Hey Bud, what can I do about...

Retired master PSG builder Bud Carter spent many years inventing, designing, building, and repairing instruments for some of the most famous and popular brands, including MSA, MCI, and Carter steels. During that time, he was always available to answer questions from steel enthusiasts. Here are some of the most frequently asked questions and their answers.

• AC Hum Reduction: D-10

  Question:
  I play a D-10 (with single-coil pickups). I have problems with AC hum. I have found that if I put my bank switch in the middle position (turning on both necks), I lose power and tone. However, if I just increase the volume and low-end to compensate for the lost power and tone, I get the same sound as having only 1 neck switched on, but I get less hum. Why do I get less hum with both necks on?

  Answer: The main reason that you get less hum when both necks are "on" is that your impedance is reduced by half, thereby lowering the signal level being passed to your amplifier by your guitar and volume pedal.
  
  Unfortunately, single-coil pickups have a tendency to hum. I suggest you try this:

  1. Plug your steel directly into your amp (no volume pedal or effects). If it hums, then the pickups are the cause (see #4 below).
  2. If it does not hum when your steel is plugged directly into your amp, then check your cords, volume pedal and effects. If your cords, volume pedal and effects are all fine, then reconnect all of them. Then, try moving and reorienting the amplifier head and/or effects rack, which you keep near the guitar (keyhead and/or pickup end). The purpose of this is to change the direction of the flux field from the power transformer(s) in the amp and/or rack so as to reduce 60-cycle hum from being induced into the coil of the pickup.
  3. Also, try doing the tests mentioned (in #1 and #2) above after moving your steel and accessories away from various sources of light, such as fluorescent lighting, black lights, stage lights, and so on.
  4. If the hum still does not go down to what you deem to be a reasonably acceptable level, you should contact your pedal steel guitar builder and see what kind of humbucking pickup they recommend.
• Cabinet drop causes and solutions

  Question:
  I heard recently that a manufacturer is claiming that lightweight steels have compromised cabinet design, leading to the "dreaded 'cabinet drop'" (detuning as the pedals are depressed). Is this accurate? What causes cabinet drop, anyway?

  Answer:
  All pedal steel guitars have some cabinet drop (physical detuning). The amount of cabinet drop is basically a function of any one or a combination of these 4 things:

  1. Volume and type of wood or metal used in a cabinet
  2. Construction and design of the pedal activator and stop mechanisms
  3. The amount of pressure used and/or required to activate the pedals
  4. The position of the pedals

  All things being equal, detuning will decrease in each of the following 4 cases:

  1. Emmons pedal setups will detune less than Day setups. This is because the A and B pedals are farther from the center of the guitar on the Emmons setups.
  2. If less pressure (easier action) is required to activate them, the pedals will detune less.
  3. Using a lighter foot will cause less detuning.
  4. Increasing the thickness of material in the cabinet (in the correct places) will reduce detuning.

  Many players are surprised to learn that the amount of wood used in the cabinets of most steels is very close to the same from brand to brand. Wood does not make a major contribution to the weight of a steel guitar.
  
  Most steels have excess weight in places and parts that have nothing to do with causing cabinet drop. A good steel guitar design will reduce weight where it is not needed for strength or functionality. At the same time, a good design also will increase weight where it is needed for improved performance, tone, or reduction of cabinet drop. The end result should be a lighter, easier playing, better sounding, and stronger guitar. The bottom line is that a steel guitar definitely can be lightweight without compromising cabinet design and without causing an increase in cabinet drop.

• Cords and cables

  Question:
  Can using different cords between my guitars and amp make a difference in the sound I get?

  Answer:
  Yes. Good-quality, low-resistance and well-shielded cords can prevent signal loss and reduce noise. Your steel generates an electrical signal by passing a wire {your string (s)} through a magnetic field {your pickup(s)} . On its way to your amp, this signal is passed through: wires, your volume pedal and any effects you use. All wire has resistance, capacitance and inductance. Usually, the larger the wire diameter, the lower the resistance. Resistance also can be reduced by using multiple wires (stranded). The reduction of resistance increases the amount of signal that reaches the amp.
  
