Do you feel "connected" to the pedal steel when you play?

[Rick Schmidt]

Yes the pedal steel is definitely a machine, and to this day (after at least 40 years), I still don't think of it as a "guitar". In my head it's kind've it's own beast.. not a guitar, not a keyboard.

An important thing to remember is that it is also probably the most human voice-like sounding instrument there is! I truly believe that once you establish that connection in your approach, you are well on the road to fully connecting with the instrument itself.

Something I've noticed in my experience...

I've spent many, many hours playing my steel at home without turning on the amp, or practicing at very low volumes so you can better "feel" the strings and natural resonance of the axe. It's important to learn the true response and natural sustain of the strings on your instrument, before further abstracting the process by counting too much on the volume pedal, amp, or effects as the foundation to your sound. Doing that has absolutely affected the way I approach playing through my full rig on gigs, whatever that may be...

Of course bottom line is that the more time you spend with it, the closer to it you become.

[John De Maille]

I hear you Ben.

[Eric Philippsen]

When the tone is right, any nervous jitters are gone and my hands are limbered up (usually by the 2nd set), and the other players are on top of their game, then I can get in the zone.

[Chris Walke]

Here on the East Coast (N.J.) we don't get to play too many instrumentals. When I get a chance to play one I get into my all thumbs mode. I spent most of the last 30 or so years backing up singers. When someone is singing I get comfortable behind the singer. Not too at ease at steel shows or instrumentals only jam sessions.

I can relate to this. Entirely. Even as a lead guitarist, my pals always said I had sideman syndrome. The supportive role is most comfortable to me. My goal, regardless of the instrument I happen to be playing at the moment, is always to be present but transparent.

[Erv Niehaus]

I agree that you have to feel comfortable with your instrument. However, it is also important to feel comfortable with what you're sitting on.
If you can assume the same position every time you sit behind your guitar, you will feel more intune with it.

[Ben Waligoske]

This is an interesting topic, in that it reflects a little bit on a conversation I've had with some mentors and other steel players, etc.

As others have said, the intimidating mechanical nature of the pedal steel is a challenge that is shared by few other instruments. And to me, I think there's a definite break point for every player (at least those who stick with it) at which they are no longer "afraid" of the instrument, and begin to make it work for them. I can always tell when a steeler still has some nagging intimidation in the back of their mind, and until a player gets over that hump, fluidity, grace, speed, and good tone can be elusive. Heck though, all that still eludes me most the time anyways!

This may just be a mental block that a lot of folks need to get over, and I think for those folks that play out, having a lot of stage experience can help eliminate some of that too... but obviously many long hours of practicing fundamentals (especially right hand technique) will get you through that block faster and make you feel "one" with the steel.

But I guess what I'm really saying is, the moment I decided I wasn't gonna take any S*** from my pedal steels was pivotal in my development as a player!



PS - I know it can be scary, and you don't necessarily have to go changing around your entire copedent, but I think regularly spending time on the underside of your guitar and understanding the mechanics, doing routine maintenance, and so forth can also really acquaint you with your axe, and make you feel "one" with The Force!

[John De Maille]

As I said in my previous post, the more time you put in playing, the more it becomes part of you. In concerning the ergonomics of the fit, you won't know until you play it for a while. Then, you can either adapt to it or adjust it to your likings. As far as copedants are concerned, I doubt any newcomer will know exactly what they want until they have played what they have. Again, then, you can decide what's right for you. It took me a long time to become completely comfortable with my steels. I'm still amazed at the prowess of some of the newcomers, who, sit down at the steel for a short length of time and play with great finesse. Not everyone is gifted with the ability to play or work on these steels. Many, many things come into contention with this instrument. But, I still say, that, playing time and knowing automatically where all your pulls are key to becoming attached to your steel. Everything will flow smoothly with no hiccups.

[Frank Markow]

I never felt that connected to my Rains. I liked it, but it felt a bit distant. But the moment a sat behind my Sho-Bud LDG (before I bought it) I felt an instant connection, the way it fit my frame, how it sat under my hands, the tone, the easy playability... I fell in love right away, obsessed over it, and bought it. I continue to love it, in the way a guy can love an instrument...

[Kevin Fix]

After 35 years I would have to say that it is part of me. I spent all my playing time backing up vocalists also. Very few instrumentals. When I am playing all my moves with pedals and knees and both hands all sort of blend together. Do it without thinking about what I am going to do next. like walking I guess.

