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Author
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Topic: Why the Sudden Interest in Fender Pedal Steels?
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Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 15 February 2004 10:11 AM
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I've seen a lot of posts recently about Fender pedal steels. I've always considered them to be limited instruments, fine for retro records, but not suitable in capabilities or tone for modern musical tastes.
Am I way off base here? Are there any recent recordings (within the last 20 years or so) that feature a Fender pedal steel in something other than a "roots music" context? Or is this interest in Fenders simply driven by a desire to get the old sounds?
I like the Fender sound for some things, but I think I'd go nuts if I had to play one all the time.  ------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax |
HowardR
Member From: N.Y.C.,N.Y.
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posted 15 February 2004 10:54 AM
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quote:
not suitable in capabilities or tone for modern musical tastes.
I think your answer is in your quote b0b. There are those who want that older Fender sound, the set up is very easy to change, and it is of interest to "Non Peddlers." It's like having a non pedal with better chord capabilities. I also think that these will not be the main instrument for most players, but more so a curiosity or side instrument....a heavy one at that though. From a thread in No Peddlers...."The best non pedal steel is a Fender Pedal Steel." Sorry for the serious post,....under the weather today...  [This message was edited by HowardR on 15 February 2004 at 10:56 AM.] |
Bob Carlucci
Member From: Candor, New York, USA
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posted 15 February 2004 10:55 AM
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I can only speak for myself of course.. NOTHING has the sound of an old Fender as you well know. You are correct they are somewhatlimited and need substantial mods to add the number of pulls many steel players want these days, and the ones I have tried have had tough pedal action[other guys say the action is fine] and the cable system scares a lot of us etc etc.. I want one because of the VERY cool sound. VERY distinctive!.. I heard Pete Kleinow playing on Johnny Lee's "Cherokee Fiddle" the other night and remembered what made me fall in love with that Fender sound.I will not pay a ridiculous price for one however. I see them WAAYYY overpriced on ebay and I will not spend $1000-1200 for one. I can get a used S 10 in great condition from one of many great manufactures for that. Its all about the sound,but I still feel you can get a pretty close approximation with a modern wood neck/body steel set up with a good Fender clone pick up. I may go THAT route also. I am looking for an old Fender for sure but I won't pay Emmons prices for one.. bob |
Peter
Member From: Cape Town, South Africa
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posted 15 February 2004 11:08 AM
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Maybe because someone recently posted a wonderful MP3, using a Fender?
I think it was Jay Ganz?------------------
Peter den Hartogh
Emmons 1978 S10-Fender Artist S10-Remington U12
Hilton Volume Pedal-Gibson BR4-Guya "Stringmaster"
MusicMan112RP-Peavy Rage158
My Animation College in South Africa [This message was edited by Peter on 15 February 2004 at 09:24 PM.] [This message was edited by Peter on 11 June 2005 at 12:56 AM.]
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Rick Collins
Member From: Claremont , CA USA
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posted 15 February 2004 11:15 AM
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...unique tone, stays in tune, no cabinet drop.But most importantly, one can deliver the best sound to a live audience with these guitars. Audiences aren't concerned with mechanics, fuller chords, etc; they only know what they hear. Modern pedal steels are better for recording; but when I hear a Fender (in the hands of a tasteful player) live, beside a modern pedal steel guitar, there's little doubt about why some still play them. Rick[This message was edited by Rick Collins on 15 February 2004 at 11:52 AM.] |
Kevin Hatton
Member From: Amherst, N.Y.