  You might also consider the fact that resistance, capacitance and inductance can interact with each other and affect the frequencies of the signal being generated. Certain frequency components can be increased while others are decreased. Try to use low resistance, low capacitance cables (cords)whenever possible.
  
  Most wire manufacturers specify these properties; but, you almost never see them listed on musical instrument cables.
  
  Also, if you use brass plugs, cleaning the dirt and oxidation off of them periodically (by using steel wool) will help.

• Detuning: Environmental causes

  Question:
  My steel is out of tune for half of the first song I play each set and then seems to be okay for the rest of the set. Is there any way I can stop this?

  Answer:
  From time to time steel guitarists have problems with detuning of their guitars. In the next question below, I discuss "physical detuning" (failure of strings to return true).
  
  Your problem is most likely "environmental detuning" (pitch changes caused by temperature variations).
  
  Try this: while tuning and just before you play that first song, rub the strings back and forth 4 or 5 times with your hands. Once you have rubbed the strings in this manner, keep your hands ON the strings until you actually start to play the first song!
  
  This procedure will help to compensate for temperature variations and should cure the problem of your steel being out of tune for only the first part of the first song of each set.

• Detuning: Physical causes

  Question:
  Why do my strings, which are not being raised or lowered, go slightly flat or out of tune when I push my pedals down?

  Answer:
  What you are experiencing is physical detuning. Physical detuning occurs when pedals are used. Detuning is due to the added pressure applied to the body by the strings and pedal stops on the front rail.
  
  All pedal steel guitars are susceptible to this to some degree, some more than others.
  
  Notice that this is more noticeable with the pedals in the middle of the guitar. That is, pedals 5 and 6 will detune your E9 neck worse than pedals 1 and 2.
  
  On double neck models, you will also find that the bottom neck does not detune as much as the top neck. The reason for this is that the pressure is not uniformly transferred to the bottom neck. On single neck models, the pressure is transferred to the whole neck and the detuning is about as noticeable as it is with the top neck on a double body.

• Fretboard Design

  Question:
  I would like to make my own fretboard, but do not know how to calculate the distances between frets. Is there an easy way to do this?

  Answer:
  Fret Location (FL) is a logarithmic function. To calculate fret locations, you must know the actual scale Length (L) of your guitar. Then use these formulae. You can also use this easy Fret Locator Excel spreadsheet (Right-click and select Save As...).

• Half Stops, Tunable Splits, and Compensators

  Question:
  Many newer model steels offer tunable splits or compensators. Would you explain the difference between tunable splits and the "feel" stops or half-stops often used on 2nd string lowers? What are the tunable splits intended to accomplish? How well do the different brands of pedal steels stack up?

  Answer:
  To answer your question about the difference between tunable splits and half-stops (feel stops, etc.), I can say the following:

  ---

  Half-Stops:

  Half-stops are normally found on the 2nd string on the E9 neck: D# to D to C# (-1/2, -1). These typically control one (1) string only and are used with 1 knee lever at a time. Half-stops can be used on pedals, but we do not recommend it because it is harder to feel the stop with your feet and it makes the action stiffer. Most modern steels implement half-stops in 2 different ways:
  
  1. Separate pull bar (bell crank), rod and tuning nuts with its own unique location (11th or 13th lower "finger"). This method was first used on the MCI. Presently, it is used on both the Remington and the Carter.
  2. The 9th string (D) lower (C# or -1/2) engages only when string 2 (D#) goes from D to C#. Zumsteel, Mullen & others use this method.
  
  Both methods are tuned with tuning nuts in the endplate (same as pedals & knee levers).

  ---

  Splits:

  Splits allow you to use a pedal and a knee lever that operate the same string together at the same time. Example: Pedal 2 raises the 6th string (G#) 1/2-tone (+1/2) to A; Knee lever lowers full tone (-1) to F#. In this example, a split would allow you to use both the pedal and knee lever together, resulting in a 1/2-tone lower (G) and it would be accurately tunable.

