If you have any questions pertaining to the steel guitar (whether related to tunings, gear, recordings, techniques, music theory, or which whisky goes best with steel guitar music) post them in the Comments box below and I’ll answer them best I can.
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What software did you use to do 8-string tabs? I have Guitar-Pro and Finale but they can’t do up to 7-strings.
I use Tabledit. Can’t beat it for the price. I even used it for my book.
Mike, I got a question about Nightingale….
How are you doing those 4 string slants? the 7766, and such. I’m getting one of the lower with the 2 highs, but can’t see how you’d do 2 strings on one fret, 2 on the next higher. It does sound good with only 1 lower, just curious…..
Ron, the trick with these 4 string slants is that they yield dominant chords, so there is already a bit of dissonance built into them. I can manage to fudge them so that they sound almost in tune, but they resolve shortly thereafter anyway. By the time this all happens, I’m sitting on a pretty major or minor chord. Make sense to you? This may go against logic of the steel guitar, but using my broader musical experiences gives me ideas on how to be as resourceful as necessary to make the sounds I need to make.
If you can only make one of the lower notes, go for the lowest one.
One of the other questions I get asked a lot is, “How do you play 4 note chords with 3 fingers?” It’s very easy–usually those 4 notes are grouped together (not always, as I have some other weird 4 note voicings that I play, too) and I use a squeezing motion with my 3 fingers which also enables the 3rd string to sound. You don’t have to be so precise in the picking, but you have to have enough force to make the 4th voice sound. It’s either done by pushing the thumb through the string to strike the adjacent string or by using enough force with the 1st and 2nd fingers to strike a 3rd string.
Good day…I am a newbie to the art of lap steel. Am awaiting my instrument’s arrival (mid ’40s Supro). I have a wonderful Traynor tube amp (modified YCV40T) I am looking forward to this journey. In my current & previous life as an electric guitarist I never used a volume pedal. I have researched VPs on the web until I have double vision. So many types, so many opinions. I bring my question to the master…what is a best buy volume pedal for use with lap steel (I will probably use delay and flange as well). You insight is greatly appreciated. Best…Tom
Tom, when I played guitar only I used an Ernie Ball volume pedal which I thought was pretty good. After playing steel for a few years, I decided to see what all the fuss was about with the Goodrich 120 volume pedal. I really liked it a lot, but it wasn’t 3 months before the potentiometer crapped out on me. I then dug out my trusty old Ernie Ball and did a bunch of gigs with it; however, I didn’t like it as much as the Goodrich when it was working well, so I bought a replacement pot from Tom Bradshaw and, with a little bit of effort, installed and now have a great volume pedal. The Goodrich ran about $130, if I recall correctly. I’ve read that they are using new potentiometers, but I don’t know for certain. The replacement pot cost me an additional $30.
Good luck in your journey and I’ll always be here if you need me.
Mike
Good morning Mike…thank you for the info. I have looked at both the Ernie Ball and the Goodrich. Have been leaning toward the Goodrich…your input has helped me decide to move in the direction Goodrich. Have a great weekend! Tom
Mike,
Thanks for all you do for the steel guitar community! I have a single neck Bigsby that I need a stand for. I remember you having a stand built for your single neck Clinesmith, but I can’t remember who built it for you. Can you point me to the right guy to have a stand built?
Thanks for you time!
Russell
Russell, thanks for writing. You’ve come to the right place! The stand I have was built by Mark Roeder–he builds beautiful custom stands worthy of your Bigsby. Here is his web site: http://www.deluxe34.com/custom-stands.html
Tell him I sent you.
Good luck,
Mike
Mike, I recently discovered the steel playing of Billy Hew Len, and I love it. Can you talk a bit about his approach to the steel? His playing, to me, is unique and very distinctive. Also, which are the best CD’s in terms of showcasing his marvelous playing?
Hi Mike,
Thanks for your quick reply and two names. Not familiar with Frankie K. but will look forward to learning about him. I have joined a couple of organizations/forums. Another question – this one concerns Warren Zevon’s “Hula Hula Boys.”
I was wondering what you could tell me about re-creating the steel on this? Any instruction appreciated. In fact, if you are open to tabbing the steel part for a C6, contact me with your rates through e-mail – maybe we can do a little business
http://www.youtube.com/watch?v=e4xAmiR0k80
Hi Mike,
Thanks so much for a great site. Having been bitten by the lap steel bug, (C6) I’d like at least a few lessons from a pro.
Would you know of anyone to contact in the Kansas City area about this?
Jackie, there are some wonderful players in Kansas City. Did you read my article on Frankie Kay? There’s a fellow named Bill Dye you might want to look into. Are you a member of the Steel Guitar Forum? If not, you should join. You’d be able to get some answers there.
Best,
Mike
Greetings Mike,
Do you know what tunning is used on Sol K. Bright’s cover of: “Heatwave”?
Thanks
Jack, I will have to dig that one out and give it a listen. I think much of Sol Bright’s stuff was played in high bass A tuning.
mike
thanks for the perceptive don rooke interview – i learned a lot more about don’s approach and background- makes a lot more sense of what i’m appreciative of when listening to the henrys/three metre day ou
works.
j w maslen ( nottingham uk)
Mike, I love the sound of a well-executed multi-string chord played with the right hand thumb only. Can you give a tip or two on executing these thumb sweeps cleanly?
Thanks
Tony L.
