Conference napalm::guitar

	I've got an old Fender 8 string lap steel that I have been fooling
	around trying to learn.  I currently play country style dobro and
	would like to eventually get into playing pedal steel.  I still
	haven't figured out what tuning to use on the steel.  What I an 
	doing right now is tuning it to the 8 high strings of an E9 pedal
	steel tuning.  

	The steel guitar is really a great sounding instrument and a lot
	of fun to play (as is the dobro).  

	My big problem will come if I decide to buy a pedal steel since
	I play left handed :-) , I haven't seen any lefty pedal steels
	around.

	-gary

    In reference to .-1:  
    
    Gary.. what exactly is a Dobro.  Is it just the style of guitar?
    Special strings, special tuning, special technique??  I know the
    guitar is not your average acoustic and have always liked the sound
    but was never to clear on the fine points.  Can you fill me in??
    
    Ben.

    Re .1
    	Hi Gary, 
    	I remember reading an article a few years ago about the many
    famous Nashville steel players who are left handed. All of them
    play righty steels, so it isn't impossible to adapt, although
    I don't recall if any of them played guitar also. A lefty steel
    would have to be custom made and they are expensive to begin with.
    But if anybody could build you one, it would be Emmons.
    
    Neal

    
     re .2 - A dobro looks just like an acoustic guitar, but with a few
    changes. The strings are raised to reduce fret noise (anywhere from
    1/4"-1/2" higher than a normal guitar). Also you can have a rounded
    type neck or a square shaped neck,(depending on what plays better
    for you). I used to play dobro, lap steel and an old MSA pedal guitar
    alot a long time ago. I've since haven't touched one. I quess I
    should get back into it. On the brow, I used a -- e b g e b g tuning,
                                                      1 2 3 4 5 6 
    with med/heavy strings ( high "e" was a .013" ), with a heavy pedal
    steel type bar. I used the heavier one for practicing and a lighter
    one for playing out. You can play alot faster when you practice
    with the heavier bar. I could go on, but I'm starting to sound boring.
    
    Have fun,
    
    Fred
    
    P.S. As far as the pedal conversion...  personally... I'd buy another
    guitar with pedals on it. Since you've already played steel, you
    know about all the problems you can have with the changers. You
    could save yourself alot of trouble, BUT that's just my opinion.
    After all... what do I know. 
            

    
    Re: -.4
    
    The name Dobro is in fgact a brand name of guitars which were invented
    by the Dopyera Brothers (thus the name).
     
    The distinguishing feature was resonators made of metal which were
    mounted in the body to increase volume.  They of course affect the
    tone considerably, giving that Dobro "sound".  
    
    While the term is usually used to describe resonator guitars held
    in the lap and played with a slide (often with square necks) there
    were Dobros with regular guitar necks such as the type played by
    many country bluesmen.   Dobro at times was owned by National and
    Supro whose names often appeared on the peghead (thus, the "National
    steel" reference on many blues LPs).  No other brand of resonator
    guitar ever really took off in popularity.  I believe Dobro, under
    the ownership of the Original Musical Instrument Co., recently folded
    up (again).
               
    Dobro at one point also made resonator banjos and mandolins as well
    as guitars.  The name is commonly used in a generic sense these
    days, much as Frigidare and Victrola became generic terms.
                                                

	re -.1:

  >  I believe Dobro, under the ownership of the Original Musical Instrument
  >  Co., recently folded up (again). 
               
                                                
	Quoted from the back of the current Melody's Music catalogue:

	" On October 21, 1985, Chester and Mary Lizak purchased the company
	  from Gabriela and Ron Lazar.  They plan to carry on witih the 
	  traditions of the company, using the original designs and patents."

	So they are still around with a full line of resonator guitars as
	well as a 5 string resonator banjo.

	BTW, I just got a catalogue in the mail from a place in Texas who's
	name I can't think of just now, that also sells Dobros, accessories
	and also some custom made instruments.  Bob Reed (I think) is the
	name of the luthier.  $1000 gets you a new custom made resonator
	guitar.  They claim he is currently making one for Jerry Douglas and
	has made them for Josh Graves and Dan Huckabee.

	
re .1:

	I tune my dobro the bluegrass/country style which is G D B G D B
							     6 5 4 3 2 1

	The lap steel, I'm still not sure.  I'm not real enthused with the
	high 8 string of the E9 tuning.  The E9 is usually done with a 10
	string neck.

	Sorry to get the subject going on Dobro, but it is sort of a steel
	guitar.  

	The catalogue I mentioned above has several books in it on pedal
	steel as well as dobro.  The catalogue is a freebie, just send 'em
	a letter and they'll mail it to ya.  Anyone interested, I'll post
	the name and address tomorrow.

	-gary

RE < Note 237.4 by ROCKET::ABATELLI >

>    with med/heavy strings ( high "e" was a .013" ), with a heavy pedal
>    steel type bar. 

	Oh, so now we have 'Heavy Pedal' music!

	Dan (sorry, couldn't resist)

    Re. 237.0
    
    	If your looking for a shop to purchase or repair a steel pedal,
    I recommend Ted Herberts' Music Mart in Manchester, N.H.
    
    	Good Luck.
    
    							Mark Jacques
    							LM02 Marlboro,Ma.
     

                
    Help requested...
    
    Can someone answer some *incredibly* basic questions re pedal steel
    guitars? (I'm trying to do some ped_steel synthesis...)
    
    Uh, how many strings do they have?
    
    Is there a 'standard' tuning comparable to EADGBE on regular guitars?
    
    I assume the knee-levers change the pitch of 1 or more strings,
    yes? If yes, what strings and by what interval(s)?
    
    Anything else I should know?
    