  ---

  Compensators:

  There are three (3) types of Compensators:

  Tuning Compensators: are extra "pulls" that allow you to be in tune when using the pedals or knee levers.. A typical implementation is to flat the two (2) F#'s (strings 1 and 7) about 1/8 of a tone when the "A&B" pedals are used (E9 to A6).
  
  Return Compensators: are extra rods typically attached to a fixed point, such as a cross-brace. These make sure any string that both lowers and raises will return true. Not all steels use or require this type of compensator.
  
  Detuning Compensators: are mechanisms that apply pressure to the changer to reduce an excessive "drop" in pitch that occurs due to mechanical stresses caused by using the pedals and/or knee levers. Very few steels use this type of compensator.
  
  As to how well the different brands stack up, I recommend that you talk to the various manufacturers, try out the different makes, and talk to other players who use or have used those products. And, I suppose, just like anything else in life, your own personal preferences will shape your outlook and opinion of what is a good steel, as well as a good deal.

  ---

• Harmonics: Undertone

  Question:
  When I play my steel, I hear an undertone (a note below the note being played) . . . what is causing this?

  Answer:
  There are several possible answers to this question. The most likely cause is usually a sympathetic resonance in the steel which occurs at a particular frequency. Various resonances affect string vibrations and are transmitted to the strings by the components which touch both the strings and the body. It also could be caused by the pre-amp or reverb circuit in your amplifier.

  I recommend that you try the following in the order listed:
  
  1. Try turning off the reverb in your amp.
  2. Try 2 or 3 different amps.
  3. Test to see if this occurs only on a certain string or on certain strings at a particular fret.
  
  If the answer is yes to #3, then try lowering the pickup. This usually will reduce the undertone to a level you can live with or where you will not notice it anymore. If the undertone persists after trying #3, then try tightening (or loosening) each of the bridge and keyhead screws (about ¼-turn), one at a time while checking the overtone after each screw you tighten (or loosen). This may reduce the resonant frequency's amplitude (amount) or at least shift the frequency to one, which is less annoying.

• Harmonics: Sustain

  Question:
  I play a D-10. I am having trouble getting a good sound when I play harmonics on the bottom neck. Basically, the strings die without ringing. Is there something I can do to improve the harmonics on my bottom neck?

  Answer:
  The most likely reason that you are not getting a "good (or sustained) sound" when you play harmonics ("chimes ") is that the pickup is too close to the strings. (Please note that this can happen on either neck and can occur on nearly any brand of pedal steel guitar or pickup.) When the magnets in the pickups are too close to the strings, they pull on the strings and prevent them from vibrating (moving) freely. When you play harmonics, there is a smaller amount of string vibration (movement) than during regular playing. Therefore, the magnetic attraction has a greater effect on the ability of the string to vibrate freely.
  
  I suggest you try this: move the pickup slightly farther away from the string. Do this by screwing it down farther into the neck. This should weaken the magnetic attraction and allow the string to move more freely; thereby enhancing the sustain of the harmonics. Note that there is a "happy medium " beyond which you will lose volume and power by lowering the pickup too far. This will also hurt the "sustain" of your harmonics.
  
  If lowering the pickup does not help, there may be other reasons this is happening, such as: the fret markers are not correct, the fretboard is out of position, or your strings could be "dead". Any of these would cause you to attempt to create a harmonic in a position, which is not a node of the frequency.
  
  By the way, due to the larger gauge of C6th strings, the sustain of harmonics on the C6th neck will generally be less than that on the E9th neck.

• Lacquer vs. Mica: Sound differences

  Question:
  Why are there differences in the sound of lacquered (or painted), wooden bodied guitars and mica (Formica®) covered pedal steel guitars?

  Answer:
  I hear this question quite often. The differences you hear can be attributed to a variety of things, such as:

  - The wood used in painted guitars may be different than the wood used in mica-covered pedal steel guitars. Curly or birdseye maple is typical of lacquer-finished (or painted) guitars. Mica-covered steels typically use either die- board (plywood) or hard-rock maple. Different types of wood will have different densities, degrees of hardness, and resonant frequencies. In fact, 2 pieces of the same type of wood cut from different boards, or even from the same boards but cut differently, can sound different when made into a guitar.
  