Tony, sorry for the delay in responding to this. I think the way I do thumb strumming is to anchor my finger somewhere on the guitar (if the chord is on the inside strings, I’ll rest my fingers touching the outside of the first string–it serves to block it as well) and move my thumb across the strings I want to hear with some degree of force–not really hard, but strong enough to make the strings respond the way I want. If I want all the notes to sound at once, I do a quick stroke; if not, I might drag the thumb a little more for an arpeggiation kind of effect. It just depends on how I want it to sound. I will use my palm for muting, too.
Thanks Mike. That’s really helpful. I’m glad to know that you say that it’s ok to touch the outside of the first string. I do so whenever I’m not playing the first string. I’m after a piano-like block chord effect with my strums. I want to try to emulate the feel of a piano player bringing the fingers down on the chord all at once. Based on what you said, I need to play the strum with more force to achieve this effect. Is that correct?
Mike,
I’ve looked through your website but I can’t seem to get to the part where I can sign up/join. Would you please point me to it?
Thanks
Rick, I had the subscriptions buttons disabled and I’ve just enabled them. Thanks for bringing it to my attention.
Hi Mike, I’m loving the interviews. BTW, if you had a 9 or 10 string, how would you alter your current tunings?
Regards, Joel Meginsky
Joel, I’d expand my C6/A7 downward, adding a low D. That would make 9 strings. I’m not sure I need a 10th string yet.
The tunings listed in the Wakefield interview, Are those liste lightest to heaviest gauge?
Great interview. Lookin’ forward to Part II
Robbie
Yes, 1st string to 8th. In the case where it says upper octave, those strings are unwound and are re-entrant.
Mike – I read a posting you left on steelguitarforum where you mentioned that you had Lindy Fralin rewind a Rhythm Chief 1100 for you. Do you remember what it cost? The reason I ask is that I’ve had an 1100 that’s been needing a new cable between the pickup and control box for years (it works just fine, but the insulation is cracked and ratty looking). When I called Lindy Fralin’s shop, they quoted me a very reasonable price for the cable, but the guy I talked to said “oh, you know, sometimes when we open those things up they just fall apart”. Needless to say, that worried me a little, so I’ve just been sitting on it since then (not literally, of course…).
Thanks,
Steve
P.S. by the way, no. I’m not THE Steve Morse.
Steve, I bought that pickup years ago and it was already rewound. I’m sure they wouldn’t have a problem rewinding it unless it was a basket case (I think that’s what he’s referring to). They did a remarkable job on the one I had–it sounded incredible with my 1940 Emperor.
Mike do you know where I can buy the John Munnerlyn and Lee Jefferiess cd ? Thanks
Gary, I purchased my copy here: http://www.cdbaby.com/cd/munnerlynjeffriess
Mike
Hi Mike, I really like your interview with Henry Bogdan and I enjoy this Hawaiian Swing music. I wounder, to make this kind of music is better to use Cm7 or C6? And why the tricone? Why not a standard accoustic Hawaiian guitar?
Thanks
The Tricone really is the preferred instrument for this kind of music because of its volume and its rich tone. If you listen to the earliest Sol Hoopii recordings, you’ll hear him playing acoustic Hawaiian guitar and it sounds great, but the National Tricone took it to the next level.
In my opinion and Henry Bogdan’s, C6 doesn’t really work well on a Tricone. I used an E tuning and the C#min7 tuning that Sol Hoopii invented (and so did Henry), but Henry changed his to Bmin7 with some different bass notes. If you listen to my version of Sol’s 12th Street Rag, you can hear the C#min7 tuning. I don’t use it much anymore, though, but if retune my 2nd string in E9 tuning, I get the same top 3 strings and I can have a little fun with that.
Mike, your writing and interviewing skills are impressive. Are there any writers (fiction or nonfiction) or journalists who had a particular influence on you?
Thanks, Tony. I’ve always been a fan of clear writing with regard to journalism. I used to love the old Guitar Player magazine interviews and grew up reading National Geographic, Life and Reader’s Digest as a little kid.
Basically these are conversations and I just ask the questions that I want to hear the answers to. Everything I do starts off as my own selfish desire to learn–I just try to keep it interesting and not geek out too much.
Hi Mike, I have watched some video of you on youtube with the moonlighters and its greath, this C#m7 sound really good for this stuff. I would like to know what is your current projects? any cds? where can I see you live if I go to New-York?
Thanks
JS
Hi Mike, I really love your version of Georgia in my mind, do you have the tab of it? Have you tried a version of Basin Street Blues? It should be great!
Hi I’m interested in a list of songs that you have tab for. Somewhere on you site you recorded Coconut grove…was that in c6th? Regardless what tuning do you have tab for that?
Thanks,
Daymor
Hi Mike,
With respect for preparing oneself for jamming with other musicians that might play more modern country songs and even some rock and blues:
The Boogie rhythms and Travis Pickin’ from Buddy’s Boogie lesson are fantastic. Thank you for them!
Variations definitely can be applied to many jam sessions with other musicians.
With that jamming concept in mind, would you suggest a steel player continue using E9 to develop a style that would allow them to ‘set in’ on jam sessions or would developing a rhythm style in C6 be a better approach. This bouncing from one tuning to another seems to be confusing me on which one would be best to get my rhythms and chops up to snuff to contribute to a open mic type nights.