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posted 15 February 2004 11:37 AM
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Rick I agree with you. I saw Al Perkins play
a Fender eight string live and he tore it up. The tone was outstanding. Very inspiring. I admire the player who know how to make them play. At the same time I agree with Bobby that I don't know how you would fit them in in today's music.[This message was edited by Kevin Hatton on 15 February 2004 at 11:38 AM.] |
Mike Perlowin
Member From: Los Angeles CA
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posted 15 February 2004 11:46 AM
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Can those old Fenders be retrofitted with modern changers? And if so, would it alter their sound? |
C Dixon
Member From: Duluth, GA USA
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posted 15 February 2004 11:58 AM
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Wow!You are correct b0b. I have noticed the same thing. I am not sure why. I know this; one of the happiest days of my life was when I traded my 56 Fender 400 with 6 pedals, and bought my Emmons. From my standpoint and excluding Ralph Mooney on Wynn Stewart's and Buck Owen's early recordings, I have never heard anything on them I could compare favorably with the sound of a Sho-Bud or Emmons's etc. But then who am I? Could it be they are "makun a cuumback" as many an old prize fighter used to say. Could it be Fender is also going to reissue it along with their new Fender twin with one 15 inch speaker made for steels? It will be interesting to see. I wouldn't hold my breath however, on the stage of the ISGC carl A Better Way[This message was edited by C Dixon on 16 February 2004 at 02:53 PM.] |
Joe Henry
Member From: Ebersberg, Germany
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posted 15 February 2004 12:14 PM
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Mike,
I think if you want something that comes close to the Fender sound but with modern mechanics, you should go looking for a Fender/ShoBud (aka "Artist" models). They are mechanically very close to a ShoBud Super Pro yet with some distinctive Fender features. There have been several threads lately about them.Regards, Joe H. |
Frank Parish
Member From: Nashville,Tn. USA
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posted 15 February 2004 12:50 PM
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My step son is a 70's style r/r guitar player and he heard a guy playing a Fender 8 string one night doing some rock stuff and he called me to say he wanted a pedal steel. So I'm out here trying to find him one but I have to tell you I plan to play it some before I turn it over to him. Our singer can wear out that old Wynn Stewart, Haggard stuff and I'd love to use it for that. I think it's a very unique sound and the cable guitar I've played are smooooooth to play! I wish Moon would still play the old Fender guitars. I read he had the Sho-Bud pups wound to the old Fender specs. It's the sound!!
Kevin,
Get you a Fender! You're into that sound so don't beat around the bush and go for it. |
Roger Shackelton
Member From: Everett, Wa.
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posted 15 February 2004 01:29 PM
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Carl, have you forgotten that Curly Chalker cut "Big Hits On Big Steel" on one those old Fender PSGs?Frank, you may need to find 2 Fender 400s. Roger |
Fred Glave
Member From: McHenry, Illinois, USA
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posted 15 February 2004 01:32 PM
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The Fender has the classic sound that is responsible for a generation of players wanting to get into steel. If you're interested in playing most modern country music that uses a "token" steel guitar, only heard very faintly in the background while it waits for Van Halen to perform the solo, then it probably doesn't matter what you play. In that case the steel should not weigh more than 30lbs., and not give you any grief at all unless it's time for professional service. I myself am new to steel as a player, but not new to music. I've heard the steel sound that I've liked for years, and I guess I'm not a "top 40 or whatever is popular at the time" musician, so I can afford to want a specific sound. My Fender can get all of the tunings that modern guitars get (at least it will once I put on my 3rd and 4th knee lever). Plus I can change tunings in a matter of minutes. It's not heavy it's my brother. |
Ed Naylor
Member From: portsmouth.ohio usa
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posted 15 February 2004 01:49 PM
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Since I have focused my business on helping keep these "OLD" steels working you wouldn't believe the things people want for the old Fenders. #1 I think it is part nostalga {Buck Owens sound} #2 many older players at one time had an old Fender. AS far as converting to an ALL PULL system, I have done many and it doesn't seem to affect sound if you keep the PU original. Ed Naylor Steel Guitar Works |
Fred Einspruch
Member From: Sparrowbush, New York, USA
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posted 15 February 2004 01:56 PM
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Let me get this right........
The Emmons Push-Pull sounds the best,
Black ones sound even better,
Nothing sounds as good as an old Sho-Bud,
And now, believe it or not, Old Fenders sound best live........When is the last time anybody saw Buddy,Lloyd
or Paul Franklin (or anybody else) playing one of these things? Even Sneaky Pete's Fender was highly modified and played through a healthy dose of effects......... I just don't get it..... |
Bill Ford
Member From: Graniteville SC Aiken
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posted 15 February 2004 02:51 PM
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Fred,
I think I read somewhere that BE left one sitting on stage out of (for whatever reason).Roger S.,
Did'nt Curleys 1000 have Sho-Bud pickups on that session? ------------------
Bill Ford |
Gary Walker
Member From: Morro Bay, CA
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posted 15 February 2004 03:03 PM
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Roger's right about Chalker on "Big Hits On Big Steel". He did this on a Fender 2000 after years of Playing a 1000 on the "Travis" album and some Hank Thompson sides in the early 60s. They had their own sound. I remember Fred Newell asked me concerning a Fender 400 when he was getting ready to take up the steel a few years back. He wanted to capture that Mooney sound but later settled for the GFI he now plays. |
Donny Hinson
Member From: Balto., Md. U.S.A.