    Edd
                    

    	Pedal steel guitars typically have 10 strings and are tuned
    to a chord,not in fourths like a guitar. Maybe a C dominant 7 with
    a 9. or G7,9 The pedals control pitch and are adjustable as to
    how much you want.

    
    A pedal steel guitar has 10 strings, 3 pedals and at least 1 knee lever.
    There are 2 "standard" tunings and variations of each.The E9 Nashville
    tuning is the most popular.
    
    
    		E9 Chromatic or "Nashville" Tuning
    
 High   F#  \
    	Eb  /   Chromatic Strings (became standard in 1964)
    	Ab
    	E
    	B      Pedal A raises both B to C#
    	Ab     Pedal B raises both Ab to A
   ^ 	F#     Pedal C Raises high B to C# and high E to F#
  /|\   E      Knee lever drops both E to Eb (very important change)
   |    D
  Low   B  
   
               Pedals A+B pressed at the same time will raise any chord
       	       2.5 steps. (ex. A-->D)
    	       Pedal B and knee lever = 7th chord
    	         "   A = minor chord	  
                 "   B+C = minor chord
           
     If you know some theory, you can find all kinds of stuff on a
     pedal steel. A vast amount of combinations are possible.
    
     I've known some guitarists who could do tasty steel licks on
     a guitar, and I'd be very interested to see what could be done
     on the black and whites.
    
    
     Neal
    
    

    Thanks! Just the kinda stuff I'm looking for...
    
    Aren't these suckers played with a slide of some sort? If so, is
    the slide always perpendicular to the strings or is it ever skewed
    so that strings in adjacent frets are affected?
    
    Edd

    
    Re:.12  Yeah, the bar is .75" in dia., 3.75" long, and made of chrome-
    plated steel. It also has a rounded end. The bar can be tilted up
    so that the ball end frets 1 or 2 strings and you can pick open
    strings as well. Slanting the bar to get other notes was used
    primarily on the old 6 and 8 string steels that didnt have any pedals.
    The advent of pedals and knee levers kinda wiped it out as a real
    necessary skill, but I know guys who still use both these techniques.
    BTW, some still play lap steel (6-string) with the old Stevens bar
    thats held between index and middle fingers. Dobro players use'em.
    	If you're interested in hearing great slant/tilt bar technique,
    listen to Leon McAuliffe with Bob Wills and the Texas Playboys.
    
    
    Neal
    

    Well, let's see if we can get this conference up and running again!
    I just picked up a MSA single E9 rig with you usual 3-4 changer
    combination. There is an interesting twist though, the "D" knee
    lever traditionally lowers the Eb to a D but this machine will
    double lower to a Db. It really adds versatility to root B chords.
    The "G" lever should raise both F#'s but I can only raise the 
    chromatic F#. Do any of you think this will present a problem as
    I improve? I really don't have any experience with this lever so
    I don't know what I am missing!
    
    			Dave "I've got blisters on my toes" Cole
    

    Your set-up with the double lower on the Eb, and the raise on the
    chromatic F# only, are standard on good steels with the 3-4 combo.
    I don't think you'll have any problem until you find something you
    want to do on the lower F#. I had that change put on mine when I
    had some work done on my Emmons. I had considered adding a lever
    to drop the Ab's to G to get a minor without moving the bar, but
    I get the G by adding that raise to the same lever that raises the
    high F# to G. If you might want to add that change in the future,
    It would be a minor job. I used to own an MSA double neck about
    12 years ago. Smooth action, similar to Sho-Bud, but I didn't like
    the sound. It was those "Super Sustain" pick-ups. 8^) The Emmons
    plays like driving a truck, but it has that SOUND. 
    	Who are you influenced by? What music do you listen to?
    I like Buddy Cage, Bruce Bouton, J.D. Maness, among others.
    John Kelly, you still out there?
    
    Neal
    
     

    I'm a fan of Bobby Black myself, though Buddy Cage, Lucky Oceans
    Tom Brumley and Buddy Emmons are right up there in my favorite
    list. Do you happen to have a copy of Buddy Emmons' album
    Suite Steel? I don't think it's in print anymore. I guess I
    should check out Tower Records though. I'm just starting to
    get some work now. I've got a studio date in a couple weeks and
    would like to start up a Country band of my own. I play lead
    guitar (in a couple of different tunings) and have been singing
    lead for 10 years. What are you up to these days?
    
    							DC

    I checked my record collection and the only Buddy Emmons album I
    have is "Steel Guitar Convention 1977 featuring Buddy Emmons". 
    No way can I follow him. He's all over the place. The guy is just
    plain awesome.
    	I don't play in a band currently, and even though I've been
    asked to do some recording recently, I'm a little reluctant to
    because I just picked up the steel again after 6 years. I've been
    playing guitar for 23 years and should be a lot better than I am.
    Talk about playing slumps. This is mostly due to the weekend 
    sound jobs I take.
    	What kind of amp do you use for steel? I've used Fender Twins,
    an Ampeg VT22 (yecch), and an old Peavey Session 400 (nice sound,
    bad pots). I want a Peavey Vegas. It's made for steel, but doesn't
    weigh as much as the Session 500. Know where I can get one? I talked
    do some people who were sure they didn't make them anymore, and
    are coming out with just one amp for steel; a remake of the old
    Session 400. I'll have to check this out.
    
