There will be a young person somewhere that will pick up on JB's sound and think, "That's peanuts...I can do that easily." And he or she will do it easily, innovate, and take the JB sound to new levels. Like Jerry, it just takes a little initiative, creativity, and the desire to break away from the norm to realize little things like, hey, other people don't play reverse slants...hey, other people don't play seamless lines...hey other people play out of tune and don't give a hang about it.
That person strives for a higher standard--and that will set them apart from the rest of the pack.

It will happen.

[This message was edited by Jeff Au Hoy on 24 January 2003 at 12:56 PM.]

However, I am willing to wait until it does happen.

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Brad's Page of Steel
A web site devoted to acoustic & electric lap steel guitars

[This message was edited by Brad Bechtel on 24 January 2003 at 11:33 AM.]

quote:

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They will then practice, practice, practice

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I believe that most coming innovations are likely to come in the design of the steel guitar itself, rather than new sounds coming from the hands of the artist. Of course new tunes will be composed and new sound effects and technology will come.

Rick

[This message was edited by Rick Collins on 24 January 2003 at 02:58 PM.]

I leave you my "Number System" slant/chord/scale chart I made in the early 80's ....

C6/A7 tunin' .... Key of C ... Fret 0-24

C#	E	G	A	C	E

	
	3	5	6	1	3	
2	4				4	
		6	7	2	
3	5		1		5
4		7		3
	6	1	2	4	6
5						
	7	2	3	5	7
6	1		4		1
		3		6
7	2	4	5		2
1				7
	3	5	6	1	3
2	4				4
		6	7	2
3	5		1		5
4		7		3
	6	1	2	4	6
5	
	7	2	3	5	7
6	1		4		1
		3		6
7	2	4	5		2
1				7
	3	5	6	1	3

Key of C
C  D  E  F  G  A  B  C 
1  2  3  4  5  6  7  1

I  		C   	1 3 5
IIm7		Dm7	2 4 6 1
IIIm7 		Em7    	3 5 7 2
IV		F	4 6 1
V7		G7	5 7 2 4
VIm7		Am7	6 1 3 5
VIIdim		Bo	7 2 4

I7		C7		1 3 5 7b
IMaj7		CMaj7		1 3 5 7
IAug		C+		1 3 5#
IDim		Co		1 3b 5b 6
I9		C9		1 3 5 7b 2
I13		C13		1 3 5 7b 6
Im7             Cm7             1 3b 5 7b

Reverse Slants
Strings 1&2 and 1&4 and 2,4&5 and 1&3

Forward Slants
Strings 2&3 and 2&5 and 1&3 and 1,2&3 and 5&6

Split Strings
Strings 1,2&3 and 1,2&4 and 2,3&4 and 2,3&5

Many, many more for you to discover ... but these will get you started ...

Once you get the patterns memorized ... start "slidin' this template" to other keys ....

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My Steel Shoes Site

[This message was edited by Brad Bechtel on 25 January 2003 at 09:19 AM.]

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kd...and the beat goes on...

Old man said to me,

"I never ever had a problem getting the first two posts in line. It's that 3rd one that gives me a problem EVER time!"

Yesirree indeed it is. And in THIS example the "third note" is the middle one. It is just a "point of view". Simple logic. If the C is ok and the Eb is ok (from a simple two fret slant), that dang A is gonna be a problem with a straignt line bar. And 99% of the time it WILL be flat. Even when the nose of the bar is rounded, that middle string tends to be flat for me; an I believe most others.

Pushin down on it IS the answer. The minute it was shown to me, I knew my problem for 40 yrs. Thank God for Garland Nash. Considering the last two posts, that makes 4 of us good ole boys

"And dat goes fer da mule ya rode in on too, dadgum it all!"

And may he bless all of you,