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posted 15 February 2004 03:11 PM
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I think part of the increased interest has to do with some players realizing you don't need a lot of steel to make good music. Sure, there's players out there who can use a triple raise/lower changer, 9 knee levers, 10 floor pedals, and every kind of compensator in the book. Conversely, there's others who realize that style and sound are what really sells, and you don't need penultimate engineering features in an instrument to play like Sneaky Pete, Jerry Garcia, or Robert Randolph.In a world filled with new cars like the BMW, the Lexus, and the Infinity, there's still a few who prefer a big-block '68 Camaro. |
Mark van Allen
Member From: loganville, Ga. USA
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posted 15 February 2004 03:17 PM
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Personally, I'd hate to give up on the stability, changes and fun factor of my LeGrande, but I love playing my '54 Dual Pro, and I hope to add a Fender PSG to my collection some day. For anybody who thinks they are by definition and comparison limited, well, run and get a copy of Sneaky Pete's "The Legend and the Legacy" CD. Absolutely amazing, taste, tone, great phrasing- everything you want to hear from any steel. Wow. ------------------
Stop by the Steel Store at: www.markvanallen.com
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C Dixon
Member From: Duluth, GA USA
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posted 15 February 2004 03:19 PM
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"When is the last time anybody saw Buddy,Lloyd
or Paul Franklin (or anybody else) playing one of these things?"------------------------------------------ We haven't. And I would not recommend one holding their breath waitin for it to happen. The last time I saw "Moon" he was playin a Sho-Bud. The last time I saw Curley play he was playin an MSA. Buddy was playin an Emmons' LeGrande III and he played a Fender 1000 with Jimmy Dickens; and if I am not mistaken while playing with Ray Price at least for a while. Also, is that not Buddy playin a Fender 1000 on that infamous album cover with Ernest Tubb? Did he not do Rose City Chimes on a 1000? I am not sure. But why did he go away from them and get with Shot and design an all new type PSG? Gotta be a reason. And I do not believe it was price. Check out the following link. http://steelguitarforum.com/Forum15/HTML/002036.html Now pahdnah, the day any human can get the sound our forumite Reggie Duncan got that night, out of an ole Fender cable model, will be the day I really believe there will be a resurgence. Until then, I repeat, I would not recommend holdin yer breath carl |
John Billings
Member From: Northfield Center, Ohio, USA
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posted 15 February 2004 03:41 PM
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Curious about the FENDER pickups. What are they wound to? I hear BE's are about 20 K, for both his single coils and his humbuckers. How about ShoBud pickups? Are Fenders more in the 8-10 K range? JB |
Herb Steiner
Member From: Cedar Valley, Travis County TX
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posted 15 February 2004 05:42 PM
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Carl
Although BE could certainly answer for himself, he was playing a Sho-Bud on "Rose City Chimes," and was seated behind the SB on the "Midnight Jamboree" record album.Mooney currently plays a GFI and IMHO, that is a guitar that closely favors the Fender sound. Gary Hogue also played a GFI to get that "Moon" sound, as I recall. ------------------
Herb's Steel Guitar Pages
Texas Steel Guitar Association |
Jody Carver
Member From: The Knight Of Fender Tweed~ Dodger Blue Forever
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posted 15 February 2004 08:28 PM
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Good question and I have no comments other than, If I were able to find a mint clean 1000 preferably a blonde early model with the
roller bridges which were designed after the
initial introduction of the 1000 where myself
and all Fender reps were asked to update the 1000 and 400 guitars with roller bridges which we did,,I would make a deal for my 69
pp Emmons to get a 1000 like I had back years ago. That is how much I think of them. Anyone who has what I am looking for and wants an original Emmons pp 69 model let me know and I will be happy to negotiate something with them. |
Gary Walker
Member From: Morro Bay, CA
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posted 15 February 2004 10:09 PM
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The last time I saw Curly, he was playing an MCI |
Jussi Huhtakangas
Member From: Helsinki, Finland
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posted 16 February 2004 12:56 AM
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I can't believe some of these things I'm reading here; a double neck guitar with sixteen strings and eight pedals ( or more ) is a limited instrument and fine for simple brain retro ( gosh, I hate that word ) music only!!!??? Being one of these "retro" musicians ( though I grew up with it, it was never reintroduced to me ), I find it insulting and depressing when words "limited", "simple" and such are used describing the older music styles ( and instruments too ) and then words "advanced" and "modern" when talking about contemporary music styles and equipment. And is there a written rule somewhere, which tells you what type of sound only is allowed in "modern" music?? I'm not particularly a huge fan of the Fender sound, but I certainly don't see why it wouldn't fit in today's music. Fender Teles and Strats do, some people even use them with old style heavy gauge strings without any effect pedals! Actually, I think we need something different sounding than the usual pedal steel sound; many musician friends of mine, and particularly the ones NOT on the so called retro or country scene, don't care for the stereotyped clean, lots of headroom, reverb laden sound of the pedal steel. They say it lacks balls ( we actually use a raunchier saying, but never mind.. )and they associate it with line dancing. Scary, huh?? So maybe we need the twang of those old Fenders, just to rock the boat a little.
