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Topic: Lucky 7" Fosters New Advanced Concept |
Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 6 Dec 2002 3:20 pm |
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AHA! Pete - What about a slanted, ramp-like fretboard?
Lee |
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Stephen Gambrell
From:
Over there
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Posted 6 Dec 2002 3:29 pm
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AAAHHH, Mark, you're right.The Hankster is just trying to do something different, in the name of improvement. Wait, didn't the Republicans do the same thing?
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Pete Burak
From:
Portland, OR USA
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Posted 6 Dec 2002 3:56 pm
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"...What about a slanted, ramp-like fretboard?"
Hey, you're looking down at frets 0-12 at an angle anyway... Only makes sence!
[This message was edited by Pete Burak on 06 December 2002 at 03:56 PM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 6 Dec 2002 4:24 pm
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Pete B.,
The extra wide fretboard would detract from the basic premise which maintains the practical aspect of the "Upright Fretboard". It would require trimming down your spare fretboard to proper size, which is roughly 1/3 of the actual board width. The narrow strip should then be fastened to an angular piece of wood, which will rest on the front edge of the steel guitar. If done properly, it will amaze whomever is seated at the steel. The harmonics must correspond perfectly, otherwise the outcome would be nothing short of chaotic.
Bill H. [This message was edited by Bill Hankey on 09 December 2002 at 02:38 AM.] |
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Eric West
From:
Portland, Oregon, USA, R.I.P.
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Posted 6 Dec 2002 4:47 pm
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No.. The Republicans WON. People have quit thinking what they are told by Dan Rather. It hasn't worked..
"And that's all I have to say about that." -Forrest Gump-
I am casually interested in new innovations. I remember the "tiered" pedal system someone had at Sierra/ It was years ago, and might have been Bill S. If you're reading this Bill, Maybe you can refresh me.
As far as fretboards go, I've always thought less is best, and when you actually start pinpointing things, a person's paralax view pretty much makes exact placement acedemic. I'd personally go for standard setup, and I've always thought the Hearts diamonds etc were the best idea of all. Last nite I sat in on Doug Jones' rig, and all those little atomic goodies had me stumped.
I'm brought back to the time when studying under BC, I covered my fretboard with butcher paper, and found that it wasn't really that hard to play. Visual aids that go beyond functional simplicity are just distracting.
What comes to mind is Danny Gatton's LED fretboard chord motion machine. Some things are just better handled with the fantastic machine most of us have between our ears. The trick is to keep it there....
I mentioned it in another thread, but a compact hyraulic system with a camlock 8 tube quick connector and an easily jobbable slave system would solve more problems than it would create. All the rattle and "clunk" would be gone, and pedal force/pressure limitation could be dealt with easily enough, as in standard steels.
As I got home from the "Emmons Experience" I actually sat down at my ProIII and reflected as how, like with pistols, harley transmissions, crescent wrenches, and clawhammers, sometimes through some strange design, the early designs somehow prevail for up to centuries. I know now, I'll be keeping the Old Bud for a while. I might add another knee lever, but I'd better just "practice" a little more..
An "invention" has to answer a real need and be a measurable improvement. If it were merely *new technology* we'd all have Goodrich light beam volume pedals, and MSA would have made the new axes "keyless".
They do, BTW look like excellent guitars, much like their solid older ones.
I have an old "Zinger" with the rolling attached bar and thumbpick. I'm surprised they didn't "take off".. Hey, maybe a thumb locking attachment that would not release without two hour of straight playing for the "practice challenged"....
I did come up with a rather simple combination of a washable wire probe and a modified Wards Electric Fence unit called the "Sphincternome" that would only discharge through the electrode if the drummer using it went "off tempo"..
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Eric West
'78 Pro III Sho-Bud
'75 MSA Red Baron
'63FLH 90cid Panhead Stroker
'80 Gold Wing
-Peavey: When it's *not* about "The Sound"-
"You can Smart Yourself Dumb.
Why Can't you Dumb yourself Smart?"-Me
"There are only so many ways to fry cat food."- Buster
"At my age, sometimes I run out of Adrenaline, but I've still got plenty of Gall.." -Me-
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 7 Dec 2002 2:53 pm
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Mark Z.,
I will be putting the finishing touches to the C.P.C. (Compact Pedal Cluster) in a matter of days.