Going into jams sessions with nothing but hawaiian and western swing chops just won’t get it unless it is those types of bands.
Thanks,
Gary
Gary,
In terms of versatility, I believe both the E9 and C6/A7 tunings I use offer an extremely wide range of sounds. The C6 tuning is often mistakenly underrated as a Rock or Blues tuning–it is great in those applications. The E9 tuning is also very versatile and provides you with the possibility of a lot of bass note runs, which can be extremely important. I get so much use out of that and at times it can really take a tune to another level. I think if I was walking into a jam cold (not knowing what they would call), E9 might be my choice. I’d have to really listen to the bassist, though, because it is very easy to create a lot of havoc by playing in his range and not complimenting what he is playing. That is really important if you are going to spend time playing on the lower strings.
I do find, however, that C6 is better for improvisation than E9. If I’m going to be doing a lot of soloing, particularly single notes, I like C6 better. But the good news is that it is extremely easy to re-tune your guitar from E9 to C6. If I’m playing my Clinesmith S-8, I do it all night long (on the fly, usually with no tuner).
Another thing I really like to do in E9 tuning is simulate Spaghetti western guitar sounds, playing melodies with the bass strings and using my volume pedal to re-create tremolo. It is extremely effective and gives the steel another color option.
Hi, Mike. I don’t have a question, but a comment regarding your SGF post re Bass tunings (I’m a longtime SGF lurker, but haven’t yet registered). Based on my experience with my own T-8 Stringmaster, I suggest that you examine each string hole on each tuning machine post on each neck of your T-8.
About 30 years ago, I determined to put a bass tuning on the top (audience-side) neck of my Stringmaster. When I couldn’t cram a .110 or .120 string through the 8th string hole, I drilled it out. Only after doing so did I discover that tuners on one of the other necks already had string holes large enough to accommodate bass strings. (My instrument had been stripped and refinished by a prior custodian.) My suspicion is that many if not most three and four neck Fenders may have left the factory this way.
John, I appreciate your input. Thanks for the tip. I did take a look at all of the tuners, but the holes all appear to be the same size. Did you have any luck with drilling out the tuners?
Mike, my sincere apology for the late reply.
I had no difficulty just chucking a 1/8″ bit into an electric hand drill and enlarging the string hole in the 8th string tuner. The bit followed the existing hole nicely, with no wobbling. I may have done the same with a 3/32″ bit for the 7th string; I just don’t remember.
Bear in mind that when I did this, I was dealing not with a vintage instrument, but a used one, which didn’t cost me very much ($150 in 1976 or ’77), and from which the original finish had been stripped. Today, I might think twice before drilling (and then go ahead and drill anyway
).
The tuning I put on it was (low to high) G A C D E G B D (or, to put it your way, D B G E D C A G). All strings were wound. The first four gave me the familiar intervals of my 5th-on-top A6. The low G was as low as I could go while maintaining reasonable tension, given the Stringmaster’s 24.5″ scale.
It sounded pretty good, but though I messed around with it some, I never actually put it to use in live performance or in recording. There was never a context in which it seemed the right thing to do.
Hi Mike,
Could you go to this site and contribute suggestions?
http://bb.steelguitarforum.com/viewtopic.php?p=1785219#1785219
Thanks
Gary
Mike,
Do you always have the E9 Tuning on the inside neck?
Just got Buddy’d Boogie. Very nice indeed!
Gary
Gary, yes, any time I’m playing a multi-neck guitar I do. If I am playing a single neck, such as my Clinesmith lap steel, I’ll retune between C6 and E9 as I deem appropriate. Just takes a minute. BTW, you’ll see the relationship of strings 2, 3 and 4 is the same on both E9 and C6, just a 1/2 step lower.
Glad you like the Buddy’s Boogie package. It’s one of my favorites.
Hi Mike,
Could you explain why you choose to have the E9 tuning on the inside neck and (I guess) the C6 tuning on the outside?
Thank you,
Gary
Gary, I have a Triple 8 Fender Custom–the C6 goes in the middle. It seems to be a perfect fit there. I think I like having the E9 closer to me because I play a lot of stuff on the low end of that tuning and it seems to make more sense to me and feel more comfortable in that position. I think I remember having E9 in the middle and then changing it. I like it for the the bass notes and it’s better for me to have it inside.
Dear Mike:
Recently, I’ve become kind of obsessed with “I’ll Never Be the Same.” I’ve heard all kind of versions of it including the Moonlighters’ very fine version on the Surrender CD. I want to do a chord/melody arrangement of the song on electric lap steel, but so far it’s not coming together for me. Do you have any advice for me in my quest for capturing this tune’s unique feel? Are there chord substitutions that work particularly well on this one? Is there a key other than the standard one that might be a better choice? I play 8-string steel in A6 tuning.
I would grateful for any advice that you might have for me.
Thanks in advance
Tony L.
Tony, I will have to think about it for a few days. I’ll get back to you. It is a great tune.
Tony, I haven’t had much time to check out I’ll Never Be The Same for A6 tuning, but I’ll admit it might be kind of tough because of the lack of dominant chords. My tendency would be to look at either E13 tuning or C#min7 and work from there. But where there is a will there is a way, so if you’re determined to keep at it in A6, then just keep looking. Sometimes it helps to think outside the box. You might try playing the melody in octaves and then hitting the chord, like this:
I’ll ne-ver be the same (chord), stars have lost their mean-ing for me, where the italicized words are melody notes contained in the chord.