    Neal
    
    

    I'm playing through a Music Man HD series amp 120w w/ 2 12" speakers.
    I added a Peavey cab w/ 2 10" Black Widows. I had an audition last
    night for a guy who's recording in a couple of weeks. I was just
    bearly passable. I've been playing the MSA for 4 days and believe
    me, it's damn uncomfortable. I'm embarrased to say it but, I had
    an easier time on my student model Sho-Bud. I guess that's only
    natural. Even the simplest changes leave me uncoordinated. I'm
    sure a week from now I'll be right at home behind the rig. This
    guy basically wants chordal background out of me ( as if I could
    give him anything more!) and to do the lead work on slide guitar
    ( more my league). Well the important thing is I'm driven now to
    learn as much country fills n' stuff as I can. You just don't learn
    those things when you use steel for New Age music! ;')
    
    							Dave

    I called Peavey yesterday and inquired about their pedal steel amp
    line. I was told they discontinued all of them and have introduced
    the new Session 400 LTD at the NAMM show a few months ago. I didn't
    get a list price. Doesn't matter, I don't have the bucks yet.
    	You got one sizeable pair on you for trying to do a steel track
    to New Age music. I like a challenge as much as the next guy, but 
    I woulda declined the invitation. On the other hand, you'll only
    get better. Just curious, was Bob Jordan involved in this project?
	I think I know what you mean about getting used to your new
    steel. I had a hard time getting used to new knee levers, and trying
    not to move them by accident and getting horrible sharps or flats.
    
    Neal
        	

    I think I missled you. I'm doing a track for a country song. I 
    haven't been playing any country. My band is the one that is New
    Age. I have got to learn a whole lotta country licks, fills intros
    and other stuff.
    
    						Pronto,
    
    							Dave 

    
    Re. 20 (Dave Cole)
    
    You wouldn't by any chance be *the* Dave Cole who grew up in Concord
    MA and played for a long stint in a band called Faze, would you?????
    
    Just curious,
    
    wjb

    No, I'm the Dave Cole who grew up in Framingham Ma. and played in
    a Boston based band The Rems. I don't know who the other guy is
    but, I am *THE* Dave Cole :').
    
    					You Know Who
    

    
    Re: .19
    
    Well, Dave isn't playing with Buffalo Bob Jordan but *I* am (or
    was, or something...) and Bob's latest project includes an occassional
    steel player from Albany (commute to eastern MA is tough) who I have
    only heard on tape so far.

    The music is kind of psychedelic folk-rock by way of Sun Ra....I'm
    still trying to figure out what's happening.....

    Stay tuned, campers....
    
    Good luck on your session Dave......"roooooooooll another one".....
    
    
    

    As long as we're playing "who's who"...
    
    Is that Bob Jordon the ex-WCUW Alternative Alarmclock announcer?
    
    Edd

    I would be interested to hear how you guys tackle the all-important
    function of right hand string blocking. I 'm slooowwwwly gaining
    ground in this subject but still have my problems. Any of you guys
    got any tips?
    
    							DC

    I can't really give any tips - it would take longer than this note
    - but I can recommend a good teacher. The book PEDAL STEEL GUITAR
    by Winnie Winston and Bill Keith [Oak Publications] has some ex-
    cellent lessons (and exercises) in right hand blocking. I believe
    that it is still in print.  If not, let me know - perhaps I can
    get photocopies of those lessons to you.
    
    					---Eric---
    
    P.S. For the record, I play a Sho-Bud Lloyd Green single neck, standard
    E9th setup.

    Thanks for the reply Eric, since I put the last entry in I've
    overcome the problem. I've got that book as well. It's funny,
    I worried about the blocking cause I couldn't do it. The minute
    I stopped thinking and worrying about it, it became natural.
    A perfect example of the benefit of practice.
    
    						Dave

    I have a question for you DEC steelers.  Does anybody know if Tom
    Bradshaw's P.S.G. Publications is still in business? I got a cata-
    log from them several years ago, and it had tons of goodies like
    picks, cords, effects devices, instructional materials and (most
    important) reissues of many important steel guitar albums (inclu-
    ding the aforementioned "Suite Steel").  I myself purchased the
    Tom Brumley "Tom Cattin'" album and the Jimmy Day "Steel and
    Strings" album from the catalog, and they are both super!
    
    Tom's catalog made for a very informative sourcebook. I'd sure like
    to know if it can still be found.
    
    						--Eric--
     

    Eric,
    
     Did you ever find out if Tom Bradshaw's PSG Publications are in
    business? I'd like to get ahold of it myself
    
    					Dave C

	I am would like to ask the Pedal Steal players out there about 
courses and supplies. 
	 I uesd to have a 8 string signal neck Gibson (the one with cables). 
I played around with it for a while and I sold it and picked up a 2 neck 
10 string unit. What make? Well I brought it from a guy (old timer) that
makes them in Jersey. He was getting into making keyless ones so he sold
me his old working/expermential unit. It is  tuned to E9th and C6th
(never used the C6th). It has 11 pedals 4 knee levers and two kick 
levers(under the knee activated by pushing up with the knee). I have to
go home and look at my notes about which levers do what but I know that
4 pedals go to the E9th (the three standard ones and one that I cant 
remember what it does) and the other 7 to the C6th. I believe that at
least some of the knee levers work on both necks. 
	I have floundered around a lot with this instrument but have 
always liked it. I am getting cranked up to try it again.
	My intrest is in C&W mainly. I have some Jeff Newman books and copies 
of the records that go with them. Is this a good course to start with? 
	Where do you guys get your supplies? I used to buy out of New Mexico 
a place called Frenchy's. 
	What brand of strings do you guys find the best? I used a number of 
different brands and have found that a brand called Stay In Tune worked the best 
for me. The G# used to last for ages. 

Regards, Ray

	I am cleaning off the dust from my steel and am going to try to get 
serious about learning to play this thing. I need to put new strings on it . I 
would like to find out where you Pedal Steel players get your supplies. What 
brand strings do you guys use? I am using an 10 string E9# tuning, standard 
(more or less) Nashville setup. I use a .010 for the G# and it likes to break.

Ray

    
    I don't play pedal steel, but I believe Elderly instruments in Lansing,
    Michigan carries pedal steel stuff (along with just about everything
    else you can imagine)

    Phil

Ernie Ball makes a nice set of strings for pedal steels...I bought a half-
dozen sets from LaSalle Music when they were in Watertown and I'm still
using them.

