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Topic: Backing Singers E9 Pedal Steel |
James Taylor
From:
United Kingdom
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Posted 9 Apr 2014 1:47 pm |
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| I just wondered how you all use your steel in backing singers JAMES TAYLOR |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 9 Apr 2014 2:03 pm
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Play between the lines when possible, don't walk all over singer. Most backup players overplay which I'm guilty of at times. Listen to some good Ray Price, Faron Young, Johnny Bush and see what their backup steelers do.
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Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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Jim Pitman
From:
Waterbury Ctr. VT 05677 USA
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Posted 9 Apr 2014 2:18 pm
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| You might try playing some quiet rhythm. Yes it is possible to play rhythm guitar on the PSG and often underutilized. |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 9 Apr 2014 4:14 pm
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I really couldn't tell you how to do backup until I heard the singer and the song. A cookie-cutter approach can to either bland music, or music that's simply out of place...it doesn't fit the song or the singer. Of course, there will be those who say "just pad and play soft muted chords", but I think the sameness and lack of imagination that that conveys is why steel just isn't doing much today. On recordings (especially for the ego-centered artists on major labels) you'll probably have to do that schtick. But in a live performance, people usually want more - more dynamics, more playing, and more stuff that will stand out and be memorable.
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 9 Apr 2014 7:55 pm
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And remember, there are times when it is appropriate to play nothing at all.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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Lane Gray
From:
Topeka, KS
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Posted 9 Apr 2014 8:09 pm
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To feed off what Donny said;
In your early years, play either Something from the last phrase sung, or a simple phrase swiped from one of the sings or solos you've been learning. You haven't been learning them for their own sake: slice up the phrases onto licks And phrases to get dropped other places.
As you grow, those will get supplemented with quotes from other songs or snatches of other songs¹, eventually individual melodies will pop into your head.
¹I like filling the first gap in The Fireman with the iconic horn fill from Sugar Sugar (E-E-A-E-F#-D)
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Allan Kirby
From:
Ontario, Canada
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Posted 10 Apr 2014 12:25 pm
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| What Henry and Richard said! Pay attention to the singer and to your volume. Do not get in the singer's way! Play in the holes between the vocal phrases. Play interesting licks when space allows, but never overplay. When not playing licks, quietly sustain chord patterns behind the singer through elongated volume wells. If in doubt "Leave it Out." |
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Chris Brooks
From:
Providence, Rhode Island
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Posted 11 Apr 2014 4:49 am
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What Richard said.
And listen to the greats. For example, Emmons, on Mister Record Man, Jeannie Seeley, on You Tube. Exquisite, appropriate.
Chris |
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James Taylor
From:
United Kingdom
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Posted 14 Apr 2014 11:07 am
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| Thanks, Everyone it is good to hear all your views on this subject. JAMES TAYLOR |
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Dave Diehl
From:
Mechanicsville, MD, USA
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Posted 14 Apr 2014 2:54 pm
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| Richard is right. Jeff Newman taught me.. if you can't do something to "make the singer sound good", then do nothing and that is fine. May recommend you consider Jeff's DVD on backup playing. |
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