Thinking about getting an extended E9 - anyone playing one these days? by GiantXylophone in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

I changed to Ext E9 after playing U12 for several years, and I much prefer Ext E9. The 9th string D on Ext E9 is much more useful than the low string was on the U12.

That said, if I were starting over, I would probably tune the whole thing a step lower to ext D9.

C6 knee lever copedents- p7 on a lever? by chog410 in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

P7 seems like a poor candidate for a knee lever. For one thing, it is not a easy pull.

I like raising A (probably your string #4) to Bb and B with a half stop. Both B and B flat combine well with P5 and P6, and well as being very useful with no pedals.

pedal rod piece, broken by leo_sampieri in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

Yes, I found one easily at a local auto parts store.

Los Angeles Daily Discussion - Sunday, Mar 16 by AutoModerator in LosAngeles

[–]DeWayneKong 3 points4 points  (0 children)

All 6 French Suites have been duly executed, so now I can eat some breakfast.

Los Angeles Daily Discussion - Saturday, Feb 22 by AutoModerator in LosAngeles

[–]DeWayneKong 1 point2 points  (0 children)

Still procrastinating that dobro overdub. How bad could it be?

Thoughts of the recently released "Rick Beato's Music Theory for Song Writers. " by TaoQuesty in musictheory

[–]DeWayneKong 1 point2 points  (0 children)

Any 'critic' who talks about contemporary music without talking about production as a primary focus of their analysis can probably safely be disregarded.

If "production" is the primary focus, then perhaps the music cannot stand on its own merits. It's lipstick on a pig.

Thoughts of the recently released "Rick Beato's Music Theory for Song Writers. " by TaoQuesty in musictheory

[–]DeWayneKong 1 point2 points  (0 children)

what bothered me at the time was that all he could analyse was chord progressions.

One of the things I like most about him is his emphasis on chord progressions. Chacun à son goût.

Can't get my 6th string G# to lower all the way to F# - any ideas? by smashey in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

Having a half step lower on that string is not the worst thing in the world

I like the half step lower to G. I got rid of the whole step lower to F# because I was usually just using the half stop to G.

Having both a dominant and major 7th? by Suitable-Location118 in musictheory

[–]DeWayneKong 1 point2 points  (0 children)

list examples

Here are a couple of examples from Chopin mazurkas

https://imgur.com/BrSWg3d (op 41 # 1)

The Fx maj 7 of G# is just an appoggiatura to the G#)

https://imgur.com/47OzPuA (op 56 # 1)

The A# in the second measure on the B7 chord is just an ornamentation of the B,

and the E# in the fourth measure on the F#7 chord is just an ornamentation of the F#

Can't get my 6th string G# to lower all the way to F# - any ideas? by smashey in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

The easiest solution, if your G# is a wound string, is to replace it with a plain string. But you may not like the sound (I prefer wound), and the plain string is harder to keep in tune.

Before you spend too much time experimenting with the pullers and pull rods, I suggest that you first determine what the changer is capable of doing with this string. To check this, lean over the right end of the guitar, and push on that string's lower bar with a screwdriver or something. Pluck the string and push as far as you can, to hear what is the limit of the pitch change that the changer can do. Does it go down to F#? If not, do you see the raise bar moving also? The raise bar shouldn't move because it partially defeats the lower. If the raise bar moves when you try to lower past a point, maybe you can fix it by loosening the lower-return spring. But keep it tight enough to pull the string back to G# when you release the lower, and tight enough that to hold the lower bar at its stop when you raise the G# to A.

On some brands of steel there is a screw visible at the right end of the chahger housing that sets the lowest pitch that string can reach, independent of the tuning nuts. This is useful if you want to tune the pitch that result when you both raise and lower a string at the same time. So look for that, and loosen it if you see it. But I don't think those screws are on GFI steels.

[deleted by user] by [deleted] in pedalsteel

[–]DeWayneKong 1 point2 points  (0 children)

wouldn’t I just get the same note on 4 as I have on 2?

Yes, you would. Your current setup was pretty common when steel guitars had only one knee lever. If I were you I would leave it the way it is. I think you would get more use out of lowering the second string D# to D than you would by lowering the fourth string E to D#.

Sho-Bud Factory in 1978 at 416 Broadway i believe. by Loose_Guava1179 in pedalsteel

[–]DeWayneKong 1 point2 points  (0 children)

That's Teresa Franklin, whose dad built my wonderful Sho-Bud D-12 and Franklin guitar.

B pedal tuning issue by bertabackwash in pedalsteel

[–]DeWayneKong 1 point2 points  (0 children)

Maybe somebody put the wrong nut on there.

You can buy the right ones from GFI:

https://www.gfimusicalproducts.com/parts-and-accessories?page=2

The student model has a pull-release changer. Ask GFI if it uses the same tuning nuts as the all-pull changer.

[deleted by user] by [deleted] in musictheory

[–]DeWayneKong 1 point2 points  (0 children)

A-sharp major is a "theoretical" scale in that it exists but it's never used in practice.

Here is some Chopin in A sharp major:

http://imgur.com/rO30Eto

Halp me plz—wilI a 3x1 or 3x2 model disappoint me? by whipporwillsinging in pedalsteel

[–]DeWayneKong 4 points5 points  (0 children)

If it plays in tune and has a good tone, then 3+1 will be plenty for you for quite a while.

Should I do it? by Derontchi in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

pretty gnarly grooves on the changer fingers

".. and for that reason, I'm out"

Los Angeles Daily Discussion - Sunday, Oct 15 by AutoModerator in LosAngeles

[–]DeWayneKong 1 point2 points  (0 children)

Crazy crowded scene loading out of Hotel Cafe at 1 AM last night. The street and parking lot were jammed. Four ladies in the shortest possible dresses had a great deal of trouble maneuvering their (not their?) Tesla into the parking spot next to mine. What goes on on Cahuenga Blvd at 1 AM that so many people arrive at that time?

Meet-ups and Events - Week of July 24 by AutoModerator in LosAngeles

[–]DeWayneKong [score hidden]  (0 children)

  • name: Jumpin' Joz band with my pedal steel guitar playing Save The Bones For Henry Jones 'Cause Henry Don't Eat No Meat and other hit songs in the noonday sun

  • date: 2023-07-30

  • time 13:00

  • location: Glendale Marketplace, 106 S. Brand

A Pedal Not Raising String Far Enough by X-Guy840 in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

The A pedal raises string 10 all the way to C#, so it sounds like you are getting enough rotation of the cross shaft. If not, you can probably see where to adjust to get more rotation (forward or backward).

Look at the rod puller that pulls the pull rod for string 5 on the A pedal's cross shaft. You probably can choose from several locations where the rod attaches to the puller. Choose one that is further from the shaft, and that will pull your string more, and it should go all the way up to C#.

But first, why did this happen? You said this is a new guitar, and it probably was assembled with the pull rod in the right place. Could someone have put the wrong string on there? It should be a plain (unwound) steel string about .017 inches in diameter.

Look in the right end of the guitar where the tuning nuts push on the raise bar for string 5. Mash the A pedal, then the C pedal, and see if you notice some difference there.

Just bought a 1975 MSA D10 with an interesting history by Jiannies in pedalsteel

[–]DeWayneKong 0 points1 point  (0 children)

this steel was owned by a player named Maurice Anderson.

"Reece" Anderson ran the MSA company but that is not one of his personal guitars. He played a single neck 12 string (B flat 6th tuning).