There's an outfit just outside of Nashville that has courses, supplies,
and intruction books for sale.  I think Jeff Newman runs it, but I'll
check tonight.

I play a ShoBud ProII doubleneck 10-string.  The far neck is tuned E9 and
the near neck is a C6.  I play country stuff on the E9 tuning and rarely
touch the C6 neck, except when I'm trying to cop Jeff Baxter's licks.
I was playing guitar with a country band that had another steel player who
had a single neck 14 string MSA (I think it was an MSA).  He said it had
a new tuning called 'universal tuning', combining the E9 and C6 necks.
Anyone else ever heard of this kind of tuning?

Re back a bunch:  Yeah, Neal Orsi, I'm out here!

There is a convention held every September in St. Louis for steelers.  When I
dig up the information on Jeff Newman I'll retrieve an address for the
convention.

If you're ever in Austin, Texas, there's a great store for steelers called
'The Heart of Dixie Country Music Store'.  I bought my ShoBud there; they
had five pedal steels set up (unheard of in New England!).

Regards,
John Kelly

    Nice to see that there are some "STEEL" men out there. I read some time
    ago that the "UNIVERSAL" tunning was B9th I am not sure what the pedal
    changes were. There was a lot of talk about it a while ago. I don't
    know if it caught on or not. I was reading something the Jeff Newman
    wrote that said that the E9th was the derived from all of the non pedal 
    tunnings that used to be used and was the "universal tunning"
     I tried some Ernie Ball strings some time ago but for some reason the G#
    kept on snaping. 
    	I am just getting back into trying to play this thing.  I would
    like to get that address for Newman's store.
    	A frend of mine had an album that Shot Jackson And Buddie Emmons
    teamed up on. He cannot find the thing. They did some real nice stuff
    on it. I would like to get a tape of it. Any of you guys have the
    album?

    
    	Re. -.33	
    	'Bout time Johnny. I was beginnin' to think you was daid.
    
    	The tuning you guys are talking about is the Bb6 Universal.
    	It's a combination of the E9 and C6 on a 12 or 14 string
    	neck. Nice idea that caught on for awhile, but the double
    	neck is still the most popular.
    	     I could use that address for mail-order pedal steel
    	stuff myself. I can't find anything for steel around here
    	anymore. Besides, Jeff Newman is one of my favorites. Lately
    	He's done a few instructional articles in the Peavey Monitor
    	rag you can get free at most Peavey dealers.
    
    	Neal
    
    	

    
    	
    	I have a 1980 catalog of Pedal Steel Guitar Products in
    	Concord, CA 94522. I called information and there's no
    	listing. Unless the operation moved, I'd have to assume they
    	are out of business. Bummer.
    	   There used to be a place in Michigan called Steel Guitar
    	World, or something like that, which had just about every
    	make and model, guitars/accessories, etc. They also sent out a
    	monthly hot sheet listing used/reconditioned steels, and sales.
    	Anybody remember them?
    
    	BTW, I saw an ad for a dbl neck Emmons w/3p-4k for $400 in the
    	Want Ads a few weeks ago. Someone got a great deal.
    	
    	Dave C, did you sell the single and get the dbl neck?
    
    	Neal
    

    
    	I have always been fascinatde by pedal steels but they're very
    uncommon here in the UK.  Could anyone give me a quick outline on the
    workings of them.  ie do the pedals change the pitch of the strings by
    pulling them, do all the strings change when a pedal is depressed, do
    they change by a given amount or are they like foot operated whammy
    bars???  I realy have never seen one up close, any info greatly
    appreciated.
    
    Cheers
    		Pete

    
    	Re-.37
    	
    	Check out re .11 in this note. I've diagrammed a standard
    	pedal steel setup. To answer your question, yes, the pitch
    	is changed by pulling to a higher note, but also by relaxing
    	the string to a lower note. The mechanics operate very much
    	like the whammy bar, but are a bit more sophisticated.
    
    	Neal
    

    
    	Re .26
    
    	Eric,
    	Is your Sho-Bud Lloyd Green Scott Clancys' old guitar?
    	
    	And.......
    
    	Are you a member of Black Jack?
    
    	If you are, I'll have to drop down to the Log Cabin
    	and see the band.
    
    	Neal
    

    Re .39
    
    Yes on both counts.
    
    I still have the LDG and set it up to play at home (not as often
    as I'd like.... :^(
    
    						--Eric--

    This note needs some dusting off...
    
    Here's what I've been tuning my E9 neck to compensate for the
    fact you can't really be in tune in all positions.  My tuner is the 
    (common) type that has a 'nulling' meter, so every note, not just A,
    is referenced to the 440 mark.
    
    	F#	439.5
        D#	437
        G#	436.5
    	E	440
    	B	439.5
    	G#	436.5
    	F#	438.5
    	E	440
    	D	437
    	B	439.5
    
    On the pulls/changes, A's are 436.5, F's are 433(!), C#'s are 436.5.
    
    These came from some Jeff Newman data sheet that I have lying around.
    
    What's the state of steel players out there?  Neal O? Dave Cole?
    
    
    		

    
    >What's the state of steel players out there?  Neal O? Dave Cole?

    What model tuner is that? I'm just getting back into playing, and
    I bought a Peavey Nashville 400 amp with my tax returns, but I still
    need a good tuner. Any recommendations?

    Neal

    Neal, good to see you're out there, bud!
    
    My tuner's made by Arion.  I got it about 10 years ago from Z's Music
    in Allston...not even sure if the guy is still there.  It cost about
    $45.  The only thing that makes it worthwhile is that the span of the
    display is +/- 10 cents, rather than +/- 50 like most tuners I've seen.
    This is both a curse and a blessing, because it sometimes has trouble
    settling down or 'deciding' which note it's listening to, but it does
    have great resolution.  Anyone know of other tuners with +/-10 cents
    full scale?  What about that rackmount job by (is it) Korg?
    