I don't have a Fender pedal steel, but I do have two other comparable cable pull guitars. What I find in them are possibilities, not limitations. One shouldn't lock up his musical thinking with mechanical gadgets and feather light pedal action. Just listen to Curly play "Cryin' Time" on his Fender and then tell me it's just a limited retro guitar. [This message was edited by Jussi Huhtakangas on 16 February 2004 at 01:06 AM.] |
Jay Ganz
Member From: Out Behind The Barn
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posted 16 February 2004 08:13 AM
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John,
The pickup on my old 400 is the strat-type
pickup thats wound to 8K. The steel is a
'66, so it's not the old style fixed bridge.
I've had it tuned to a standard E9th with
no problem, but lately I went down to a B9th
just for the heck of it.------------------
Fender 400 MP3 [This message was edited by Jay Ganz on 25 February 2004 at 07:26 AM.]
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Fred Glave
Member From: McHenry, Illinois, USA
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posted 16 February 2004 08:48 AM
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I hate picking at scabs, but I'm curious. What exactly is it about the old Fender steels that make them "limited, incapable, and not suitable"? Other than being heavy, I really can't think of one other thing. I know they didn't come from the factory with knee levers, but it's not very difficult to add them. Is it the tone? I think that's a personal taste issue. I may prefer the sound of a brand new Emmons, or MSA, but somebody else may not. I think a good guitarist can get more than one tone, or sound from his/her guitar.
Is it the cables? I think the cables ADD versitility to the guitar. What modern guitar can you switch from an Emmons setup to a Day, to a Franklin, all within 1 hour in the comfort of your music room, or even on stage between sets? If an individual is not even minimally mechanically inclined, I can see this being intimidating. But it's really not that complex once you get into it.
Maybe it's the pedals. Some can be a little stiff, but on the other hand, after some adjustment and care, mine now operate very smoothly. I think anyone can get used to playing on anything. I remember when I was a kid, I owned an old cracked Sears Robuck 6 string guitar that I was just starting to learn on. Man did that thing suck. But my cousin, who was about 5 years older than me, and played in a band came over, picked that thing up and made it sound like everybody I ever wanted to sound like. 7 years later, I took that same old Sears guitar with me while I hitchhiked across the country. Strapped naked to my backpack (my guitar), and the crack bigger than ever (again, the guitar). And I remember picking leads at a jam with a guy we met at Yellowstone Ntl Park. Him on his Brand New Martin and me on that old beater. Nobody complained about the tone, or versitility.
Playing any instrument requires creativity. Being a versitile player is worth far more than having a versitile instrument. (I'll get off my soapbox now).  |
Donny Hinson
Member From: Balto., Md. U.S.A.
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posted 16 February 2004 08:59 AM
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Fred, the early ones were single raise/lower models. The later ones (800 and 2000) were double raise/lower models, but still had the limitation of only pulling 2 strings with any pedal. Also, Fender never offered knee-levers with their cable-operated guitars. Are these limitations? Yes, for some people, but an awful lot of good music was played on them, nevertheless.As I always like to say, the biggest limitation for us steelers is usually between the seat and the steel. |
Fred Glave
Member From: McHenry, Illinois, USA
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posted 16 February 2004 09:25 AM
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I agree Donny. I guess I'm thinking too much from my own situation. With my 2000, I was able to add more pulls per string with "slave cables", although I don't seem to use that change much. And I also added knee levers pretty easily, with much creative advise from forum members. As you point out, these are not stock/from the factory options, but then again these guitars haven't been made in 35 years.