Also, look at open strings to help you get your dominant chords–for instance, if you play and F# on the 9th fret and leave the first string open, you’ll have an F#7 chord. Stuff like that goes a long way when doing chordal arrangements.
Sorry I can’t be a bigger help, but I’m working full time now and my musical endeavors are pointed in a specific direction at the moment.
Mike, that helps a ton. Thank you. Good luck with your current musical endeavors.
Thanks Again
Tony L.
Hi Mike,just love the Bebop stuff ,my background is Guitar but played a lot of Sax and flute in Asia in the 70s ,my all time fave Sax muso was Sonny Rollins St Thomas being my top tune.
Got into steel about 6 years ago tried c6 but as I am mostly a Rock Blues player gravitated to Open E ,C#m etc more Lindley stuff with my B6 thru a Vox AC 30 got the drift .
You inspired me back to C6 ,my main fiddle around tuning for the past few years has been A C# E G A C E F# it gives me my triad on the bottom but all the C 6 stuff in between plus I lve the F# on top.
So getting into the Bepop thanks for the inspiration.
If you ever feel inclined St Thomas would be a great exercise ,I used to play it on Sax but can’t get the the feel on Steel .
Also if you need a fresh idea what about Peaches en Regalia from Zappa or any Zappa stuff I think would translate to Lap Steel.
Mike I am relatively new at the steel guitar. I have a Remington S-8 playing through a modded Nash 1000. I play a sacred steel style (E,D,B,G#,E,B,G#,E). It is very difficult to find material that will help me learn chords, as well as enhance my understanding of this lovely instrument. Do you have or know of any. Any information will be appreciated.
Mike
Mike, are you aware of the instructional video put out by Darick Campbell? Chuck Campbell also has one, but for pedal steel. I had the pleasure of playing with him last year and he is a fine player.
With regards to the Sacred Steel tuning, it isn’t a tuning that is rich with a lot of complete harmonies. It is pretty straight forward–major and dominant/diminished chords at face value. The rest of the time you will be implying chords. I suggest really investigating how to use the diminished triad to achieve more complex dominant sounds. For example, in the key of A major, with E7 as the V7 chord, you can move the diminished triad (on strings 2, 3 and 4) up and down the neck in intervals of a minor 3rd (3 frets). Moving up to the 3rd, 6th and 9th frets implies E7b9.
Sacred Steel is all about the melody and expression. Good luck in your pursuit. There are quite a few excellent SS players around.
What tuning is this, it works great for country or western swing but I don’t know what it is called ?
Here it is from lo-to- hi A-E-F#-A-C#-E. Is it an A6 or a variation ? I have no idea and I looked on the internet, but aparently not in the right spot. All I know is that I like it alot.
Thanks,
Steve
Steve, that is an A6 tuning, although it is slightly different form the traditional tuning in that you substituted the low A for a C#. There is a ton of music in the A6 tuning, so enjoy. I recommend listening to some Herb Remington to see just how much he got out of it. Speedy West played an 8 string version of A6, as did many others.
Hi Mike –
I’ve spent hours now looking for lap steel exercises and finally got to here. First, thanks. (Having spent many years in piano lessons and a few with accordion and bass guitar, I find the lack of exercise material for steel a real pain.) I have books which include scales, but those are really for learning the board, for me, that will come but it’s the right hand dexterity that I’m interested in, so I really do thank you for the stuff on your Dos and Don’ts page. Now here’s my question:
On that page (under number
you say: “Do make sure you are using the right bar.” How do I know what the right bar is — I’ve just moved from a Stevens to a Dunlop Bullet bar and know I am going to like this. But, I have a question about length? I have very large hands and will always be playing a six-stringer. I’m working now on a Magnatone with a string spread of 1-7/8″ at the 1 fret and 2-1/16″ at 15. The bar I have is 5.5 oz. 3/4″ x 2-15/16″ (Dunlop’s 918). Since I’m just starting out with this animal and about to get (if USPS ever delivers it) my “new” National Dynamic — I’d like to start off with the best set up at the beginning. I like the way you write and think, so I’m asking for your advice!
Any help much appreciated.
Thanks.
Clair
When I first started playing, I had a Stevens bar and a pedal steel bar (1″ x 3 3/4″). Naturally, the pedal steel bar was a bit long and large for my 6 string lap steel, so I stuck mostly with the Stevens bar. I had the Stacy Phillips Dobro book, but just could not get the concept of slanting. It was only when I ditched that Stevens bar and got a JB Dunlop bar (3/4″ x 2 3/4″) that I could begin to manipulate it. The fingers do the manipulating, not the wrist, so the bar has to be a good fit for your hand. Most folks do a reverse slant by bringing the thumb to the back of the bar and placing the thumb in the recess. If doing this is made difficult by the length of your bar, then it’s probably time to adjust accordingly. I had the good fortune of finding out about Jim Burden’s bullet bars and have had a few custom made over the years. http://www.bulletbars.com His bars have good mass, the steel feels nice and warms quickly, the recess is very accessible, and the price is right. If you like your Dunlop, consider getting one of Jim’s bars as well–it is nice to have more than one anyway. I find his bars to have a very smooth surface and they glide on the strings. And if you think you need a change in the specs, do it very gradually–slight changes make a big difference, even 1/8″ is noticeable.