    Hey, Neal, decribe that Session 400, will ya?  My steel teacher has
    a Session 500, which I assume is related.  I've heard that all the 
    Nashville session dudes use one of those two amps...and here I am using
    a MkIV Booger with a Thiele 15 box! But I double on guitar, mando, and
    keys so the vesatility of the Boogie is a plus.
    
    I've got a bunch of stuff on where to get supplies, the Pedal Steel
    Guitar Association, and some guy in Michigan that just started a truly
    kickass newsletter for 'steely dans' like us =8^).  Interested?
    
    Johnny

    Re. -1
    
    Hey Johnny,
    
    Is the Pedal Steel Guitar Association still around?  I hadn't heard
    from them in years.  What's the address/subscription rate?
    
    Eric-the-bass-player-but-a-closet-pedal-steeler-  ;)
    
    P.S.  What about that Michigan newsletter, while we're at it?

    Here's the address for PSGA:
    
    	Pedal Steel Guitar Association
    	PO Box 248
    	Floral Park, N.Y. 11001
    
    On review, I had the location of the newsletter wrong.  The correct
    address is:
    
    	Steel Guitar World
    	PO Box 24466
    	Nashville, TN 37202
    
    I haven't subscribed yet, but I understand the cost is $27/yr for the
    newsletter.
    
    Local (to Boston Mass) repair person:
    
    	Tom Casella
    	27 Tremont St.
    	Stoneham, MA 02180
    
    	617-279-1295

    
    Hi Johnny,

    >Hey, Neal, decribe that Session 400, will ya?  My steel teacher has
    >a Session 500, which I assume is related.  I've heard that all the 
    >Nashville session dudes use one of those two amps...and here I am using
    >a MkIV Booger with a Thiele 15 box! But I double on guitar, mando, and
    >keys so the vesatility of the Boogie is a plus.

    OK.

    The Session 400 was originally discontinued when they came out with
    the Session 500. The 500 was 300W, weighed a ton and wasn't very popular,
    A friend of mine has one for about 6 years and it's only been fixed about
    4.7 million times. Peavey discontinued the 500 and came out with the
    Session 400 Ltd with mucho upgrades. During that time-frame, Peavey had a
    smaller and less expensive version called the 400 Ltd. That was the
    predecessor to the Nashville 400. I'd like to point out that the Nashville
    and the Session are only similar from a few front panel controls standpoint.
    The Session 400 Ltd has almost hi-fi specs for both the pre-amp and power
    amp stages, and bears little resemblance schematically.

    Session 400 Ltd features:
    Pre/post gains, pre-EQ effect loop; 5-band EQ; 2 post-EQ effect
    loops and reverb, (all 3 foot-switchable); pre-amp out/pwr-amp in jacks;
    200W RMS @4 ohms and DDT compression so it'll never clip; a 600 ohm
    transformer balanced XLR output so you can plug it into your mixer;
    a 15" 4 ohm BW spkr. The amp is about the same size as a Twin Reverb.
    List price $650. 

    Nashville 400 features:
    Pre-gain w/pull-bright; post gain; pre-eq in/out patch; 4-band
    active EQ w/shift (quasi-parametric mid); reverb; pre-amp out/pwr-amp
    in jacks; 15" 4 ohm BW spkr; 210W RMS @4 ohms. This amp is the same
    size as my Peavey Bandit, but ~2" taller to accomodate the 15" spkr,
    and at 60lbs, is 20lbs heavier. List price $600. I paid $480 w/20%
    discount, plus tax.

    I really like the Nashville 400. It sounds great and its portable. The
    The only thing I'm not in love with is the Black Widow 15" spkr. I'd much
    prefer a JBL E130. Design-wise, this amp is like most of the other Peavey
    solid-state brute force guitar/bass amps, but very good just the same.
        
    I considered buying the Peavey Renown 400, because it has 2 channels, each
    with it's own EQ so I could use it for guitar and steel. Same specs and
    power as the Nashville. The only problem was that it comes with 2-12" spkrs,
    and I would have to special order it with a 15" which would have cost too
    much. 

    >I've got a bunch of stuff on where to get supplies, the Pedal Steel
    >Guitar Association, and some guy in Michigan that just started a truly
    >kickass newsletter for 'steely dans' like us =8^).  Interested?

    Damn straight I'm interested, I can't even find a set o'strings around
    here anymore. Besides, I'm looking for one o'them Pac-a-seats. Remember
    them? I think they're made by Sho-Bud. I wonder if they make one with a
    back on it. 8^)

    Neal

    Wow, that 400 sounds like a nice amplifier.  Gotta have that 15 for
    steel.
    
    I get all my stuff from
    
    	Billy Cooper's Music
    	20504 Constitution Highway
    	Orange, VA 22960
    
    	703-854-5940
    
    I've been using George L. Equal Tension Chromatic string sets, as
    opposed to the Nashville sets: the equal tension sets are a tad thicker
    for a rounder tone.

    Re: Session 500
    
    The 500 was only 300 watts at 2 ohms, like every other (current) Peavey
    amp using that 210 @4 ohm power stage.
    
    One cool feature was it had a special distortion feature (ala Sneeky
    Pete) and both the distortion and phase shifter could be controlled by
    a remote unit that clipped onto one of the legs of your steel.
    