I guess I'd have doubts about trying to make an early 50's Fender suit my needs. But the mid to late 60's are workable guitars. |
Tim Whitlock
Member From: Arvada, CO, USA
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posted 16 February 2004 09:49 AM
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bOb - You seem to have touched a nerve with us Fender players. Personally, I feel that the pursuit of the most mechanically perfect guitar/machine has become an end in itself. So much great soulful music was made on the old instruments and today's McMusic serves up stale burgers ("billions served"), in spite of all the technical "advances" made to the instruments. To me, the distinctive Fender sound is the one that stands out as representing the lost heart and soul of country music. I guess one would label this "retro" thinking and dismiss it, but to me, in this world of very soul-less mass marketed music, I feel it's a more progressive approach. It works for me, anyway.[This message was edited by Tim Whitlock on 17 February 2004 at 11:55 AM.] |
Bob Baringer
Member From: Stroudsburg, Pennsylvania, USA
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posted 16 February 2004 09:50 AM
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Years ago I saw "Curly" with Hank Thompson, he was playing an early Fender 1000, one neck had no strings the other had 7 strings and there is no way to explain all this man got out of that guitar, he was a great musician ! Bob |
Keith Murrow
Member From: Wichita, KS, USA
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posted 16 February 2004 10:01 AM
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..[This message was edited by Keith Murrow on 26 October 2004 at 03:51 PM.] |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 16 February 2004 10:25 AM
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I figured it would be a controversial topic, and everyone is of course correct that some great music was played on Fender pedal steels. I have no doubt that great music continues to be played on Fenders.That wasn't my point, though: quote:
Are there any recent recordings (within the last 20 years or so) that feature a Fender pedal steel in something other than a "roots music" context?
Curly Chalker and Jimmy Day abandoned Fender as soon as more capable machines became available. Ralph Mooney may have taken a bit longer, but I'm sure he's very happy with his GFI. The only Fenders I've heard on recent records are deliberate attempts to recapture sounds of the past.For example, take Steve Fishell on Radney Foster's "Del Rio, Texas" (1992). It sounds great - no argument there, it's one of my favorite records - but it is a deliberate effort to recreate the tones and mixes of 60's recordings. That's what I mean by "retro".
Steve Fishell is probably the most hi-profile Fender player. Does he ever tour with a Fender pedal steel? Enquiring minds want to know. When was the last time you saw a Fender on the concert stage? ------------------
Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax[This message was edited by Bobby Lee on 16 February 2004 at 10:26 AM.] |
C Dixon
Member From: Duluth, GA USA
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posted 16 February 2004 11:11 AM
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"I hate picking at scabs, but I'm curious. What exactly is it about the old Fender steels that make them "limited, incapable, and not suitable"?"------------------------------------------- I would not say any are "unsuitable" to certain players. If a person likes their sound and can put up with the basic two pulls per pedal and no knee levers, along with premature string breakage on the 400's and 1000's, I say go for it. Incidently I put bridge and nut rollers on my early 400. Did not help the string breakage one bit. The only way I could even bring an .011 up to pitch was to switch to D9th and change the gauge accordingly. Mine was not atypical. This anamoly happened to hundreds who owened them. Secondly, I do have a major problem with "timing of the pulls". This applies whether one uses the standard two pull/pedal or uses "slave" cables to get more pulls/pedal. There is NO built in way to "time" the pulls on these guitars. This is fine if the pedals are used in a quick "Mooney" on/off type way or a Chalker "chording" way. However, if one is used to "squeezing the pedals" as developed in the early days by Walter Haynes (for infinite expression), timing becomes extremely important. Let me expound. With one cable having a loop on each end to execute the two pulls on a given pedal, the action between the moment the pedal is engaged, until the changer stops are reached is pot luck. IE, the easier pull wins out first. Then the harder pull reaches the stop. There is NO practical way around this if one uses cables. I personally find this a major "con" when relating to modern PSG's; where timing can be almost absolute; such as an Emmons LeGrande with 14 hole bell cranks; since the stops are NOT at the changer, rather at the crossbars. I have sincere respect for any and all that love the old Fender cable models. I say more power to you. But I must say to the steel guitar world at large. "Don't hold your breath waitin for em to make a cuuumback." I simply do not see that happening. If by chance I am wrong, I will stand corrected respectfully. carl [This message was edited by C Dixon on 16 February 2004 at 11:13 AM.]
