When You Think Of Speed...

Clinton Erb · Post by **Clinton Erb** » 28 Jan 2009 1:03 pm

When I hear speed I think...

Jay Dee Maness

and

Johnny Hiland

Bill Hankey · Post by **Bill Hankey** » 28 Jan 2009 1:14 pm

Tom,

Pittsfield is located in the center of Berkshire County. I moved here in '73, and married after my divorce in 1975. I grew up in Southern Berkshire County near and in Great Barrington. I probably would know of your friend, if he is further south of Pittsfield, provided he was musically inclined. Pittsfield's population is estimated to be circa 50,000 residents.

Bill Hankey · Post by **Bill Hankey** » 28 Jan 2009 1:40 pm

Clinton,

Poise and showmanships are main attractions that helps to guide viewers who are sensitive to small details. It has been established who has been acclaimed the foremost steel guitarist on planet Earth. Nobody has challenged those who know best, in making such determinations of who's who seated at the pedal steel guitar. I really am more attracted to steel players who lend themselves to traditional country music.

Tom Quinn · Post by **Tom Quinn** » 28 Jan 2009 6:09 pm

My friend died in December. He moved to Greenwich Village in the early 60s and ended up in an obscure but very cool band -- a one-hit wonder. He was instrumental in getting me on as a rodie for the last Hendrix tours...

Bill Hankey · Post by **Bill Hankey** » 29 Jan 2009 2:44 am

Tom,

Jimi Hendrix's mysterious passing that caused multiple suspicions to surface, happened in London on 9-18-70. I was interested in reports of missing items that have turned up at auctions. It's reported that a volume pedal sold for $15,500. What were some of your duties as a roadie for Hendrix? You may decline to answer point blank questions, I would understand your feelings concerning Jimi Hendrix. Wouldn't a person need enormous amounts of cash to locate in a renovated section of Manhattan? Everything including imformation provided by the press surrounding Jimi's passing is strictly guesswork. A thousand people can assume a thousand different reasons for Jimi's accidental demise. Guessing will never solve problems to the satisfaction of those who only recognize proven facts. Tom, I risk a reminder from b0b if I drift off topic. Unless Jimi was interested in the steel guitar, even in some small way, which I doubt, I'm risking a reprimand.

Tom Quinn · Post by **Tom Quinn** » 29 Jan 2009 5:46 am

I went out with my friends band -- Cat Mother and the Allnight Newsboys. They were produced by Hendrix and managed by Michael Jeffries -- Jimi's nefarious manager. So I technically I wasn't on the Hendrix crew. But we played the same gigs together and once on stage shared in the work. I spoke to Jimi on many occasions, helped his tech and packed equipment.

I know what happened to Jimi's white Strat...

Bill Hankey · Post by **Bill Hankey** » 29 Jan 2009 7:07 am

Tom,

It's all very interesting "stuff" given the magnitude of his high energy levels for sustaining a "brewing" crowd of "Johnny B.Goodes". Those exciting times for "rockers", happened almost 40 years ago. So you might say, through the wonders of recordings, Jimi will live forever. Both you and I would do well to stir up some enthusiasm by moving into the exquisite harmonies found on our steel guitars. Hendrix would torture every note of the known scales. I think that by touching up our fine tuning, we can move away from the one string scales by delving into precise harmonic effects. If I ever blaze a trail, distortion will be excluded from any arrangements.

Tom Quinn · Post by **Tom Quinn** » 29 Jan 2009 10:46 am

YMMV...

Bill Hankey · Post by **Bill Hankey** » 29 Jan 2009 1:54 pm

Aside from speed, there is one area that is wide open for improvement, and that would be FINESSE. We saw much of it in players such as Jerry Byrd who was as smooth as silk. There is a world of difference in capturing the feel of finesse, as compared to a player with camera lens speed picking abilities. Actually, there has been little written about finesse. This is a subject subject to editing. The records show that there isn't one iota of interest connected with this subject matter.

