A Whiter Shade of Pale by Jim Cohen

Home, James by Jim CohenJim Cohen is best known for his western swing band, Beats Walkin’, but Jim is a multi-faceted artist.  In 2008 he released a tribute album of ’60s pop tunes arranged as pedal steel instrumentals.  Entitled Home, James, this excellent set of tunes helps us imagine the E9th pedal steel in another context, recognizable yet far from its country & western roots.

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Steve Wariner

Hello fellow players,

In a recent newsletter I made a reference to a great old builder and player. His name was Zane Beck. I called him Zane King in the letter because the great steel player Zane King’s mother was in the store when I was writing the newsletter so I had Zane King on my mind. Several of you spotted this error and lovingly jumped me over it. Both Zane King and Zane Beck were and are incredible players. The world of steel guitar is lucky to have known them both.

I have been harping for about fifteen years about what a wonderful musician Steve Wariner is. I will continue to do so, however it looks like many of you are learning this on your own. About 18 years ago, I sold Steve one of my personal Emmons PP single neck steel guitars. He went on to learn it and learn it very well. He is one of those strange guys that is a very, very nice person along with being a megastar and a tiptop musician on top of it all.

I am very glad to have had a part in getting his career started.

Barbara Mandrell called me one day and said, “I have a singer friend that needs a demo that we can pitch to a major label.” She asked me if I would be interested in playing steel on it.

I said, “It depends on who it is. Tell me who the artist is and I might be able to find time to do it.”

She said, “It’s Steve Wariner and he requested you.”

I said, “I would be very glad to do it then.”

I had worked with Steve Wariner in the Bob Luman band in the old days and Steve played bass so I was well aware of Steve’s talents. I wasn’t extremely sure about his singing at first, however it’s obvious that I should never have had any doubts. He’s an astounding singer and can sing many styles and this guy has a sense of humor that is only surpassed by Roger Miller.

When the demo was finished I had another session I had to run to so I didn’t really get to hear the finished product, but Barbara called me back that evening and said it was astounding.

So I said, “Leave me a copy of it at the studio and I’ll drop it off to Chet Atkins as I feel he would be very interested in Steve’s style and I want Chet to hear him play guitar.” Steve’s guitar playing is beyond belief. Anyway, as all of you know, Chet signed him to a deal with RCA Victor and the rest is history.

One way to get a vocal career started is to do a beautiful demonstration recording so what I always do when I’m trying to pitch a singer to a label is do a video of them performing their sound demo so that the prospect can be seen and heard and even try to do an interview so that their personality can also be observed.

This way the label heads actually know what they’re getting when I walk in to pitch the person to them. I have pitched several artists that are stars today, but I’m really no longer in that business because it seems like many of the people at the labels today really don’t know what they’re hearing and I totally respect and salute those that do.

The old days of dropping off a cassette recording are pretty well totally over as most label heads don’t even interview the singer themselves, instead have a hundred dollar a week secretary do that for them. A real shame. Thank goodness we had a Chet Atkins around when we finished Steve’s demo recording.

If I’d have known he was going to play steel so well, I may not have done it … haha! But seriously, with the personality that Steve has and as nice a person as he is, this guy deserves everything he has ever gotten in the music business. I certainly hope he gets much more. I just hope he does a lot more of that wonderful singing, guitar playing and less steel guitar playing. He’s the kind of hero we all need.

Over the years I’ve watched several careers blossom that I’ve had a hand in helping start. I’ll mention again on my website, there is a video that I did with Steve at the East Tennessee Steel Guitar show fifteen years ago. We did Rocky Top and Don’t You Ever Get Tired Of Hurting Me.

These videos were shot with a handheld camera back before videos had progressed to the point and quality that they are today. However, watching Steve’s impromptu act on both these songs is a fun thing I’m sure will tickle most of you.

Here’s the link: www.steelguitar.net/clips.html

Check out our monthly specials at http://www.steelguitar.net/monthlyspecials.html and we’ll try to save you a lot of money.

Your buddy,

Bobbe

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Strings for E9th Pedal Steel

String Gauges

To aid in understanding the gauges in common use today, I’ve constructed an analysis of each string of the standard tuning. It’s worth noting that some famous players like Paul Franklin and Russ Hicks gravitate toward heavier strings.

