Fluegelhorn and Tom Morrell on Trombone.

Joe was so impressed with your playing and I gave him your LP and he was so happy.

He would often call me, and in the backround was Tangerine,Body and Soul and he would stop and say,,Jody this fellow knocks me out.

Somehow he got in touch with you and you wrote him back thanking him for his praise and kind words of your playing and when I saw this thread I couldnt resist telling you about this man,I know its long and to some maybe boring as well,but since I dont have your e mail address I wanted all of these people to know how much you were admired by one of the finest musicians in New York City.

Joe played guitar with Tommy Dorsey,Billy May
Nelson Riddle,Carmen Cavalarro,Sammy Kaye and most of all he was a wonderful human being.

A week earlier I didnt know it would be the last time I would see him,I went to visit he and his wife and he was listening to "what else?? Modern Steel Guitar and with a shortness of breath said to me,,Jody,this is the finest steel guitar player I have ever heard and I have heard them all. He said Jody
if I knew I had time left I would buy an MSA guitar but time is running out on me,but it gives me great pleasure to listen to Maurice Anderson play.

Joe's daughter called me a few days later to
tell me that her dad passed away,the day of his passing was July 14 1985. Today is July 14 2003 and I have here a volume pedal that Joe left for me as well as your Modern Steel Guitar LP. Joe's daughter told me her dad wanted me to have this and always remember what he taught me about the proper use of the pedal.

I have his picks and bar. He left his instruments to his grandchildren for their rememberance of their Grandpop Joe.

I know this is sooooooo loooooooong,,but in remeberance of my friend Joe Monte and the fact that YOU started this thread I had to tell this story.

Maurice,I wish you nothing but the best with your new endeavor and I wish you the best that life has to offer and most of all,my friend Joe thought you were "tops" and thats
good enough for me.

I hope you receive what your rightfully deserve among those GREATS like yourself and realize that dream come true.

Im pulling for you and I'm sure Joe is as well..and thanks to my friend Paul Graupp for the nice liner notes on your LP.

Joe would have loved to have had the pleasure
of meeting you.

My best to you and remember..the volume pedal is like taking a breath,It come's natural after a while,,I know,my friend Joe
Monte taught that to me.

I can breath a little better now,whew
this was a long one,but I did it for two people I admire..Joe Monte & Maurice Anderson

Thanks for hanging in with me. edited to add
that all those years,Joe Monte never took a penny from me for his knowledge and hours of hard work trying to help me. I know he would
have loved to have been here to read this.

Good Luck Reece.

Jody

[This message was edited by Jody Carver on 14 July 2003 at 07:02 PM.]

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DavidWright.us
Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300

I'm honored beyond words by you're informing me that something I created touched the heart of your dear friend and contributed to his enjoyment and happiness.

thanks for your memories, what a wonderfull story!

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Steelin' Greetings
Marco Schouten
Sho-Bud LLG; Sho-Bud Pro III Custom; Guyatone 6 string lap steel; John Pearse bar; Emmons bar; Panther amp

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Steel what?

[This message was edited by CrowBear Schmitt on 15 July 2003 at 05:43 AM.]

Jody remembers the" Rocco Tone Expressor", of which I had one for years. A very good unit.

Reece has brought up a good post on this and explained it very well,and maybe we all are a little bit better for it......al

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[url] www.cmedic.net/~almarcus/ [/url]

Now it's my turn to say the same thing about him. He is a genuine story teller and is an asset to all of us. He is a book unto himself with words for all to enjoy and feel.

Reece is too modest to mention it, but on Saturday, July 19, he is being inducted into the Western Swing Music Society of the Southwest Hall of Fame for his contributions to the western-swing genre.

The induction will be at 1:30pm, during the annual WSMSS Hall of Fame Showcase at Ernies Palace in Oklahoma City.

Congratulations Reece,

Gene Jones www.genejones.com

P.S. A copy of this has been appropriately moved to the "Announcements" Topic......

[This message was edited by Gene Jones on 18 July 2003 at 04:21 AM.]

Your comment............

Ray - yes I saw Jody in action at the TSGA show in March and realize what a serious individual he is!........My reply........

My limited experience with pedals to which you are referring, makes using them for steel guitar less than desirable for me, although I'm sure there are those that work well.

[This message was edited by Reece Anderson on 18 July 2003 at 12:52 PM.]