Bill Hankey · Post by **Bill Hankey** » 29 Jan 2009 1:58 pm

I'm beginning to think that speed in playing the pedal steel can be managed not simply by electronic gear, but in many other ways. For example, how many steel guitarists do you know who can play "Flight Of The Bumblebee? The answer is probably none. The reasons are simple. The most enduring is the fact that to my knowledge, it simply can't be done. There lies the answer to the excesses found amongst speed pickers. WE are not compelled to devote hours of practice, that could only bring most to the edge of frustration. Abilities seem to be characterized by a reasonable amount of adaptability in making difficult advancements over a short period of time. It has been found to be true that many inquisitive bystanders can make use of discarded "junk". This behavioral pattern of creativity, is a mainstay of the progressive patterns observed in leadership. Most of the genius found in speedsters, is derived in the right hand attack of the strings, mingled with a well developed semblance of pleasing tones. The blocking technique (palm blocking), is the basic rudiment involved in speed picking. It is necessary to follow along with a pace set by a hungry bar searching for note patterns. What are the rewards of reaching pinnacles of successes in speed picking? I'm wondering how Santo and Johnny would have answered that question.

Bill Hankey · Post by **Bill Hankey** » 30 Jan 2009 3:01 am

Just a little food for thought at the break of dawn.

Ulric Utsi-Åhlin · Post by **Ulric Utsi-Åhlin** » 30 Jan 2009 4:06 am

I happen to use "Flight Of The Bumble-Bee" as a
warm-up exercise,my semi-cluster on the top four
strings came into being,eons ago,to make such like
possible...we all have our little ongoing,just-for-
fun projects...McUtsi

Bill Hankey · Post by **Bill Hankey** » 30 Jan 2009 4:58 am

Ulric Utsi-Ahlin,

Should I address you as shown, or would you prefer McUtsi? I had heard Spanish guitarists play this tune. I had immediately thought that it would forever be wishful thinking to rev up the piece, and come clean on the steel. This is news that I can use. If you ever access the You Tube, so that I may enjoy your rendition of "Flight Of The Bumblebee", it would be appreciated. Your presentation would knock out all tendencies to go about presuming what others are capable of achieving. Your comments on speed picking would help to dispose of lethargies associated with failed attempts to show improvements within limited groups of would be super pickers.

Ulric Utsi-Åhlin · Post by **Ulric Utsi-Åhlin** » 30 Jan 2009 6:12 am

...I´m halfways out the door,rushing...back again
tomorrow...´til then,Stay Cool...McUtsi

Pete Finney · Post by **Pete Finney** » 30 Jan 2009 8:00 am

Bill Hankey wrote: The blocking technique (palm blocking), is the basic rudiment involved in speed picking.

I would say that's just not correct, or at the very least a serious overstatement. It seems to me a good percentage of the "speed picking" discussed in this thread involves either "pick blocking" (associated with Paul Franklin and many others) or banjo derived techniques (rolls etc) where the notes are not cut off at all but rather allowed to run together... Certainly one can play fast with palm blocking, but for the kind of playing being mostly talked about in this thread it's the exception, not the rule, in my opinion.

Bill Hankey · Post by **Bill Hankey** » 30 Jan 2009 9:02 am

Pete,

Please realize that I would be hesitant to venture into a flurry of disputatious disagreements unless all the stops were pulled. I'd be leery about my qualifications to commence throwing my weight around in your presence on technical musical issues. I've spent some time searching to learn more of your activities with various groups. So far, I've learned that you have other musical interests, not related to country as we know it. I watched Patty and Vince singing duets etc. The best that I can hope for is to peruse every word you've written, and try to benefit from the advice that you offer. Word comes that you are very committed to fairness.

Tom Quinn · Post by **Tom Quinn** » 30 Jan 2009 11:28 am

Delphic Oracle...

Bill Hankey · Post by **Bill Hankey** » 30 Jan 2009 12:47 pm

Tom,

Do you mean to say that Oracles are meant to give advice to shape your future?

Kenny Martin · Post by **Kenny Martin** » 30 Jan 2009 1:41 pm

I would have to agree with you Pete!
Pick blocking is not only the side of the palm but in a very fast run i also block (stop the note) with the side of my pinky finger as i tuck it a little in a fast run.

