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Whitney Single 12 8FL & 5 KN,keyless, dual changers Extended C6th, Webb Amp, Line6 PodXT, Goodrich Curly Chalker Volume Pedal, Match Bro, BJS Bar..I was keyless....when keyless wasn't cool....

Isn't the entire scale length of a steel guitar a "tangent point"? I consider that an advantage the steel guitar has over its Spanish cousin, it can be played out of tune!

But seriously, a friend of mine once said,"Life's to short for bar slants". I them witnessed him spend 10 minutes screwing in legs, attaching a pedal rack, setting up pedals, tuning pedals, tuning knee levers, tuning open strings, and then he hit his B pedal and snapped a 3rd string. I then decided life was two short for that, so I took my Fender Dual 8 (and the beard I grew watching him set up that guitar), went home and played the exact same song but with some bar slants and string pulls.

You have my official permission to use bar slants in public.

Also, it just occurred to me that slants would be so much easier on the wrist (and the ears) if the scale length were SO much shorter. On my dobro, to slant from a I triad to a IV triad on the first three strings requires too radical a slant to be used effectively (especially at speed).

[This message was edited by Marty Pollard on 20 June 2005 at 08:00 AM.]

CS

P.S. And thanks you on the allowance of public slanting.

[This message was edited by Chris Scruggs on 20 June 2005 at 08:43 AM.]

Thanks to all who have posted on-topic, and my profuse thanks to b0b for not closing the thread when he received permission to do so.

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Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com

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Dave Wren
'95Carter S12-E9/B6,7X7; Session500; Hilton Pedal
www.ameechapman.com

I'm sure if I had that 9-string D>C# move on a lever I'd play it differently now, too. With my little 3+2 I do what I have to do and so far I haven't run out of good notes on it.

Of course I never seem to run out of bad ones, either -- I can play out of tune just fine WITHOUT using bar slants.

dg

[This message was edited by Dave Grafe on 20 June 2005 at 09:48 AM.]

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Whitney Single 12 8FL & 5 KN,keyless, dual changers Extended C6th, Webb Amp, Line6 PodXT, Goodrich Curly Chalker Volume Pedal, Match Bro, BJS Bar..I was keyless....when keyless wasn't cool....

[This message was edited by George Redmon on 20 June 2005 at 10:56 AM.]

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Also, it just occurred to me that slants would be so much easier on the wrist (and the ears) if the scale length were SO much shorter.

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I'm far from being unhappy with this thread, for all the reasons that you mention and more. and I appreciate the fabulous tangential information that has been generated here, there are so many very knowledgeable and eclectic minds in this community that one never knows what one will learn today.

peace - dg

[This message was edited by Dave Grafe on 20 June 2005 at 01:09 PM.]

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

quote:

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The strings are too close together on pedal steel to slant on adjacent strings.

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That was supossed to be a joke. I geuss it wasn't. Still, I always prefer raw technique to mechanics. Now if you'll excuse me, I have to walk across the room and change the channel on my TV. My rabbit ears need adjusting, too.

Buddy Emmons can also play all night long on a straight T-8 Fender. Thats part of why he's so good. He got as good as he was without them, and then the pedals took it to another level. He's not dependant on his pedals. He is in control of his instrument. Sure, one might not be able to play the exact same thing without them, but Kayton Roberts doesn't sound "old timey" (though he can if the song calls for it). He plays that old red Fender as a musical instrument, not a lick machine (a nasty habit many steel players, pedals AND non, easily fall into).

CS

[This message was edited by Chris Scruggs on 21 June 2005 at 01:20 PM.]

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Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book.

Any old player from Baltimore will know exactly what I'm talkin' about!

Mastering bar technique should include the slant.

If the tuning of triad slants is bothersome try what I prefer, slant the bar using two strings, instead of three. This way both slanted strings can be brought to perfect intonation.

