Anybody else use feedback creatively onstage or in recordings? I believe there's a bit of this sort of thing on the Secular Steel album I mentioned in another post.

Thanks for reading my post.

Gerald
Williams PSGs, VHT amps.

On a regular guitar, you can just point your pickups into the amp and control feedback by moving your body in relation to the amp. On the steel you cant really do that! Although maybe if you practice tilting your psg enough, you might get a controlable feedback, and it would make for a pretty flashy "phisical" type solo... you know, where your pelvic girations and facial expressions are more important than the notes your playing.

anyway.... now you got me interested in this, and I'm gonna try some stuff out during the weekend with some buddys i'm recording for...I'll post some results on monday.

I'll start working on my "physical solos" tonight after work, man.

Anyway, S. Youth is an excellent example of creative use of noise and particularly feedback. They actually used a steel guitar like contraption at some point, with Glen Branka, that had all 10 strings with the same note. They had about 6 or 7 of those playing at the same time at full volume with distortion and feedback...

There is also a switch, 3-way toggle, which chooses normal, or slightly harmonic, or full octave harmonic takeover (this is the effect, at any rate).

They do make a width for 7-string guitar, which is similar to an 8-string Fender 400 for example (it's a blade-type pickup, not pole pieces). Would not be quite wide enough for a 10.

I have not tried this on steel, tho I did call them the week I got my 400, thinking I might try something with it.

There is a circuit board, and installation IN a guitar requires some room. But on a steel, I think all the electronics could be externalized somewhat, and the pickup itself could be mounted or "placed" on TOP of the strings, and in a temporary way (so you don't cut into your steel for a pickup install, and you could maybe use it on several instruments?). Perhaps it could be slid sideways to choose which strings you want to affect.

But here is one catch: the newer electronics have LESS sustain than the old "pro" models, but there are some available still. And some models have only a 2-way switch I think. You'd want the old "strong" model, and with a 3-way switch.

Company is Japanese, but US branch is in LA.

-dp-

[This message was edited by Dean Parks on 10 September 2004 at 09:42 AM.]

Oh no!! All this time I thought I was stuck in the 80s!

Thanks for the laugh.

I have Sustainiac also, but that works by vibrating the neck with the pitch you're playing, so it's just like standing in fron of an amp, iniclucing inconsistencies, but without loudness necessarily. I would think that a steel is inherently much less resonant than a guitar neck, and so may not work at all with a Sustainiac.

Fernandes works directly on the string.

-Travis

[This message was edited by Travis Bernhardt on 10 September 2004 at 03:21 PM.]

But at the end of the day, we didn't have any usable takes because i kept hitting the Delete key with my butt .

Ricky...

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Emmons LeGrande - 8x4
Session 400 Ltd, Peterson VS-II Tuner
Dan-Echo, E-Bow, Ibanez Distortion, Boss Comp./Sustain, Ibanez Auto-Wah, PX4 Pandoras Box

[This message was edited by Ricky Littleton on 15 September 2004 at 03:05 PM.]

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But at the end of the day, we didn't have any usable takes because i kept hitting the Delete key with my butt .

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