Open runs if you play them fast enough tend to not ring as much.
I guess since i get kicked around for always playing to fast maybe i know a little about it. IMHO

I love it fast with personality in the left hand!!!

km
www.youtube.com/krmsr59

Bill Hankey · Post by **Bill Hankey** » 30 Jan 2009 3:05 pm

Kenny,

I found your blocking technique to be quite entertaining. How are you doing with the kick-offs, breaks, and tags in a group? Do you feature yourself playing chord melodies with a fist full of harmonics to sweeten the lead. Have you tried adding one more finger pick to your ring finger? Have you ever played "The Wild Side Of Life", "Crazy Arms", Or "Walk Me To The Door"? I'm wondering if your style of playing would add something new to those steel instrumentals.

Kenny Martin · Post by **Kenny Martin** » 30 Jan 2009 4:01 pm

I'm fixin to go as we speak to play a 3 1/2 hour show where i play steel behind 3 different "Country" groups!

The first tune on the chart is "Crazy Arms" Patty Loveless style! I in fact play it just like she cut it!
Since 1974 i have played all the "Real Country" songs!
"The other women, Heartaches by the number, Swingin doors, There goes my everything, Mansion on the hill, You don't have very far to go, Misty and the 4/4 list goes on!
I grew up on steel with vynl records. I even have a 78 of Hank Senoir!
So in anwser to the question, yep play them all but i also love the thrill of playin Skaggs and all the smokin fast stuff!
Yea, i get paid to stay in the pocket, only play where i should, and twinkle behind the singer but in the bar band i play in, we play nothing but "Real Country" and i also play "Alabam Jubilee" as an intrumental! I get to turn it lose with them every night we play!!

I'm glad my pick blocking is entertaining!!
To me in speed it's about personality in the left hand more than the right! No, i would not be interested in a 3rd finger pick.

Hey, its just my spin on the speed thing man!!
km

Pat Goodbla · Post by **Pat Goodbla** » 30 Jan 2009 6:21 pm

Buzz Evans....Danny Sneed....Doug Jernigan....and on, and on, and on.....

Bill Hankey · Post by **Bill Hankey** » 31 Jan 2009 2:20 am

Kenny Martin,

First of all, I appreciate your good-natured responses. I found enjoyment reading about your activities in South Carolina. There seems to be quite a lot of independent thinking, combined with a good level of confidence interweaving into your performances. It makes me think that you've met a number of country players who like the pedal steel guitar. At times in the life of a musician, you may learn after joining a group, that a bandleader has hired drummers or bassists who will step out of line by criticizing your settings on your amp, or the tone of your steel. Anything that may detract from an evening of fun, we can do without. I know of an instance when a drummer told the steel guitarist in the band on break; "I'm no so-and-so, and your no so-and-so". I've left out the names for obvious reasons. Now, that sort of behavior can trigger a slight distraction in a sensitive player. It might have been meant to stir up some laughter, but who can be sure? About 99% of musicians are rooting for you, especially those who have investigated the workings of the steel guitar.

Bill Hankey · Post by **Bill Hankey** » 31 Jan 2009 3:06 am

Pat G.,

The last time I saw Buzz Evans, he was playing a Mullen steel. Danny Sneed and Doug Jernigan both play Fessenden built steel guitars. I hope they are doing well and learning new "stuff". (Just kidding)!!
One of the problems associated with amassing huge repertoires, as seen in the artists mentioned, only 1/100 of 1% of their musical renditions are heard through the transmission of sound in broadcastings on radio and TV programming.

Donny Hinson · Post by **Donny Hinson** » 31 Jan 2009 9:15 am

Bill Hankey wrote:... only 1/100 of 1% of their musical renditions are heard through the transmission of sound in broadcastings on radio and TV programming.

1/100th of 1%? That means they have a repetoire of 10,000 songs?! Wow, I'm impressed! $:\$ Well, not really...10,000 songs is a lot of songs, so I might have to question that.

The Steel Guitar Forum

When You Think Of Speed...

Speed...

Hi,Bill...