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Fred Glave
Member From: McHenry, Illinois, USA
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posted 16 February 2004 12:36 PM
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Carl, it sounds as though you can find 2 main reasons to wood shed the Fender: String Breakage, and Timing of Pulls. (This is just a friendly debate, you know).
1.)The rolling bridge that is on my mid 60's 2000 must be working better than average, because I have only broken one string in the last 3 months. And that string was an oldie.
2.) The timing of the pulls is something that I can relate to in mechanical-theory. I have not personally noticed a problem with this though. The strings on the 2000 all seem to make their respective changes very evenly and uniformly.
Maybe my changers are cleaner, and move more freely than on other Fenders. I'm kinda like Felix Unger in that way. Then again maybe my ear is only hearing what it wants to hear. I also believe that if a timing issue exists on a particular Fender, it can be tinkered with and adjusted to an acceptable degree. (I am the eternal optimist).
Again, I admit that I don't know if I'd like to make an early 50's Fender my main guitar, but the mid-late 60's still have that unique sound and are more mechanically evolved. |
C Dixon
Member From: Duluth, GA USA
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posted 16 February 2004 01:34 PM
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Fred,The Fender 2000 has the moving Sho-Bud "type" bridge. They do not prematurely break strings. The fixed bridge; as used on most if not all 400's and 1000's; were modified with rollers after they were out for a while. But these rollers did not change the pitch of the strings as your moving bridge did. In fact it was the pulling of the strings over this fixed (or roller) bridge which was the cause of all the string breakage. It was not until they switched to the cam like moving bridge that the string breakage problem was solved. To my knowledge only the 800's and 2000's had the moving bridge. But as Herb says it is possible they put it in some later model 400's and 1000's. I would really like to know IF this was ever the case. carl[This message was edited by C Dixon on 16 February 2004 at 01:35 PM.] |
Donny Hinson
Member From: Balto., Md. U.S.A.
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posted 16 February 2004 01:38 PM
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Carl, the easiest way to "time" the lowers on the old cable jobs was to stretch or replace the springs. For raises, it could be done by reguaging the strings, not an ideal method, but certainly workable. Timing could also be done (to some extent) with the foot, and many players mastered this aspect of those old guitars. Similar problems are encountered with an old p/p, but lots of players still use them!And Bobby says... quote:
When was the last time you saw a Fender on the concert stage?
to which I answer...who cares? Certainly not most of the younger players, who would rather have something "campy" and notable than just something that plays good. Let me go back to my "car analogy". I don't see any '87-89 Monte Carlos on the NASCAR circuit, and you sure won't find them at showrooms or on TV anymore, but the cars are still evident and popular on the street. They have the classic "look", they're easy to fix and play with, and they don't cost an arm and a leg. In short, they are camp (cool), and young folks like "camp" better than inlaid maple and walnut. They can relate to a Fender, where they can't to a Zum or an Emmons. There's also older players who want to relive the old days, and just like that "sound". No, the old Fender steels won't be being reissued, but the old ones do fill a gap, or a need, for a certain amount of players. |
Glenn Austin
Member From: Montreal, Canada
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posted 16 February 2004 04:38 PM
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I would buy one of these guitars just for the cool sunburst paint job. How many different ways do you need to play a 7th chord anyways. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 16 February 2004 05:11 PM
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Three, at least. Four is better. |
C Dixon
Member From: Duluth, GA USA
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posted 16 February 2004 05:15 PM
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I thought "7" was better. carl A Better Way |
Nicholas Dedring
Member From: Brooklyn, New York, USA
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posted 17 February 2004 09:39 AM
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Seems like at least a few of the Fender questions have been along the lines of "I'm picking up steel as a beginner, how's a Fender (insert model # here) for me?"I wonder whether the reputation that fender has for six string guitar and bass building disposes guitar players towards fenders if they haven't heard of anything else...? |
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