Neither of the two latest added features are gimmicks. The C.P.C. and the H.U.F. are here to stay. Fretboard perception is now 100%. The bar's "target" area is always in clear view. Please excuse the deletions from this reply. Experience dictates that electronics have taken the place of
craftsmanship. There is an ongoing problem with quality workmanship. I miss the availability of quality goods, made here in the U.S.A. I've spent my share of time poring over labels. Consider the profits made by collectors, who know what to buy for resale. They quickly pass over the majority of musical instruments made in the far east, (guitars) and scoop up the prized instruments, from the 30's thru 60's, made in the U.S.A. by craftsmen.
With this bit of knowledge, I need no further incentive to keep up with exploring new ideas.
Bill H.
[This message was edited by Bill Hankey on 09 December 2002 at 02:09 AM.] [This message was edited by Bill Hankey on 09 December 2002 at 02:49 AM.] [This message was edited by Bill Hankey on 11 December 2002 at 02:22 PM.] |
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ebb
From:
nj
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Posted 7 Dec 2002 3:03 pm
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| will that upright fretboard help us get chicks? |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 7 Dec 2002 3:48 pm
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ebb,
Yes,if you go uptown, where the "chicks" congregate. Once there, the fretboard will give you something to crow about.
Bill H. [This message was edited by Bill Hankey on 09 December 2002 at 02:52 AM.] |
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Jim Palenscar
From:
Oceanside, Calif, USA
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Posted 7 Dec 2002 5:14 pm
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| I built a temporary fretboard (due to a conversation with Maurice) the was 1/4" away from the strings up to fret #17 then stepped down to "normal" distance the rest of the way to the pickup. Wow- a whole new feeling!!! It was pretty cool actually~~ |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 7 Dec 2002 11:02 pm
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Jim P.,
I am presuming that you've seen the picture, that was submitted by me, under the post, entitled, "A Picture Is Worth A Thousand Words". The photo clearly shows that my original fretboard has been removed. In other words, there is no fretboard under the strings. The H.U.F. which rests on the front edge of my steel, now serves to guide me. It's like a dream that has carried over into real life. Would you care to time-frame for me, as to when your conversation with Maurice occured? It would be very interesting to note, how you went about making up the "raised" fretboard. Do you still have the finished product? Thanks for the information that you've provided
Bill H. |
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Doug Beaumier
From:
Northampton, MA
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Posted 8 Dec 2002 8:53 am
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Bill, is this the picture you're referring to?
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Jim Palenscar
From:
Oceanside, Calif, USA
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Posted 8 Dec 2002 9:09 am
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| My conversation with Reece regarding the raised fretboard was about 2 years ago and I made it out of a piece of scrap wood that I pasted a computer printout of a neck with the proper dimensions on it and simply laid it on top of the old neck. The project took all of about 45 minutes to construct and the results were very interesting~~ |
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George McLellan
From:
Duluth, MN USA
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Posted 8 Dec 2002 11:00 am
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Doug, that picture comes in a lot more clearly on my PC than the other ones I've seen posted. Now that I can see the 3rd string changer addition better, I can see that it works much the same as the entire changer on both necks of my Willy 400 Series (see Williams website for good up close pics of their changer).
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SUAS U' PHIOB
Geo
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 8 Dec 2002 12:28 pm
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Doug B.,
Thanks for posting the photo. It is of course a prototype, that was made hurriedly. An improved version will feature a lower profile, with colorful design, and all the details necessary to enhance the H.U.F. as it is viewed. How sweet it is, when something useful is realized after a fair amount of effort is put into a project.
Bill H.
[This message was edited by Bill Hankey on 09 December 2002 at 03:02 AM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 9 Dec 2002 6:59 am
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Jim P.,
I owned a Multi-Kord in 1975, made by the Harlin Brothers. If my memory serves me correctly, it seems as though the raised fretboard could have been closer to the strings than modern steel guitars. That instrument, for some unknown reason, gave out the most sustaining vibrato I've ever heard. I traded it in when a Fender 1000 caught my attention. Little did I know, how much I would regret letting it go before solving the riddle of its unusual vibrato. I've not heard a steel guitar respond to bar shiver as the Multi-Kord once did. The instrument was taken to the Boston, Ma. area, and I have no knowledge of where it is at this time.
Bill H.
[This message was edited by Bill Hankey on 17 December 2002 at 02:23 AM.] |
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Bill Hankey
From:
Pittsfield, MA, USA
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Posted 17 Dec 2002 2:48 am
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After mentioning the sustaining tremolo effect of the old Multi-Kord steel guitar, it became quite obvious that this unexplained
vibrato effect was one of a kind.
I'm really surprised to find that no comments were forthcoming on such a relevant issue.
Bill H. |
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