Another thing to realize is that the string tension is going to impact your ability to get a good sound and play in tune. Strings that are too light don’t play in tune very well, especially with a heavy hand. Also, the tone isn’t all it could be. On the other hand, strings with too much tension are just as bad, but for different reasons. So finding the right gauge is important, and it has to do with your instrument’s scale length and whether or not you play with more than one tuning. I have strung my main single neck guitars with gauges that allow me to use 4 or 5 different tunings without much sacrifice. John Ely’s string guide is a good place to start (thanks, John, it’s a big help!).
http://www.hawaiiansteel.com/learning/gauges.php
Mike
Thanks Mike –
From what you say, I’m guessing I might need a slightly bigger diameter bar – thought my current length is probably fine or maybe a hair longer. (My hand span is 9″ — it was great for piano! lol) So, with this info, I’ll wait until my National comes to see how that works with my current bullet.
And I did ref. that gauge page and on my Magnatone am using .014 .017 .021 .024 .030 and .036 per his recommendations. Unfortunately, with my limited experience I’ve nothing to compare to. I’ll ask for advice in the SGF for my National strings. Thanks again.
Clair
Clair
Mike, do you know of a very simple tablature program for Mac that would allow me to type out my arrangements for lap steel, guitar, tenor banjo, and 5-string banjo? I don’t need to hear what I create or anything like that. I just need a simple program for typing the numbers in the spaces. ‘Any suggestions?
Thanks
Tony L.
Tony, the only program that I have any familiarity with in terms of tab is Tabledit. I didn’t have the patience to deal with it when I was finishing my first DVD, but I have since learned it inside out and it is a good little program, but I don’t know what else to compare it with.
It has notation and MIDI capabilities, if you want them, but you don’t have to use them. It’s pretty inexpensive, as well, which was a big selling point for me.
Thank you for the recommendation. I bought Tabledit and have been experimenting with it this evening. I have one Tabledit question that I can’t find covered in the manual: Is there a way to remove the bar lines and just type in the notes and chords? When I’m preparing stuff for my own practice, I don’t want to spend time getting all of the triplets and dotted half notes and ties perfectly aligned. Is there a way to simply type in the content?
Tony L.
Open the “Time Signature” window. Set the “From Measure” and To Measure” to cover all measures, then select “Ad Lib”. That will give you one continuous measure.
I’ve been trying to make the change that you suggested for me. When I have to play the first and second strings together or the second and third, I have always done so with fingers one and two of the right hand. Now that you’ve shown me the correct way to play those notes (T1 or T2) I’m working hard to make the change. One problem I am encountering is this: Often when I play those notes, my thumb pick and finger pick hit each other after the contact with the strings. How can I keep this from happening?
Tony L.
Tony, very simply extend your thumb a bit more towards the neck until there is about an inch or so of separation between the fingers. Your fingers don’t have to all line up in a row across the strings; it is best if your fingers form a row along the strings. I will have a look at your video again and see if it is a wrist angle issue.
Thanks Mike. I don’t think you’ll be able to tell much from that video because in it I did all of those two strings strokes with the 1st and 2nd fingers. Now that I know the right way, I’m trying to get the thumb involved, and I’m trying to extend the thumb a bit further toward the neck.
Dear Sir:
I have only recently begun learning steel guitar, but have followed your work through the Steel Guitar Forum and your own site for some time. You are always informative and your playing is an inspiration. Your advocacy of Todd Clinesmith’s guitars is appreciated as well. I have been corresponding with him and will be ordering a D-8, but need advise on a couple of points. Perhaps you can help.
When it comes to the necks, is there any particular advantage to the
wood neck:
aluminum with raised graphic necks:
Which is the best choice in terms of classic Bigsby sound? Is there any other factor to consider in making the choice?
Your thoughts as a player would be most appreciated. Thank you.
James Nottage
James, thanks for writing. I’m glad you stopped by and hope you continue to do so.
As far as the difference between the wood neck and cast aluminum, I can’t answer that because I’ve never played his wood necks. I have my lap steel, which is alum neck (with raised graphics) and I’ve had 2 D-8 consoles here, both with alum necks (no raised graphics). The raised graphics on consoles is a new feature for Todd and I must say, that is a great addition.
One thing about Todd: you would never be disappointed with his wood choices and finishing–it is world-class. All of his workmanship is fantastic and he is the coolest guy around. As far as the difference in tone, I have been told the wood necks might be a little less bright, but these are not super bright guitars to begin with. I’ve always been partial to the metal guitars, as I’ve always loved the Rickenbacher Frypan, so for me the choice was easy. As far as which has the classic Bigsby sound, I think the guitars I’ve played have all had it. Using the right amp is a big factor, too. I think the speaker choice has a lot to do with getting that classic sound.
Mike:
Thanks so much for your welcome response to my inquiry. I’ve been uncertain about which neck for the Clinesmith and guess as I weigh the alternatives that going with the aluminum is a bit closer to what the majority of 1940s-1950s clients of Bigsby went with. Now, I just need the wait 8 or 9 months to see the results!
Sincerely,
James
Mike:
Just want to thank you again. I have ordered my new D8 Clinesmith, wood necks. Your blog continues to be a very useful resource and I look forward to learning more through you.
James
James, congratulations on your decision. I look forward to seeing and hearing it.
I’m glad you find the blog useful. I’m not going anywhere, so stick around. I will get back to posting more soon, but I am in the throes of several projects.