    							Brian

    Reading this note today was very interesting.  I got my start playing
    steel in C/W bands in 1947.  I progressed from emulating cousin Oswald
    who played for Roy Acuff on the Opry, to Eddy Arnold and Bob Will's
    steel players.  I started with a Gibson single neck 6 string model then
    went to a double neck 8 string Multichord Pedal Steel which is a dog. 
    It has four pedals which can raise or lower any string.  
       I haven't played steel for about 25 years now having concentrated on
    Elec Spanish Guitar lead playing and vocals.  Just now getting back on
    the pedal steel for my own enjoyment.  A favor...Noticed a few tunings
    in previous notes.  Would anyone list a few of the better tunings being
    used these days?  I'd appreciate it very much.
    
    Bob,
    

    Bob
    
    I can probably help you out if your still interested in finding out
    different tunning's. I've been playing steel for about 45 years on/off
    and wouldn't change my selection for anything. I play mostly C&W but
    can do some pop stuff also. 
    I'd like to get this note "on fire" if we could get some input and
    replies going. What do you say "hammer stompers", can we get something
    going ???????? Let's hear from you if your interested. I just found
    this note tonight or believe me, I would have answered before.
    I'll be looking for some input ****** soon.
    
    Slide & Pick
    Slide

    Yo. steelers:  Yeah. let's heat up this note!  Maybe we could post a
    lick or two.  How many of us are there?  I count Neal Orsi, Charley
    Bennett, Bob Lange (new to me), myself, and I know Buck's played some
    steel.  Oh yeah, fred Abatelli used to own one, but decided that
    playing guitar, bass, singing, and playing steel were too much.
    
    I play a ShoBud ProII, which is a double 10 string with eight pedals and
    four knee levers.  I've been concentrating on the E9 neck, because
    that's where a lot of traditional country music steel is played.  The
    C6 neck is harmonically more complex.  I have pretty much stock tuning
    and changes on my steel.
    
    Yesterday I was doing a session, so I was forced to miss the first
    annual Massachusetts pedal steel association gathering/jam/convention.
    My steel teacher went, so I'll get a download from him and post it
    here.
    
    Two great steeler's I've heard in Mass: Donny Dionne from the Lynn area
    and Ducky Belliveau from Fitchburg.   My teacher, Carl Phillips, is
    also no slouch.
    
    Equipment? Amps? Processors? Strings? What are you guys using?
    
    Great to hear Paul Franklin out there with Mark Knopfler.

    I've been checking out pedal steel players on CMT and Nashville Network
    lately; nice (and a real refreshing break from MTV fodder).  From what
    I can tell, the instrument of choice among the best players seems to be
    Emmons.  Is true?

    /rick

    YEP - Emmons is by far I feel "the best" steel made. (It couldn't be
    because I have one could it ???)
    Has anybody seen the LaGrande ? What a piece of technology. That's my
    next purchase. Of course there's all kinds of options can be had to make 
    it just the way you want it. Now all I have to do is convince "you know
    who". So gents, I see that the notes are far and few, but It's a fact so
    they say, that ALL steel players are self starters, outspoken and
    dependable. So lets get some tube time on here and some conversations
    going. 
    How was the Steeler's convention this year. Did anybody go, or has
    anybody heard ? Where do all of you stompers gig and live ? Anyone
    around Leominster ? What's the name of your group ? My groups the
    "Country Neighbors", a local out of Leominster. I also have filled for
    a few groups. Looking forward to some replies. See ya all on the tube.
    
    CJ    

    CJ: Funny you should mention an Emmons LaGrande: I just played a gig
    where my band hosted a jamboree.  One of the other bands had a steel 
    player with a brand new LaGrande.  What a beauty!  Candy apple red
    finish over maple, I think.  $6000...ouch.  Plus, he had a Session 400
    and an 'effects seat' with a delay line and reverb.  He told me he 
    usually plays with *two* 400's in stereo and he brings his 'big' FX
    rack w/ 'verb, DDL, compressor, 33 band graphic.  An equipment freak 
    for sure...this guy has terminal GTS!  He was an okay player, but to be
    honest I expected a monster from what he was playing.  That was some
    instrument, though: I played it and the pedal action was superb.  The
    tone was straight out of the Bobby Bouton/John Hughey school: real
    sweet and big.  No edge whatsoever.
    
    I think this info is back a few, but since you asked, I play a ShoBud
    ProII doubleneck with eight pedals and four levers. I mostly play on
    the E9 neck, but lately I've been hacking  around with C6.  I use a
    Mesa MkIV as an amp, but I usually patch in an additional 15in spkr to
    fatten up the sound.  I double on guitar, which I why I use a Boogie.
    I use a GSP21 FX processor, which gives me the compression, verb, and
    delay that I like for steel.  I use an Ernie Ball volume pedal.
    
    My band, Goldrush, is based out of Westminster.  We play all over the
    area centered in the greater Fitchburg area, but our home base is 
    Joanne's in Gardner.
    
    So, what are you playin', dood?  Where is the band gigging?  I think you
    probably know the bass player in Goldrush, Sonny Allen.

    Hey, what's the deal with the Session 400s?  I remember when the 500
    replaced it, then they dropped the 500 and brought back the 400...??
    
    I liked the little "control box" for the 500's effects that clipped
    onto the leg of your steel and that Sneeky Pete-style "string effect"
    distortion sound.  Nice and LOUD, too.
    
    						Brian

    Hi-
    
    I'm not a pedal player, but I hope folks don't mind if I butt in
    anyway. 
    
    I've recently heard some stuff on the radio by Buddy Emmons and
    Speedy West, and was interested in picking up some of their 
    recordings on CD. Also some lap steel players like Jerry Byrd.
    
    Of course down at the local music store, they've never heard of
    these guys. Can anyone suggest labels, catalogs, or mailorder
    outfits that might specialize in this type of music? Can anyone
    suggest some recordings that might be good starters for listening?
    
    thanks,
    
    jim 

    
    
    
    
    
    
    what the heck is an "effects seat"?  It sounds like some method for
    extracting musical information and/or control from a previously
    untouched piece of the ol' anatomy...
    
