I have felt the full impact of a lack of interest within circles of bona fide musicians. I can only say that this "idea" originated here in my home, and it's a permanent fixture now, and will always be featured on my steel guitar.

I saw pictures of wrist levers. and I had read about them, but I wasn't interested till I tried one out, and as soon as I did, I wanted one and eventually had them installed on both guitars.

Thank you for the great thoughts that you have shared on the Angled Fretboard thread. I'm very happy in knowing that virtually all of you are kind and sharing fellow musicians. I was surprised today when a renewed rush of energy allowed me to realize that there is no need for excessive bulk in the dimensions of the proposed fretboard. At the very present, I am about to scribe the frets on a fretboard length of 3/4 " x 3/4" angular aluminum, that 3/32" in thickness. It will be necessary to cut away a short tapered strip where the wider part of the "neck" gradually juts outward, (about 4"). I discovered that the compact fretboard should amaze those who put it to the test. The jewels can come later, after the efficacy has proven itself. The compact fretboard will rest on the outer edge of the E9th cabinet.

It took very little time to test the trim angular aluminum fretboard that measures a mere 3/4 of an inch in height. I'm positively 100% satisfied with the surprising results.
I breezed through "Blue Spanish Eyes", and "The Other Woman" with relative ease. What an absolute joy to meet with success on a project that required a bit of sorting out the unknown minor details, such as size, and configuration.

Thanks John for the lighted aspect. It has never occurred to a club owner that visual contact is part of playing a steel guitar. The recesses of the angled aluminum, will house small connecting wires, should additional features be installed within the fretboard.

You can see the reason for omitting "extras" from an advancement in steel guitar technology. I have visited several bands here in the Berkshires, who have a preference for a darkened hall. Imagine trying to enjoy watching the steel guitarist who is slightly visible, when the lead guitarist, or bass player takes one or two steps to the side. Chances are the steel guitarist would appreciate shedding some light on his/her valuable instrument. Someone pulled that darkened hall routine on one of my first "gigs". I returned the following night with a small desk lamp mounted at the tuning keys end of my steel. The preferred use of stage lighting in more recent times, has provided ample lighting to the players on stage. I removed the small lamp, but it's kept in a safe place, in the event that someone has a penchant to lower the lighting in some little cafe'.

Simplicity is the route that I'm following in the course of developing the angular metal "Fretboard". I would like to stress that any complicated electrical wizardry is not to be considered, and will be left to areas where it is more aptly applied. This creation is very understandable in its presentation. I became dismayed while playing the song called "The Other Women" some time ago. When I tried to "emulate" the B.E. part of the song, where he uses the 3rd and 5th backward glisses, I noticed the difficulty in locating the bar squarely over the 10th fret, due to the obliteration of the fret by hand and bar. From that experience, my thoughts kept returning to the possibility of overcoming that existing handicap. The front mounted 3/4" angular installation has more than satisfied the need for proper bar placement. All that remains is creative designing of the fretting configurations.

A couple of my buddies and I were developing a "sphincternome" for application to the percussion section. Without giving away specifics for patent purposes it was basically a marriage betweeen a Sears Electric Fence "stimulation unit", a Seth Thomas metronome, rubber coated wires and a stainless steel washable electrode and toe-clamp ground. Stimulation free periods would be gained my playing the flamadiddles and paradiddles within a certain set tempo window.

"The World is Yours, and All that's in it."

We should all be glad that nobody discouraged Eli Whitney I suppose..

Actually, Eric has "come up with something." He has proven that nothing is more thought provoking, than a person who is capable of evoking humorous outcries to others, by grabbing their attention, and leading them astray into a wilderness of unrelated scenarios. Our comedians have a very special place in everyday American life.

One suggestion of a line of thinking would be along the line of the leatherman Locking Blade System. It was so simple it defied understanding.

I guess as a positive critique, I know that the Visual aspect of Pedal Steel Guitar is perhaps second only to the sound. Anything that detracts from the "crowd" being able to"see" what you're doing detracts from the adulation of it.

Bill, John, et al. Here's a free million bucks or so. I'm not that materialistic:

Having strings that are simply "marked" would get "us" there. All you'd have to do is differentiate between the two major fretboard lengths, or have a system for marking them with a semi permanant fine tip marking pen. Just a simple cheeze grater looking plate with slots in it for a marking pen. It could be retouched once or more per night. What's wrong with that? Five bucks a plate and $1.99 per permanant marking pen.

(No lawsuits for laser "overspray" on the "crowd". No nervous off duty cops in the front row with red dots dancing on their chests..)

There. Problem solved. Invention Created.

Black Light pen and bulb for night work. Margin for error? A lot less than the "aiming" at a line off the side of the fretboard.

John: I'm working on it. Defending myself, my life, or what's left of my playing ability would only make them all worse. (Before I learned to type proficiently, I used to look at each new hundred page cyber-battle as a fresh challenge. I think 60wpm is enough.)

