I prefer to keep all the pedals as close to the floor as possible. If you can slide your fingers under your pedal while it's engaged, that's as low as I'd adjust it due to carpet depths, etc. Start with the B pedal at that height. (how to adjust height is below . . . )

With the A and B pedals down, begin to rock off the A pedal. Can you comfortably go from A+B to just B by 'rolling your ankle'? If not, your A pedal is too high, meaning that the pedal rod is too short. There is usually a threaded attachment on the end of the pedal rod with a keeper or locknut. Loosen it and determine whether you can lengthen it enough. Hopefully so, otherwise you'll have to find a longer pedal rod.

I like to have the B pedal as low to the floor as possible; the A pedal as low as possible, such that I can rock completely off it comfortably; and (if the pedal steel gods are smiling) the midpoint, where your foot is parallel to the floor, is the 'half pedal'. The last one is not important for those who use the split tuning to get the C note, but push-pull players don't have that luxury. It's nice to know/feel the ankle and foot angle to get the half step raise.

Hope this helps.

To me its a matter of getting B in a position lower than A where the engagement of A alone does not also result in the partial engagement of B. And the engagement of A+B at the same time is smooth; ie: pulling both strings simultaneously.

If that makes sense...

[This message was edited by Mark Herrick on 26 February 2003 at 07:18 AM.]

Good luck, Joe H.

[This message was edited by Joe Henry on 26 February 2003 at 10:27 AM.]

If you can't get this adjustment right by this kind of trial and error of the pedal rod threads, you have two more complicated choices. One, swap legs with someone more flexible. Two get involved with adjusting the pedal throw distance by moving the pull rods to different bell crank positions (see the Carter web site for identification of these parts). Attachment of the pull rod closer to the cross rod gives longer softer action, further from the cross rod gives shorter harder action (or maybe it's the other way around - you can see this is complicated). This type of adjustment can be tricky, because all the pulls on the same pedal have to work together, so they may all have to be moved on the bell crank. This can all get very tricky for a beginner, and it would be good if there is someone around who knows about this stuff. But sooner or later, you'll have to learn how to adjust your instrument for a custom feel you like.

Interpedal heights are pretty critical to pull this off. Even tho my A/B pedals are not much different in height, it took me a while to pull this off. I just learned to twist my ankle pretty well.

It goes like this: all on strings 4,5,6.
L=lower 1/2 step.

3-----4L-----3-----3-----3
3-----4A-----3A----3-----3
3-----4------3B----3B----3

It's a neat lick, and makes for an appropriate ending tag.

It's on fret 4 where it gets hairy [for me anyway]. My left knee is moving right,
while holding down A pedal, and trying to keep it off of B pedal.

My Williams U-12 keyless is pretty compact, so some of these tight moves aren't all that tricky anymore; compared to my old Sho-Bud
Pro III D-10. FWIW.

Chip

[This message was edited by CHIP FOSSA on 26 February 2003 at 03:28 PM.]

That's one reason why I prefer to lower E's on my right knee. I believe that Paul Franklin (who lowers E's on the right as well) brought up a similar point on another recent thread.

Also, being a universal player, I'd LIKE to be able to combine everything with everything . . . but there ARE limits.

When you get cooking on your steel, try this change, using the "B" pedal, and the "E-F" lever. Assuming that your steel has the "E-F" change, press "B" pedal, and "F" lever together. Then find relative notes associated with train whistle sounds. 7 flat 5 is what creates the awesome sound. If your unable to pick 4 strings in simultaneity, strum 5,4,3,2, while rolling the bar to simulate the whistle. Advanced players hold a bag of "tricks" in their arsenal, to use while playing "Orange Blossom Special". They sometimes play it at breakneck tempos, and everyone's fingers are crossed when they get to the 3rd part of the old fiddle tune. The above change is not that well known, and I hope you will find it useful, down the road.
Bill H.

This winter has been the worst in memory for ice, and snow. The sun is warmer, but the persistent cold, combined with record snowstorms, have been a real challenge to my patience. The ground has been covered with the white stuff for two months. There's another 5" on the way. I'm glad you like the pedal, and knee lever change, I had written about.

Bill H.

[This message was edited by Bill Hankey on 01 March 2003 at 06:25 AM.]

Back to the lick and pedals. Looks like I got to get some cowboy boots at the wife's riding store. Good heels, a sharp but not too long toe.
So middling pedal travel to start. I guess it depends on the boots.

[This message was edited by David L. Donald on 01 March 2003 at 03:31 AM.]

I'm sorry for not responding to your suggestions, that are in my opinion, very much on the mark, in terms of pedal travel, and minor adjustments. I would like to add to your true statements, that tempo is the remaining consideration, that enhances the temptation to shorten pedal travel. For a 3/4 time melody, a longer pedal travel would allow the player to express the melody profoundly, whereby a melody with quick beat duration would be encumbered by the same adjustment. The same rule applies in the course of making determinations to balance out the two variables of the A&B pedals. Keep in mind that the "B" pedal is pulling a 1/2 tone, while the "A" pedal is pulling full tones. It would be helpful to know the exact lbs. pressure required to actuate either pedal. I've successfully developed what I call short pedals,
which are mounted between the A&B pedals. The short pedals would be perfect for 1/2 "A" pedal augmentation, but at the present there is a greater need to lower the 5th, and 6th strings.

All of your concepts warrant special attention. However, in this competitive world of great musical performances, small details seem not to affect individuals who could find a way to fly a lead balloon, or throw 600 lbs. over their heads. It is mind-boggling to attempt to duplicate such comparable feats with the steel guitar. The great masters can approach any steel guitar, in any condition, and after they tinker with it for a short while, are able to produce beautiful music.

Bill H.

[This message was edited by Bill Hankey on 01 March 2003 at 10:40 AM.]

I don't recall meeting M. Mackee. Thanks for the friendly exchanges. Good luck with your steel. Tom Cassella is very knowledgeable in making necessary changes.