When you listen to your favorite players, notice that most of those greats slant the bar for small measures of time. Such as sixteenth, eighth, and at the most quarter notes, not whole notes. Utilizing the slants this way leaves the tuning issue a non-starter.

That'd tie those beatless players' panties in a knot..

I suppose Mr Mudgett's theorum would apply.

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A*cos(w1*t) + A*cos(w2*t) = 2A*cos{(w1-w2)*t/2}cos{(w1+w2)*t/2 -D Mudgett-

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I might ask or suggest that he make a couple more cyphers dissallowing notes in the mix above or below a certain range as just not being part of the overall equation, and as well giving that at a certain percentile of the notes being in unison, that a minor number of dissonant ones be omitted, or not figured in. After all, Shinola doesn't make S#it any shinier.

Then a note value less than the beats of the dissonant chords might be added in the equation.

BTW, I went to Duff's Garage tonight and heard Dave G play, and all his slants sounded good to me.

EJL

[This message was edited by Eric West on 23 June 2005 at 11:35 PM.]

For your information Dave, the tones you're referring to are nothing more than the flatted third and flatted seventh, not the flat flatted third or flat flatted seventh. Yes Dave, I most certainly DO know what I'm talking about.

And to think that I would have to read such nonsense in a slide guitar forum... boggles the mind...

You don't HAVE to read it Turgid.

Get my name straight will you. I really appreaciate people making fun of it.

Yes, Paul is correct of course. It's that darned middle note I was referring to...

I haven't watched the 'Players' video to catch how much Paul slants; I'm primarily watching Brent.

You're just gonna have to call me by my real name, which is what I'm using for a moniker, and stop making fun of it. You're gonna have to show me that respect or I can't really respect you.

I do not agree with your opinions on blue notes, which was what I was expressing in my first reply to this thread and you may or may not want to discuss this, but first we're gonna have to get over this hurdle.

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If you can't hear the others you're too loud, if you can't hear yourself you've gone deaf

[This message was edited by Terje Larson on 25 June 2005 at 07:44 AM.]

turgid - adj 1: ostentatiously lofty in style; "a man given to large talk"; "tumid political prose" [syn: bombastic, declamatory, large, orotund, tumid]

And General Turgidson is a character in Dr. Strangelove who, like you, well... just watch the movie.

edit:

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And to think that I would have to read such nonsense in a slide guitar forum... boggles the mind...

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And since you understand the usage of the term 'boggles the mind', then I'm pretty sure you understand the meaning of the word 'nonsense'.

If you don't like my responses then what can I say? Do they have a term for rubbery feces in Sweden?

[This message was edited by Marty Pollard on 25 June 2005 at 07:53 AM.]

Hey pal, maybe 'nonsense' means something different translated from Swedish but in MY neck of the woods it's disrespectful.

Point taken. Although I must say that I'm not making fun of you or your name, just saying that I think your opinion in this matter is nonsensical.

So, what do you say, let's be civil here shall we. Just please drop the name thing, OK. It's a raw nerve since childhood (it's a Norwegian name, I grew up in Sweden, get the picture?), I just don't get along well with people who make fun of that part of my person. Anything else is pretty much fair game, I'm not very sensitive otherwise, just try me.

And yes, I did perhaps come on too strong about something that has already been discussed in this thread, I just think that your statement on blue notes, and the few sentences that followed it in that post are very wrong. Blue notes, in order to sound right have to be "out of tune". And no, they don't always have to resolve to sound good either. But when blues became rock and roll and rock became popular the blue notes got polished up not to frighten the kids.

But most important right now perhaps, none of this means that I don't respect you as a person, I just disagree with you. For now. Feel free to argue over the subject at any given time and if you prove to me I'm way off here then I'll gladly admit to that too.

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If you can't hear the others you're too loud, if you can't hear yourself you've gone deaf

[This message was edited by Terje Larson on 25 June 2005 at 12:38 PM.]

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(it's a Norwegian name, I grew up in Sweden, get the picture?)

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Yep.

Steinar

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www.gregertsen.com