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Topic: Question on Technique re: Paul Franklin's Shenandoah Lesson |
Michael Harrington
From:
Ann Arbor
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Posted 29 Mar 2020 6:43 am |
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Hi everyone,
I have a question regarding a technique that is unfamiliar to me. In Paul's recent video on Shenandoah, he briefly touches on this during the intro portion: By lifting the bar hand's fingers off the strings and very accurately fretting the 12th fret, he gets an almost chorus-like effect. It's too cool. I must have spent at least 30 minutes staring down at my steel doing this.
There's a Sun Records recording from 56' which I imagine is this same technique in the intro:
https://www.youtube.com/watch?v=Efk1siFxFTc&list=PL5tzziRtJNPPoEYDHi51vHljtUI5krdVt&index=51&t=0s
So my question is: What causes the steel guitar to produce this sound? Is it related to the natural harmonics of the strings? (and if Paul sees this) Where did Paul pick this up?
I'd also like to thank Paul for donating his time and years of wisdom in this free lesson. I would also recommend his other courses for sale on his site- I bought the C6 almost a year ago and still am learning from it!
-Michael |
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Justin Emmert
From:
Greensboro, NC
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Posted 29 Mar 2020 8:16 am
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| The fingers behind the bar mute some overtones. Holding those fingers off the strings releases the overtones to ring out. |
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Dan Kelly
From:
Boston, MA
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Posted 29 Mar 2020 8:46 am
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That intro is interesting... It sounds as if the bar is at the 12th fret and the strings behind the are not muted. The top note at the end of the lick must be controlled by a pedal because the note goes down a step but the other ringing notes are unaffected.
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Fred Treece
From:
California, USA
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Posted 29 Mar 2020 9:51 am
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At fret 12, the notes behind the bar are the same pitch as the notes in front. It’s the exact middle of the string length, so a unison (or chorusing) effect can be produced by unmuting behind the bar or picking on both sides of the bar.
The physical properties regarding natural harmonic overtones are the same for any stringed instrument and not unique to pedal steel. Unmuting behind the bar is, though. “Discovering†it is a revelation to every player, whether by accident or demonstration. |
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Jim Cohen
From:
Philadelphia, PA
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Fred Treece
From:
California, USA
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Posted 29 Mar 2020 11:14 am
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| Jim Cohen wrote: |
| Works best at the 12th fret, but you can also get good ones at the 7th and 5th frets. |
3rd and 9th frets, not so much. Although they are natural harmonics locations. |
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Michael Harrington
From:
Ann Arbor
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Posted 29 Mar 2020 11:58 am
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Thanks everyone for the responses. Fred, I don't know why I didn't think of this. You answered my question completely!!
-Michael |
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