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Topic: High Register Fret Markers |
John Goux
From:
California, USA
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Posted 11 Jun 2017 5:21 pm |
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In doing bar hand exercised up to the 24th fret, I was reminded how much easier it is to hit your pitches on the way up, than it is when you are descending. This descending pitch issue has bothered many steel players. I've seen it discussed on this forum. The consensus seems to be a visibility problem, with the bar hand blocking the markers.
You can see the markers on the way up, but your hand is blocking your visibility on the way down. Most player use a combination of ears and eyes to hit the pitch.
I've thought of some simple solutions for this:
1. If the manufacturers would simply put fret markers above the 12th fret, along the outside edge of the fingerboard, under string #1, the fret positions would be visible when descending. Unless you are playing on the first few strings. This would be helpful and inexpensive.
2. Any 10 string players with this type of fingerboard markers could have even better visibility by using a 12 string steel, but setup the guitar to have strings 1-10 be in the 2-12 string slots. This will give you the advantage of 2 more string spacings to see your descending position over your hand.
3. If the traditional PSG neck shape, with the widest part sloping in at the 17th fret, was modified, so that the contour extended down to the 12 fret, there would be about 1/2 inch of space beyond string #1 for markers in the upper register. This could look really sharp on a wood neck. An aluminum neck could be fine as well, with either inlay or decals. The fingerboard itself could be widened to follow this new contour and give marker visabilty above and beyond our descending hand. Also, the widened area is only necessary on the high string side, although I think a symmetrical neck shape would be more pleasing to most players.
These are 3 simple ideas for improving the the issue of descending intonation in the upper register. Most of us use ears and eyes.
John |
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Mitch Ellis
From:
Collins, Mississippi USA
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Posted 11 Jun 2017 6:14 pm
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Here's my own personal solution,
The end of my middle finger, on my left hand, was cut off in a farming accident. With the bar under the index finger, and the end of the middle finger being gone, I can now easily see the fret directly behind the bar. It helps me to hold pitch better, especially up top where the frets are really close together. Like the old saying goes, "When life hands you lemons, make lemonade."  I will admit that I had rather have my finger tip even if it meant being a little off pitch sometimes. 
Mitch |
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Fred Treece
From:
California, USA
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Posted 11 Jun 2017 7:29 pm
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Tim Russell
From:
Pennsylvania, USA
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Posted 11 Jun 2017 7:32 pm
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I saw a couple of steels where guys would put those small florescent dots at the top of the frets under the first string, where are the major fret markers are.
I've never done it, but it does seem like a good solution, especially in dimly lit venues.
_________________
Sierra Crown D-10 |
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Charles Kurck
From:
Living in Arkansas but Heaven is home
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Posted 18 Jun 2017 4:16 am
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Tim Heidner
From:
Groves, TX
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Posted 18 Jun 2017 4:31 am
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You can buy stick on fret markers, I have them on my lap steel:
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Bob Hoffnar
From:
Austin, Tx
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Posted 18 Jun 2017 7:23 am
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Check out Hal Ruggs left hand. He splayes out his fingers before he moves the bar while descending. He gets a physical measure that way and can also see the fret he is moving to.
Another thing to try is looking ahead to where you are going and not only where the bar is at the moment.
And then the dreaded and near impossible practice in the dark method....
Where is Bill Hankey when we need him ?
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Bob |
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Dale Foreman
From:
Crowley Louisiana, USA
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Posted 18 Jun 2017 1:07 pm Fret markers
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I've thought of putting l.e.d's on the fret markers for when the bar is aligned with the micro switch, it will turn on the led! Now this would take some work but is doable!
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Rittenberry Prestige(2) |
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Ian Rae
From:
Redditch, England
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Posted 18 Jun 2017 1:59 pm
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Mitch seems to have the best answer, but I'm not sure I'm ready to try it.
Perhaps the Hal Rugg approach is worth trying first.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Darrell Birtcher
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Posted 22 Jun 2017 9:52 am
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Charles Kurck's solution looks really slick.
I did a seminar with Mike Johnson a few years ago and he used a loosely fitting piece of duct tape with fret lines inked on with a sharpie, on the outboard side of the E9 neck. Not as nice as Charles' setup but it helped. |
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Rick Abbott
From:
Indiana, USA
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Posted 22 Jun 2017 10:37 am
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| Bob Hoffnar wrote: |
Check out Hal Ruggs left hand. He splayes out his fingers before he moves the bar while descending. He gets a physical measure that way and can also see the fret he is moving to.
Another thing to try is looking ahead to where you are going and not only where the bar is at the moment.
And then the dreaded and near impossible practice in the dark method....
Where is Bill Hankey when we need him ? |
This ^^^
And, I was thinking about ol' Bill as I read the OP. He had a strange, but perfect, solution!
_________________
RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Wakarusa 5e3 clone
1953 Stromberg-Carlson AU-35 |
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Charlie McDonald
From:
out of the blue
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Posted 23 Jun 2017 5:47 am
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I found the Hankey Upright Fretboard.
Say what you will about Mr. Bill, few people have eight pages in Feedback dedicated to them.
He engages Franklin on the E-F# raise, and Paul reveals the beginning of an idea for a pedal... perhaps it was Bill's idea! |
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