When your stack of money runs out from the "Eric String Marking System", let me know. I'll get you going again. I got a million of 'em..

Now, Where did I put that electric fence unit.....

The World is yall's....

It is my hope that you would reconsider what appears to be inappropriate input, and rethink the terminology on the morrow. Thank you for your consideration.

I don't care how careful you attempt to be with it, someone will manage to get hit by it.....

If you insist on needing a light source for the PSG,A Mixer-board lamp on a gooseneck shaft is the way to go. Power it from a 6 volt wall-wart,and use a wire-wound "pot" to adjust the brightness of said lamp. Beings that most amps now-a-days has a a.c. recepticle for other devices,I find that useing wall-warts really isn't a major problem to-day.

If anyone is interested as to my set-up,I can e-mail photos of it to you.

The set-up consist of a mixerboard light,a box having the wire-wound "pot" to control the brightness of the lamp,with a L.E.D. to let the operator know that the unit is powered up, that is velcroed to the right-end of the the PSG. (This can be used on either end of the PSG,all depends upon your preference)

Again....... DO NOT USE A LASER LIGHT !!!!

Seriously, where is your 'line of sight' when playing an instrument with a bar? It's the fretboard - 100%. I've read all the posts where guys say "I position my bar by ear". I don't buy it. You can't place your bar in the vicinity and then fudge up or down as needed unless you play only whole and half notes (flat or sharp until intoned). You must place the bar directly over and exactly parallel to the fret marker beneath.

I appreciate the prompt and reciprocative response that proves what a great gentleman you are.

From your point of view, where you shifted to a serious note, I am very pleased that your observations are quite accurate. I agree that the emphasis is not on the lack of much needed light, but rather on a fretboard that will quickly become adaptable for visual advantage. Just for the record, the current fretboard could be modified, and the wider raised fretboard would meld into the beauty of the instrument. Purposeful efforts might very well challenge any existing designs. The "brow" of the extended fretboard could feature delicate inlay, combined with selected wood. The versatility of the concept assures the success of its practical application.

Bill H.

[This message was edited by Bill Hankey on 03 April 2003 at 05:40 AM.]

Thank you for the affirmative reply. Reassuring those who have taken the time to consider the visual aspect of playing the steel guitar, is appreciated. If by some magic, an electronic device, similar to charted heartbeats, could reveal the actual bar positioning of a player, the validity of the concept would come rushing home. Truth is as silent as still water, or a wet leaf at the forest floor. Either of the two can bring excitement under a variety of different conditions. A new concept shares the same fate of the fallen leaf, if it tumbles into a recess of disregard.

The brevity of your reply necessitates my request for specific language that is pertinent to the thread.

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Stump Reeves

Thank you for explaining that my choice of vocabulary is for the most part too flowery. It will be no problem substituting, and using two syllable words. As a beginner, please let me hear how you are doing with your steel guitar.

As far as my beginning steel playing goes. I have been a musician for over 30 years. I was injured in Dec 2002 and lost use of left hand and my wrist is fused at the joint. I will never be able to hold my guitar again. This is what has finally given me the gumption to buy a psg.
I thought I would I pick it up fairly quick. And as far finding the chords, I have had no problem. The sound, however, still has much to be desired. I never really appreciated the amount of time a steel player must devote to technique, and coordinating the pulls to get a good sound as I have since trying to learn this. I have great difficulty just holding the bar with my fingers since I have some partial paralysis in my left hand. And I have a lot of work to do training my right hand to find the proper strings.
This just may well be the most frustrating addiction I have ever imposed upon myself. I love the challenge and just can't seem to get enough of this miserable instrument.

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Stump Reeves

[This message was edited by David Reeves on 04 April 2003 at 01:02 PM.]

Thank you for the reply. I have some good buddies down there in Florida. They plan to come to the Annual Massachusetts Steel Guitar Bash on July 20th. They made the trip last year. I was moved by your great determination to get a handle on the steel guitar. There are some brush techniques that should be tried. Your feet and knees can do wonders if the steel is equipped with most of the important changes.
That strategy could very well merge into a more progressive style. I hope that you will never lose interest in the instrument that so many of us have tried to master.

I credit the tiny leaves in many ways. Not the least of all, their natural protection in keeping you or anyone, and their steel guitar, from the blistering rays of the sun at a yard party, block dance, outdoor roast, etc. You may want to remember that leaves were part of the trees, that supplied builders of the steel guitar with bird's-eye maple. I had mentioned before editing, a famous steel guitar builder. Waning responses have clearly indicated that such practices are to be reconsidered. A thriving, and interesting thread, apparently needs not the mention of famous personalities, but rather, striving to maintain restraint in by keeping a simplistic, yet meaningful reply.

Bill H.

[This message was edited by Bill Hankey on 05 April 2003 at 08:35 AM.]