[Dan Robinson]

Sometimes. Achieving it took a long time. My level of skill is not outstanding, but I'm reasonably fluent. Now I often feel that bond, and at times it is trancendent. Awesome when that happens. Therein is the reason for playing this contraption. It yields that magic like no other instrument I've played. But it's a fragile state of affairs, and the feeling must be earned. Like a relationship... it takes work to keep it special.
It depends on being able to hear myself. Easy when woodshedding, harder when performing. I could tolerate a loud band and still do OK on 6-string or bass. When there's a "wall of sound" on the bandstand it's a nightmare staying coherent on pedal steel. I'm in a 6 piece band, we're working hard to tame the dynamics. When it works... it's a beautiful experience.

[Charlie McDonald]

I know it can be scary, and you don't necessarily have to go changing around your entire copedent, but I think regularly spending time on the underside of your guitar and understanding the mechanics, doing routine maintenance, and so forth can also really acquaint you with your axe, and make you feel "one" with The Force!

Spending time underneath the guitar gives you time to consider just what you're doing, how you get the feel that you ultimately like.

An important thing to remember is that it is also probably the most human voice-like sounding instrument there is!"

I have the feeling that pedal steel comes from emulating the moving 'mountain harmonies' that are the roots of Appalachian music.
Bearing that in mind brings out the thing that really resonates with people--singing, whether they can do it or not.

[Justin Griffith]

I hate to drag guitar brands into this discussion, but I will..

I've owned quite a few steels, and have settled on a P/P as what works best for me. Sure it sounds good, so do a lot of guitars, but there is something tactile about the way the P/P responds to my playing that inspires me. I believe it may have been Herb Steiner who described that phenomenon in another thread, and I concur. I really think that 'feedback' factor is a big reason so many people like P/Ps, despite the inherent disadvantages(?) of the mechanism.

In my opinion, that's 'connected' to the guitar, and I think that's what a lot of the other posters have said or hinted at. I'm not saying you can't get that with some other guitar, but I think you have to find the guitar that 'talks to you' and that's the one you want to play.

This. A guitar is a guitar to me unless it's an Emmons p/p or a Sho-Bud Perm. They fight back, and it's so worth it!

[Tony Prior]

yes. I think we are supposed to be connected thats why we spend so much time trying to find "the right one ".

[Daniel Neill]

Hey all this is such a fascinating conversation, I'm sorry I missed it when it was active. Does anyone remember an "ah-ha" moment when they first started to feel that connection to the instrument? For me, I remember the first time I heard a note in my head and pressed my A pedal to get that note without having to think about it. What a thrill!

[Donny Hinson]

I played the first pedal steel I got for about 8 years, and the second I played for 29 years. It's my belief that you develop a special "connection" with an instrument only after years of playing the same one for many years. Playing another similar, or even identical one, is like dating twin sisters - oh so similar...but just not quite the same, if you get my drift.

I feel those who change guitars often may not ever get to really know the guitar and feel that same kinship or familiarity with it.

Ask Lloyd...he probably knows.

[Charley Paul]

It takes me a few songs to really connect with the steel and get to feeling like it an extension of myself, as opposed to an instrument I’m playing. Small little tweaks in posture, right hand placement, getting my seat pushed up to the guitar just right, and getting the “feel” for how to be expressive at the volume I’m playing at live. But once alll those micro movements are finished, yes I feel connected. And I feel depleted when I’m done for the night.

[Chris Sattler]

The more one works on the guitar the more one should feel connected. There is nothing better than adding a few knee levers or changing their function, timing the pulls, tuning her up and playing a few tunes and she all runs perfectly. A bit like a surgeon working on his wife or kids I guess. That's a connection.

[Dave Hopping]

After I'd been playing awhile it hit me that we play steel with both hands,both knees,and both feet;that's more points of contact with an instrument than most musicians have.About the same time,I remembered reading that Battle of Britain fighter pilots would say they didn't fly their Spitfires,they wore them.That's what it felt like to me-still does on a good night!

[Chris Walke]

Flying hours, and adjustments to pedal height, seat height, guitar angle.... I've found all these things contributed to a growing connection to the guitar. I'm in a pretty good place for playing these days, comfortable physically.

