The string height, nut width,weight, bar....etc....those things are irrelevant because everyone has their preferences and uses what fits them best. I know that when I sit down to play my 7 string DustPan, I like to wear drawers that don't ride up on me. 'Cause if they do, I'm not playing my best.

But it's what we take from one instrument and apply to the other. Billy Robinson has applied some terrific pedal sounds without pedal.

Stacy Phillips has a little chord book for 6 string dobro with all kinds of chokes & slants that gets him a lot of advanced chord voicings.

I like the way Herb Remington plays, using pedals more for chords and tunings, than the moving tones. His technigue justifies the music that he plays and the sound that he wants.

So, I think that the gap and/or differences are being melded by some and this invites music to evolve.

[This message was edited by HowardR on 19 December 2005 at 07:30 PM.]

I am in your debt for bringing Jim Heffernan to New York last spring, I learned so much that day. This thread got me thinking, would you ever consider doing a non-pedal steel workshop like that, say, everybody could only bring a steel tuned in C6, for example, six strings on up to 12. I would jump at the chance to study with you and our NYC brethren if you brought someone up who could illuminate things the way Jim did that day. I would volunteer my help to you to help set up if that might make a difference.

But in the last analysis, Howard, I still play my steel like a non pedal and just use the pedals mostly for the right chords. And they are handy......al
Merry Christmas

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My Website..... www.cmedic.net/~almarcus/

Playing pedals really makes me THINK.

When you spend practice time thinking and seeing, you are better able to just play when it is time to perform at real time speed, when there's no time to THINK in the same relaxed way.

The sound of the reso can't be beat!

When I say think, I mean to really know what the notes I am playing are against the chord of the moment, and if the position I am in is optimal for the phrase. I keep Lloyd's sage advice of finding 3 or 4 different ways to play a phrase in mind...this careful way of thinking keeps everything unfolding constantly, and is one of the amazing and frustrating) things about the instruments.

Lastly, it depends on the style. I played with a rockabilly/Western type band for awhile and the Dual Pro was perfect for the music both in sound and approach.

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

[This message was edited by John McGann on 18 December 2005 at 05:53 AM.]

quote:

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the more ways you can "see", the more you can play

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two different instruments with some common DNA

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Those two thoughts, to me, sum it up right there.

I've enjoyed and appreciate the responses to this thread.

Kay, it was nice to meet you in Joliet and thank you for the ride (the scenic route) to the airport.

[This message was edited by HowardR on 18 December 2005 at 08:20 AM.]

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I know that when I sit down to play my 7 string DustPan, I like to wear drawers that don't ride up on me. 'Cause if they do, I'm not playing my best.

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I sense a new business adventure in the future for Howard.

It is the latest thing to improve your steel guitar playing or be at your best.

FUTURE AD - STEELERS, IF YOU WANT TO PLAY OR BE AT YOUR BEST, GET HOWARD'S STEEL GUITAR DRAWERS NOW - THEY COME IN ALL OF THE VARIOUS STEEL GUITAR COLORS IN ORDER FOR YOU TO HAVE A COLOR MATCH WITH YOUR STEEL GUITAR. ALSO THEY ARE GUARANTEED NOT TO RIDE UP ON YOU.

Aloha,
Don

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“Big John” Bechtel
Burgundy D–10 Derby
’65 Re-Issue Fender Twin–Reverb Custom™ 15”
Current Equipment
Newest Steel

I guess the analogy that comes to mind is the difference between playing acoustic guitar and electric. They are similar instruments and some knowledge of one can be tranlated/modified/utilized on the other, but they are definitely two different animals. Both are a blast! Now, if I could figure out how to play both at the same time....

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I realize that my learning trajectory is "backwards" compared to those (slightly) older steelers who played through the early development of the pedal steel.

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John, here is some history of the evolution of the steel guitar to the pedal steel guitar.

The majority of established steel players of that early era (1950-60's) did not readily accept pedals, and in fact thought they were just an extension of using a capo, which was originally thought to be a "lazy" method of playing, and sometimes even a crutch for those who could not play in the conventional way. To play an "open" string was considered to be an unforgivable offense for a serious musician.

For most of those early players, the pedal sound was considered to be "hillbilly", and was avoided by any serious steel player. If you read the Forum you will find that some of those early opinions are still prevalent.

I am thankful that those early innovators ignored the retractors and eventually brought the steel-guitar to it's current status of a utilitarian instrumen, limited only by the abilities of the player.

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www.genejones.com

I have a real respect for the masters of both genres.