    
    

     Re- .56

>    Hey, what's the deal with the Session 400s?  I remember when the 500
>    replaced it, then they dropped the 500 and brought back the 400...??

     Hi Brian,

     Peavey improved on the original Session 400 with the Session 500
     that came with all the bells and whistles, but wasn't as popular.
     One of biggest problems with the original Session was when they
     were really pushed, they'd blow up, and they had shitty pots. The
     500 had more stuff on it than the average steel player wanted to
     pay for, like the clip-on-on-the-leg-of-the-steel-effects-control.
     The new Session 400 Limited has DDT(tm) circuitry so it won't blow up,
     way better EQ, and really doesn't bear much resemblance electronics-wise
     to the old Session. It seems they took the better features of the
     500, added some others and remarketed it as the Session 400 Limited.
     The less frills version is the Nashville 400. Both are super amps.

     Neal
    

    Brian, I don't know about new 400's.  Like you, I thought the 500
    supplanted the 400.  Maybe they reissued it because it was so popular
    amongst steel players?  Neal Orsi probably can contribute to this.
    
    Jim, I can come up with some sources for you for recordings; I'll check
    tonight.  Check out the latest Dire Straits album for some tasty
    playing by Paul Franklin.  A lot of early Linda Ronstadt has steel
    playing on (Hank DeVito or Sneaky Pete Kleinow (sp?)) the session.
    
    A lot of steel players use a seat that doubles as an effects rack. 
    Some guys put power amps there and run speakers boxes.  Some have a
    compartment for tuners, picks, steels, etc.  Hence, 'effects seat'.

    J,  You bet. I'm also pumped because of the action everybody's poping
    on this note. Hope we can keep it going. So Joanne's in Westminister
    eh ? What nights ? I'm gonna s-l-i-d-e in some night and catch your
    show so let me know will ya ? I've seen your groups name in the local
    paper many times and heard some great feedback about your group. Yeh,
    ain't that LeGrande a piece of art ? I just sent form more strings and
    the new parts price list and any new info Emmons has on the LeGrande.
    I'll tell you what, 6K sounds a bit high. I can sure as hell beat that
    price already - - but, maybe all that other equipment he had brought
    the price up. I pick just a basic Emmons, 3 pedal, 1K, 10 lines, E9
    chromo, Emmons Ashley extra lively strings, thru a Fender 15"L showman.
    I've always figured I need to learn to crawl before I walk. I also play 
    bass and spanish rythem with vocals. Well guys, got to run,
    
    See Ya On Stage,
    CJ  

    Yo, Chas -
    
    Thanks for the kind words about Goldrush.  We'll be at Joanne's this
    Saturday night, to answer your question.  BTW, Joanne's is in Gardner,
    not Westminster; it's on rte.68 between rte.2 and Gardner center.
    
    Did you (or anyone else) ever try universal tuning?  I once played
    guitar in a band with a steel player who had a 14string ZB with
    universal tuning.  It seems attractive to me, but I haven't tried it.
    Certainly gotta be lighter than my double neck 10!

     Re - Back a few......

     The Emmons LeGrande was introduced in the mid 70's and has been marketed
     as their top-of-the-line model. It differs from the standard Emmons. It
     doesn't have the same Push-Pull changer that the Emmons is famous for.
     It has a newly designed changer similar to the Sho-Bud, but with some big
     improvements. The new changer also allows 3 raises and 3 lowers on each
     string. The standard Emmons and Sho-Bud guitars only allow 2 raises and 2
     lowers on each string. It has all the features of the Emmons and the easy
     action of the Sho-Bud, but without the interaction� problem of the Sho-Bud.
     Just about anyone who owns a Sho-Bud or an MSA is familiar with this prob-
     lem characteristic of the All-Pull changer. The standard Emmons may take
     a heavier foot, but has no interaction� problem. The Sho-Bud has a much
     lighter pedal/lever action and is easier to play, but the system is flawed.
     Buddy Emmons became aware of this problem when he and Shot Jackson were in
     business together making Sho-Bud guitars. Buddy set out to fix the problem
     and came up with a new changer mechanism. The story goes that Shot didn't
     want to change a good thing, and the new mechanism never made it on the
     Sho-Bud. So Buddy sold out and went into business making Emmons guitars
     with the new changer. The LeGrande is another step in the evolution of
     the pedal steel guitar. 

     Neal - Emmons owner, former 2 time Sho-Bud owner, and 1 time MSA owner

     � On most steels, the #3 pedal raises the Hi E to F#, 1 knee lever
     drops both E's to Eb, and 1 knee lever raises both E's to F. That's 3
     changes on the Hi E string and 2 on the Lo E string. On the standard
     Emmons guitar with the Push-Pull changer, if you press the #3 pedal and
     the E drop knee lever at the same time (a raise dominates over a lower)
     the Hi E will go to F#, and the Lo E will drop to Eb. If you try this on
     a Sho-Bud with it's All-Pull changer, your gonna bend some rods and maybe
     mess up your guitar, besides ending up with a sour note somewhere between
     E and Eb. 

    What's the story with Buddy and the two companies he's been associated
    with (Sho-Bud and Emmons).  I remember that he had severed ties with
    both companies at one point, he's with Emmons again now, isn't he?
    
    							Brian

    The only thing I can add to Buddy Emmons' associations with a company
    is that he's been prominently featured in the Sierra ads playing one of
    their short scale keyless steels.
    
    Of course, he's wearing his characteristic bowler!  
    
    BTW, I've seen him lately as part of the house band on Church Street
    Station, a country music show found on TNN or CMT.  I believe it
    originates from Florida.

     Buddy sold the Emmons Co. to Ron Lashley sometime in the 60's. He
     has nothing to do with it anymore.