I really have to say, seat time seems to have been the biggest contributor. I spent a year with a band arranging songs for our singer-songwriter leader and recording an album's worth of material and that has taught me more than any in-home practice room time has. Writing parts - hearing something in my head and searching for it. The more I learned how to find things, the more connection I felt. Well, I guess finding those parts happened in the practice room...hmmm... But the rubber hit the road when the engineer hit the record button.

Glad this thread got revived. I just read the whole thing over, and it is full of great comments and encouragements.

[Don Walworth]

Mostly my steel is a piece of furniture --- sit at it and go thru the 'grips' etc and that is about it. But on two occasions I was 'one with the beast".

First was when I put on a Youtube of Great Hits ... something like this:

https://www.youtube.com/watch?v=_o_FqMZ8OKA&loop=0

I had no idea what the next tune would be and of course no idea what key. Music started and I would hunt for the key first -- then just use I IV V chords the best that sounded to me. I had NO idea that I was on the 'beast' over a hour. Fun!

Second was when a musician at our Brew Pub (I'm the brewer) said I should sit in with him some time. Well, I did just that. He told me up front all songs were I IV V and he would tell me what key prior to playing. Now 80% of his music is what he writes... I thought I'd play a tune or two --- but he had me play for 1.5 hours - the first set. I was one with the 'beast'. Sure I played the wrong chords at times - IV instead of V as an example--- but got off them fast and "No harm, no foul". I got a lot of 'high 5's from the band.

My story.
don

[Larry Ball]

I am totally absorbed in playing my PSG, only when I am carrying it out of my Studio to my car do I realize it is something different (Heavy)

[Chris Walke]

First was when I put on a Youtube of Great Hits ... something like this:

https://www.youtube.com/watch?v=_o_FqMZ8OKA&loop=0

I had no idea what the next tune would be and of course no idea what key. Music started and I would hunt for the key first -- then just use I IV V chords the best that sounded to me. I had NO idea that I was on the 'beast' over a hour. Fun!

I like to do a similar thing. Let my music app play on shuffle and just start playing along. Pick a genre, pick an artist, pick a playlist.... Definitely fun. But there are days when I simply can't seem to do it, or get into it. Hot & cold. But when things are hot, soooo much fun!

[Benjamin Davidson]

I personnaly felt more progress has been made for me to feel a connection, by getting under the guitar and tinkering with it.

In the time Ive owned it I've added 5 pedals, and another knee lever, taking it from a normal E9th to a 10 string Universal. Doing that work, having the guitar completely emptied out, and putting every part back in has been a great aid to my understanding of the instrument.

For exaample, changing a pull rod on a bell crank, and seeing what that does to the way the guitar feels on that pull. Well thats the sort of thing that helps me feel more connected to the PSG while I play. Hours in the seat and time under the hood, so to speak.

[Daniel Neill]

I personnaly felt more progress has been made for me to feel a connection, by getting under the guitar and tinkering with it.

In the time Ive owned it I've added 5 pedals, and another knee lever, taking it from a normal E9th to a 10 string Universal. Doing that work, having the guitar completely emptied out, and putting every part back in has been a great aid to my understanding of the instrument.

For exaample, changing a pull rod on a bell crank, and seeing what that does to the way the guitar feels on that pull. Well thats the sort of thing that helps me feel more connected to the PSG while I play. Hours in the seat and time under the hood, so to speak.

Has the playing and tinkering with the PSG changed the way you think about "Music" on a larger scale? I never really played a "melodic" instrument before the PSG and I've found that sometimes when hear a I-IV or I-III minor change in a song I feel myself moving my A+B pedals or LKR automatically. By that I mean the sound and the movement are really closely linked in my mind. Is this something that anyone else has experienced?

[Al Evans]

Has the playing and tinkering with the PSG changed the way you think about "Music" on a larger scale? I never really played a "melodic" instrument before the PSG and I've found that sometimes when hear a I-IV or I-III minor change in a song I feel myself moving my A+B pedals or LKR automatically. By that I mean the sound and the movement are really closely linked in my mind. Is this something that anyone else has experienced?

Definitely. When I'm playing guitar, I've found that my big moves along the neck, 5 or 7 frets, are much more accurate, and I'm much more conscious of the specific intervals I'm playing, the specific fret I'm on, and where everything else is from here. When I'm playing piano, I find that I "naturally" add in passing chords and alterations that I had to consciously think about before I took up pedal steel.

Everything feeds into everything!

--Al Evans