Best,
Mike
Since you brought up the importance of the right amp, I’d like to ask you about that very thing. I have a particular sound in my head. It’s the sound on that classic intro on Patsy’s “Walking After Moonlight.” It’s also on Hank Penny’s version of “Alabama Jubilee” and Hank Williams’s “Cold, Cold Heart.” I realize that most of the sound is generated from the player’s hands, but do you have an advice on finding a small amp (10″ or 12″ speaker) amp that will help me produce that sound?
Thanks
Tony L.
Hey Mike, I checked out the Bounce metronome, and I’m really impressed with it. I’d like to purchase it, but alas no Mac version is available. Do you know of a similar product that is compatible with my Apple computer?
Tony L.
Robert was not planning any cross-platform development for MAC, but there was an overwhelming interest in it, so he was reconsidering. Why don’t you send him an email and ask him about it?
forums@robertinventor.com
For all interested parties with a Windows PC: this software called Bounce Metronome Pro is incredible and let’s you get into some incredibly complex rhythmic stuff. It’s also great that you can set the sounds through your computer’s MIDI; for example, I like to use a ride cymbal for my eighth notes.
Hi Mike:
I’d love to hear about the process you use for making your recordings. You seem to bang ‘em out pretty quickly and they sound good. It takes me forever to make a recording and as a result I rarely do. Do you have everything set up and ready to roll, and an easy process for laying down the tracks? How many hours a day are you spending on music (last time I heard you did have a day job and a commute)? Whatever it is it’s paying off! PS Your Bud’s Bounce is incredible.
Bill, Thanks, man! My biggest secrets to recording are: 1) do it quickly while the inspiration is there, 2) I’m not a perfectionist with regard to these recordings–it is what it is, 3) don’t let the gear stuff get in the way, 4) always keep my bass nearby, 5) keep an open mind for drum sounds and use my imagination–I’ve gotten good sounds from Samsonite suitcases, cardboard boxes, metal objects, etc. I record my own tracks because I don’t like the pre-recorded tracks I hear (apart from some Aebersold) and I just don’t enjoy BIAB sounds. I’d rather play solo, but that’s just me. I have a million things I want to record, but it’s hard to find the time. I just try to bang out the easier stuff here at home. I’m planning on recording a legit record in a studio some time soon.
I use 1 microphone (usually a Shure SM58, a mic pre) and lately I’ve been plugging direct into the BR-8 for convenience. I don’t love the sound, but it’s good enough. i don’t really take these recordings seriously; they’re simply quick demos. Maybe that’s why they sound good. It’s like cooking: simple preparation of quality ingredients.
I should confess–I used to have a somewhat decent recording studio with good gear and mics, etc., but eventually I sold all of it. I’m much happier with just this little bit of stuff. I can actually spend more of my time playing than futzing around.
Hi Mike:
I made up a little intro to the Christmas song, “Mele Kalikimaka” that concludes with three chords: open on strings 1, 2, & 3, then open on strings 2, 3, & 4, and then I play strings 2, 3 & 4 on the 2nd fret. Because I’m I’m playing this intro alone (The band comes in on beat one of the tune.) I want it to sound clean and pretty, but when I lay down the bar from that final chord at the 2nd fret I get this annoying sizzle. The strings are still ringing from that open chord when I hit that chord at the 2nd fret to conclude the intro. How do I play that 2nd fret chord cleanly without any sizzle from the previous open chord?
Tony
Tony, do you normally hear the sizzle when you play on the second fret? The reason I ask, it could be a case of the strings not laying right in the nut, causing some strings to sit lower than others. If that’s not the case, I suggest that you place the bar at the 2nd fret confidently with some downward pressure. Try to bring the bar to the strings in one quick move, picking the strings immediately when the bar hits the strings. Work on coordinating the right hand with the bar hand with precision. This would be a good case for a little video so I can see exactly what you’re talking about. I tried to duplicate it, but did not encounter the same problem at any time.
I think the problem is that I have to lay the bar down on strings that are still ringing from the previous open chord.
Tony
Tony, lay the bar down quick and even and pick the notes at the same exact time the bar is down. Wait until the very last moment to do it (in other words, let the open strings ring their entire duration). There is no need for any kind of blocking–just get the right hand precise. Relax, it will come to you with practice.
Thank you. This morning, I worked on waiting as long as possible to play that
B7 chord at the 2nd fret. Waiting definitely reduces the sizzle.
Hi Mike, This is some of the most thoughtful, enlightening information I have read in a Blog. I am really looking forward to a session on Sol!! …… as well as any other, but you know my leanings!! Best to you and thanks for sharing. Dan
Hi Mike, loving the blog.
How do you generally play chords with four adjacent strings?
I play with a thumbpick and finger picks on the index and middle fingers. To “pick” I’d need to add
an extra finger, so I usually end up strumming the chord with the thumb. Sometimes I kind of grab
the inside and outside strings and try to hit the inside strings with the fingers going towards me.
Whatever I do, it never sounds as clean as a two or three note chord.
Thoughts?
Hi Bill, thanks for coming by.
You know, it depends on the sound I’m going for, but sometimes I will do a quick, light strum with my thumb, which lends a nice harp-like sound. I’ve heard some nice recordings of players like Joaquin Murphey doing strums like that.