The scale length of a pedal steel is the distance from the center of the changer finger to the the center of the nut roller – the full vibrating string length. Most pedal steels have a scale length in the range of 24” to 24.5”, though a few are 25” or longer. Generally speaking, a shorter scale will take a slightly heavier string than a long scale.

The most common gauges are: .013 .015 .011 .014 .017 .020p .026w .030 .034 .038

  1. F# – .012 or .013 plain. The most common choice is .013. Players who raise the string to G# and have a long scale are sometimes more comfortable with a .012.
  2. D# – .015 plain. Few players use anything different.
  3. G# – .011, .0115 or .012 plain. The traditional choice is .011, but you’ll get a better tone if your guitar can hold a heavier string without breaking. Many short scale players now use a .012, and the .0115 from Jagwire or GHS works on almost any guitar. Still, .011 is the safest choice if your guitar is prone to string breakage.
  4. E – .014 or .015 plain. Almost everyone uses .014. The only exception I know of is Paul Franklin who uses .015 Jagwire. People have been buying his signature set, so maybe this is a forward-thinking trend. All new guitars are set up by the builders for .014.
  5. B – .017 or .018. The most common choice is .017 because it gives you a longer, more sensitive pedal pull. The .018 has a stronger tone, it pulls more quickly and takes more effort on the pedal. Some players switch to .018 after years of using .017 because of the tone or for the shorter pull.
  6. G# – .020, .021, .022 plain or .022 wound. The modern standard is .020 plain. Older players (or players with older guitars) often prefer the .022 wound for its rich tone and long travel on the B pedal. Most modern guitars have a lever that lowers G# to F#, and a plain string makes that change work better. The .021 or .022 are used by players who want even shorter knee lever travel.
  7. F# – .024 or .026 wound. The standard gauge is .026. The only exceptions are John Hughey and his disciples who use .024 wound. I don’t know why.
  8. E – .028 or .030 wound. The standard gauge is .030. Again, John Hughey’s variation is .028 and I don’t know why he went lighter than the standard. Virtually everyone else uses .030.
  9. D – .034 wound. Few players use anything different.
  10. B – .036 or .038 wound. There is very little difference between .036 and .038. Players who have a short scale prefer the .038.  Also, players who lower the string to A on a “Franklin pedal” prefer the .038.

Alloys:

The plain strings from any given manufacturer are all the same alloy. It’s usually called plain steel. The differences between sets from a manufacturer are in the alloys used for the wound strings, and in the gauges.

Nickel wound strings are the traditional choice. Nickel wounds sound almost too bright when you first put them on, but they mellow in a few hours of playing time to a long-lasting, consistently rich tone.

Stainless steel wound strings are the choice of many contemporary steel guitarists. They are much brighter sounding than nickel, and they maintain that brightness for their entire life cycle.

Both nickel and stainless wounds develop false harmonics at the end of their life cycle, which is why it’s hard to tune old strings. Nickel strings also sound “dead” – lose their brightness – when they are very old. Stainless strings stay bright and just sound out of tune when they’re old. A lot of “tuning problems” can be solved by installing a fresh set of strings.

Jagwire, S.I.T. and Ernie Ball all offer a choice between nickel and stainless steel wound sets for pedal steel. Black Diamond sets are nickel wound. GHS Boomers are similar to nickel wound strings (I think they are nickel wound, but I have no proof). GHS also offers stainless wound sets.

GHS Progressive wound strings fall between nickel and stainless on the brightness scale. They are available only by the gauge (no pedal steel sets), but they have been proven to be very good strings for E9th pedal steel. I have them on my own guitar as of this writing and I’m very happy with them.

Pure nickel is the name given by the industry to the nickel alloy used in the ’50s and early ’60s. Pure nickel is not as bright sounding as modern nickel wound strings. John Pearse strings for pedal steel are pure nickel wound, as are the GHS Rollerwound (semi-flat) strings.

This is just about everything I know about E9th pedal steel strings.  I hope it was information you can use.

-Bobby Lee

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