     Yeah, I noticed him playing a Sierra on TNN a couple of times. Is he
     actually endorsing them John?

     He says he prefers not be under contract with a record company 
     because they won't let him play with whoever and whenever he wants to.
     He still makes records, but he produces them himself, and I imagine he
     makes a pretty good living from his session work and gigs.

    >Of course, he's wearing his characteristic bowler!  
    
     I like the bowler, it's those friggin' nehru shirts that kill me. %^)

     Neal

    Speaking of bowlers, anyone remember a guy named Paul Williams (no, not
    THAT Paul Williams)?  He played steel guitar in a number of British
    blooze bands in the late 60's and early 70's, most notably one called
    Juicy Lucy.  He went for a real distorted blues-rock sound (like cranking
    a steel through a Marshall) and, as I recall, was into bowlers too.
    
    /rick

    Re: .67
    
    BZZZT!
    
    Paul Wiliams was a *singer* for Juicy Lucy.  The steel player was Glen
    Ross Campbell (no not *that* Glen Campbell).  
    
    							Brian

Is he the same Glenn Ross Campbell that played in 
'The Misunderstood' ? And whom guitar sound influenced
a lot Jimi Hendrix and Syd Barret's Pink Floyd.

BTW, even if it's not the same Glenn Ross Campbell, 
the Misunderstodd had a very weird bass player that
sometimes played the bass with a bottleneck !

Didier

    re .68
    
    I bow to Mr Rost in these matters.  Must've got the singer and
    steel player confused
    
    /rick

    Saw a couple of steel players last night:
    
    Richard Mars is a Boston local guy who steels for John Lincoln Wright. 
    He plays an Emmons double 10.  I would characterize him as a modern
    player, with some really fast single note runs, bizarre chord clusters,
    and some distorto sounds when called for.  He really danced on the
    pedals, hanging out mostly on the E9 neck.  I don't know what he
    typically uses for amplification, since he was using the headlining
    act's steel player's rig.
    
    Gary Morse, from Detroit, is the player currently on tour with McBride
    and the Ride, a popular country music band.  He plays an MSA double 10
    through a dbx compressor, Alesis reverb, and a Lexicon delay line, into
    two Peavey Nashville 400's, running in stereo.  He recently joined the
    Ride for this tour, having played on the band's albums and touring with
    them two years ago.  He had just come off the road with Pam Tillis. His
    experience playing live showed: very consistent and 'up' solos, with
    a dramatic flair when appropriate.  Superb backup playing. 
    Traditional style on ballads, really sweet and big chords.  Also used a
    distorted tone on a couple of tunes.
    
    Gary also played a lap steel manufactured by 'Skink'.  Wild looking
    thing, black with a white stripe ( skink ~= skunk ), a humbucker in the
    bridge position and single coil in the neck position, chicken head
    knobs.  Played with a Stevens bar and played standing up.  It was tuned 
    to an E major chord, with six strings.  Mucho distortion for most leads 
    on this axe. 

     I saw this note and I just had to ask. . . 
    
     Anybody know what Dan Shields (I believe of the "S" in
    MSA steels) is up to these days?  I had the pleasure of meeting 
    this man back in the '70s in Portland Ore., and he did
    some nice work on some pickups for me.  
    
    Does anyone know if he did much recording?  
    
    I also knew one of his students, by the name of Dan Ross, who last
    I heard had moved back to Portland.  
    
    Any Northwesterners see either of these two pedal steel 
    players play out lately?
    
    It's been awhile, 
    
    Dave

    I just ran across mention of Buddie Emmons album "Steel Guitar Jazz",
    recorded around 1963.  Anyone in here heard of it?  Got a copy?  I'd
    love to check this one out.
    
    /rick

    Anyone know what Neal Orsi -- or any other DEC-based pedal steel
    players -- are up to these days?  Where are they?
    
    Reason:  A friend has a decent C&W band which needs a player ...
    seeking someone to contact to discuss interest.  Band is located
    in Concord, Mass.
    
    Please let me know if anyone know any possible players ... thanks
    in advance.
    
    /B

    
    	I'm pretty sure Neal Orsi went to Quantum in Shrewsbury.
    

    Yes, Neal was with Quantum last I heard.  With a former email address
    of LEDS::ORSI, he might be reachable on the internet as 
    
        [email protected]
        

    Neal was layed off from Quantum back in February. I'm not sure what
    he's been up to. At the time, he was starting a business repairing
    tube amps. He had an office in Worcester (Webster Square). Haven't
    heard from him, but a friend of mine ran into him at the New England
    guitar show. 
    
    
    Mark 

    
    	After trying to repair the Showman I gave him, he probably gave
    	up on that career!!
    
    	8^)
    

    Neal is alive and well and repairing amps (full time, last I heard) in
    the MetroWest area.  He's got an ad in one of the local music rags,
    probably Metronome.
    
    /rick

    Wow, another friend of mine left DEC to go into tube amp repair as
    well.
    
    Is this some hot up-and-coming field that I never managed to read
    about?

    Dave,  like the rest of the musical instrument industry, it is a
    tough field to make a living in.  It's real easy to burn-out on 
    if you try to do it full-time and derive 100% of your' income
    from. You can easily spend 4-6 hours fixing 1 amp, and the customer
    bitches if you charge more than $100. It's a no-win !  It's a much
    better idea to do this sort of thing as a side-line business,
    especially if you (and your family) like to eat regular meals.
    
    Mark

    re 80,81
    
    	Mark's right about the idea of doing this as a sideline thing,but
    plan on never having anytime for your family,if you are good your
    buisness will grow beyond your single capabilities,but not large enough
    to make a transition to full time. And of course it is also economy
    driven. Even part timers can burn out fairly quickly.... 
    	On another note we live in a throw away society these day's
    
    
    							Rick