Other times I rely on my index finger to catch 2 strings. The way I do it is like this: my right hand and arm are usually at a 45° angle to the guitar. If I’m going for a bigger chord, usually a 4 note chord, what I do is turn my hand slightly so that the angle increases and my middle finger and index fingers are actually pulling toward me. By doing this, my index finger brushes lightly across the free string. You have to be quick with it, almost like snapping your fingers, or all the notes won’t sound together. Takes a little practice. The length of your picks can also be a factor here. I usually extend mine about 3/16″ to 1/4″ beyond my fingertips. I’m not sure I get it all that cleanly either, but it’s still effective. Sometimes you just really need that 4th note–and it happens a lot more than I want to believe!
Hi Mike, thanks for the blog. I like the jazz standard tabs in particular, being a jazzer on another instrument.
I have a bar question – what is the weight that works best for you. I’m thinking about getting a 13/16 x 3 Bullet bar and am I would be interested to know what weight you would suggest.
Aled, if you are considering the 13/16 x 3 bar from Jim Burden, I believe they only come in one weight, but it is a healthy weight. I don’t know exactly what it is, but I estimate it’s about 6.5 oz. I like a heavier bar–anything less than 5 oz feels too light to me, but it depends on the tuning and guitar. If the strings have a lot of tension, definitely a heavier bar.
Mike, I am pretty new to lap steel and my question is about setting up your finger picks. Some players have them extended way out and others keep them close to their fingertips. Some are curved and others it appears are almost straight. What do you think is the best way to set up your finger picks?
Frank, I started played acoustically and would wear my picks curved and close to my fingertips. Problem is, on occasion one of my picks would actually get lodged onto a string and pulled off of my finger, making it impossible to play until I removed the pick from the string. Pretty embarassing. Another funny thing is, once on the closing chord of the final song of a show, my strum caused the pick to launch like an arrow off of a crossbow. I could hear the pick hit the floor about 25 feet away.
I began to extend the picks a little further past my fingertips until eventually settling on about 3/16″ to 1/4″ extension. The curve of the pick also conforms to the curve of my fingertips. Another thing is I use lighter picks now, usually Dunlop .015 or even .013. I used to use the much heavier .025. Too stiff for electric playing. You want to develop a “touch.”
One of the most important things is to get your right hand comfortable. Adjust your pick length to benefit your comfort and ease of picking, but I would suggest using a slight extension at first, maybe 1/8″ just so you can get a feel and develop a nice fat tone.
Hi Mike, thanks for the nice arrangement of “A Nightingale…” – very playable!
I noticed there is some chord substitution going on that I would ask you to comment.
Here goes:
Bar 6: Over Abm7 you play notes A-F-Bb. Does this make it a Db13 sub?
Bars 7 and 8 (my favourite part): Notes E-Bb-Eb = is that the “Hendrix chord C7#9 at work?
Or call it an F#13 leading to F7 in bar 8 – which in itself is a sub for the original Fm7 (with the same top note as the chord that went before
Bar 22: D13 for the original D7?
Best regards, Nils
Nils, with respect to the chord changes in the lead sheet, those are for the rhythm instruments to play and for guidance in arranging a chord melody. I will deviate from that increasingly in future posts.
In re: bar 6–the chord I play is B F Bb, which is Db13, but also could be Abmi6/9. It wasn’t really necessary to play the Ab-7 chord with the steel there–the Db13 sums it up.
Bars 7 and 8–yes, C7#9 and F#13 (tritone of each other) are interchangeable. Which chord it is would rest in the hands of the bassist and his note choice.
And yes, you’re right about the F7 and the D13. Remember, the chords on the sheet are just a guide.
HI Mike
Just came across your great new website , just out of curiosity is the playing of weissenbourns included in the same genre as Lapsteel, I do find the definition a bit confusing sometimes.
If it is I will gladly subscribe to your new site
Kind regards
Karl
Karl, while I do consider the Weissenborn style instruments to be in the lap steel family, admittedly they are a different animal. However, many of the players of these instruments also become interested in electric steel guitars, as well. This blog may not focus specifically on the acoustic instruments, but it is here for those who are interested in transitioning. I will bet that somewhere down the line I will post something pertaining to acoustic playing, so feel free to subscribe, we’d love to have you.
Mike and Tony, as far as electric guitars go I have settled on A6 as my tuning mainly due to the major triad on top. I think if you tune by ear you are using JI. Here’s how I tune. First I get my A’s to agree with a reference like a tuner or a tuning fork. Then I compare harmonics as follows:
1st string fret5 – with 3rd string a little sharp from fret 3. This is the only difficulty, you have to hunt around to find it.
2nd st. fret 5 with- 3rd st. fret 9.
4th st. fret 7 with – 2nd st fret 12.
5th st fret 5 with – 1st st. fret 12.
6th st fret 5 with – 2nd st. fret 12.
Geese I hope I got all the numbers right!
The 7th and 8th strings depend on choices but are usually lower octaves of an upper string. I owe all this to Rick Aiello who said “Be warned, once you start tuning this way there is no going back!”
I would be interested in a Photo of your right hand both out and rolled to visualize the Pickup cover consideration.
A cover will certainly effect where the right hand would rest in relation to fret position.
I’m not quite understanding how it would allow or dis-allow the pinky in or out situation.
Very Interesting detail worth the conversation.
This blog is very cool — GeorgeBoards fully supports Mike’s efforts to promote the C6th tunings to guitar crossover players.
MR.Boards
My right hand
In this clip you can see my right hand in its tucked position and slightly open. I don’t find it comfortable at all to play with my pinky extended; however, on the Clinesmith console I have here without pickup covers, it’s more akin to playing a pedal steel. I can see the pinky extended as being a positive attribute for pedal steel players.
Here is a video of Jerry Byrd and you can see his pinky tucked, as well:
Jerry Byrd
Like you said and I agree, whatever feels more comfortable and yields consistent results, that is what is most important.
In my 30 + year experience with Steel Guitar Studies with Numerous Masters including over 20 graduations from the Jeffran College clinics and full weeks in their Nashville classroom (1980-90) – including a full week with Buddy E and Jeff Newman on C6th education back in 1984. Later gaining a masters teaching degree at the Hawaiian Music Institute of Maui (Henry K Allen).
I can say the Pinky Out is a most desirable posture. Check out Buddy Emmons he plays pinky out.
Many Pedal players use the “Fist” style with great success, Jeff Newman was the most recognized teacher and discovered the pinky out to be more desirable, to the degree of altering his personal technique after decades of Fist playing.
Of course all postures are acceptable – what ever works – never argue with success.
Right Hand Posture would be a great topic for a concentrated discussion. I am glad and happy to share my experience if any one would like this. There is way more to good picking technique — the pinky issue is only the “Tip” of the subject.
Hope this add to the Blog
George MR.Boards
Thanks for your input, George. Another factor that weighs heavily is the guitar I’m playing. If the guitar has a pickup cover (which all of my steels coincidentally do) then I don’t have a choice but to tuck and roll. To leave the pinky out would mean I would have to play too far up the neck. That is why only occasion do I relax the tuck.
Regarding the pinky- I learned right hand technique from Jeff Newman’s courses. Back then, he preached the tuck in the pinky thing. And that’s how I learned. Then at some point, he switched to having it straight out, laying on the strings ready for damping. Around 1997 or so I recall attending one of his seminars at Billy Coopers steel shop and I asked him about the switch. He kinda dodged the question, but basically said that if you watch the right hand of all the top pedal steel players, their pinky sticks out.
When I can remember to keep it out AND keep my hand round AND relaxed, my right hand improves. In any event I think the big thing is to keep your hand like it is holding a tennis ball. If your fingers are tucked in too tight, they cannot move fast.
Thanks for starting this blog, Mike!
Hey Lynn, I just sat down with my guitar and I realized that I play with my pinky both tucked and untucked, keeping my hand very loose. I realize that I’m subconsciously thinking ahead about how I’m going to block the next thing I play. Most of the time it’s pick blocking, but when I am expecting to do some palm blocking my hand position changes slightly. The main thing is, though, it’s very loose and not extended straight out. I’m OK with that because most everything I play is an improvisation. If I had stuff worked out, like playing a head, I’d probably be a little more decisive about it.
Thanks for the tuning tips. I’ll ask one more question and leave you alone. My right hand pinkie sticks straight out when I play steel. I know this habit is bad because it causes tension in the right hand. Do you have any advice on how to leave not to stick out that pinkie?
Tuck your pinky and ring finger into your palm, like you’re holding a coffee mug, but do it loosely–you don’t want tension there. Having your pinky straight out limits your mobility because it makes it difficult to shift your wrist; there are times where you want your hand directly above the strings so you can do banjo roll type of picking.
Do you have an advice or recommendations in the area of tuning. I really struggle with precise tuning. I don’t completely understand the equally tempered root/just intonation/cents offset stuff, but I want to. I have a fine instrument and a really nice tuner (Peterson Stroboflip), but I hear sounds that definitely aren’t in tune to my ears. I play an 8-string lap steel in A6 tuning. What do you suggest?
Thanks
Tony
Tony, I’m going to be perfectly honest, all of that tuning talk makes my head spin. I don’t doubt that there’s any validity to it, it’s just not for me. I always tuned my guitars without a tuner; it’s just since I started playing steel that I’ve been using a tuner. You can say I’m old school, but I trust my ears implicitly. They haven’t let me down yet.
I usually tune a root string first, i.e., for A6 I would tune the A straight up. After that I would focus on the perfect 5th interval of strings 1 (E) and 3 (A), tweaking the first string until I was happy with the sympathetic vibrations–you have to really feel it to know what I mean. When the sound waves are sympathetic, there is very little vibration–de-tune one string and you can feel it immediately.
After that I would focus on string 2 (C#), making sure it was slightly de-tuned so that in a straight bar position it would sound perfectly in tune. I would continue in the same manner, tuning string 4 (F#) in 5ths with string 2, and then checking out how all 4 sound together.
There are plenty of threads on the JI and ET tuning methods, but it’s a little too heavy on the physics for me. No wonder I dropped out of Engineering!
Hope this makes some sense.
Hello Mike: Want to purchase your CD Track of Steelin’ Moonlight. I want just the CD Track of that tune. What is cost for track alone so I can put it on my Visa or send you the money to mail me the CD Track. I will pay postage. I am not too good in downloading on a computer so want the CD track to play on a player while I play steel guitar to it. If you happen to have a CD Track on the Speedy West song On The Alamo. I would like to have that one too. I like your backup instruments you use 0n the song. Let me hear from you. Louis Armentaro, Livingston, Montana Please send me your email address.