  - The 2 bodies may use different assembly techniques and/or parts. This can add to a variation in sound.
  
  - The change in density, due to the absorption of glue into the wood when mica is used and the absorption of lacquer (or paint) into the wood when a lacquer (or paint) finish is used, will minimally contribute to a variation in sound.
  
  - The variation in dimensions of the wood will also contribute slightly to the differences you may hear.
  
  There may be several other, more minor, factors; however, the items listed above are the basic differences. A couple of other things you may want to think about: 1) Mica-covered guitars are far more dent and scratch resistant, and 2) Mica-covered guitars are easier to care for than lacquer-finished guitars.
  
  As to which sounds better, I believe that is a very personal choice depending on the sound each steel player prefers.

• Lubrication

  Question:
  How often do I need to lubricate my steel?

  Answer:
  Most steels should be lubricated at least every 6 months. If you are playing 4 to 5 nights a week, it should be lubricated even more often.
  
  You can use 30W motor oil or a lightweight machine oil. Do NOT use any graphite-based products or WD-40 since they will "gum up" your steel and cause operating problems.
  
  (Please Note: Some new steels use a new, non-migrating lubricant and therefore do not require any additional oil. In fact, on such steels, adding oil can wash away these new, non-migrating lubricants. If you want to find out whether you have such a steel, I recommend that you check the " Lubrication" section of your Owner's Manual or contact your manufacturer for lubrication instructions.)
  
  However, for older steels and any steels not treated with a non-migrating lubricant, I still recommend using 30W motor oil or a lightweight machine oil.
  
  Therefore, for Carters, other steels for which it is recommended, and for older steels: Use a rod (which has been dipped in oil) to get between the raise and lower fingers. All parts that move and are metal-to-metal contact, including rollers and pedals on the pedal shaft, should be lubricated.
  
  Tip: Try not to use spray products. These are hard to control and will get oil in places where it should not be!

• Necks: Sound differences

  Question:
  Why do steels with Aluminum necks sound different from those with Wooden necks?

  Answer:
  All other factors being equal, steels with aluminum necks may sound slightly different from those with wooden necks due to the amount of surface contact with the top deck.
  
  Wooden necks are typically solid with a flat surface on the bottom.
  
  Aluminum necks typically are designed to have several pockets of material relieved from the bottom either by machining of the material away or by designing pockets in the casting from which the necks are made. Aluminum necks will, therefore, make less contact with the top deck.
  
  The frequency of resonance of a structure is inversely proportional to the mass of the structure (bigger strings give lower notes).
  
  Therefore, necks that have a higher degree of contact with the top deck (wooden necks) will increase the mass of the top deck more than necks which have less contact with the top deck (aluminum necks).
  
  The increase in mass described above may account for some of the differences in tone, with metal necks being brighter.
  
  Of course, the amount of torque on the screws used to attach the neck will give variations in sound also. The reason for this is: the amount of coupling of the neck and body will vary directly with screw torque.
  
  Lastly, steels with metal necks may mount the pickups in a different manner than those with wooden necks. This variation can cause differences in tonal qualities.

• Pickups: Design differences

  Question:
  Would you explain the differences between the various pickup designs, such as humbucker, dual-coil, single-coil, etc.?

  Answer:
  There are a variety of configurations in which you can wind pickups.
  
  - Single-coil pickups, like The Wallace TrueTone, typically have a single row of pole pieces with 1 continuously wound coil in the pickup. Single coils are typically noisier than humbucking (dual coil) pickups.
  
  - Humbucking (dual-coil) pickups use 2 separately wound coils in the pickup.
  
  Both the standard George L's and the old Lawrence 705's have 2 separate coils, each wound around a flat bar instead of individual pole pieces. The 2 coils are positioned side-by-side. The Lawrence XR-16 pickups use stack coil winding techniques. The Lawrence has double rows of pole pieces. Bill Lawrence also has experimented with a side-winder, single pole-piece, humbucking design. This Lawrence arrangement has the coils wound side-by-side instead of being stacked. All these humbucking (dual-coil) configurations use 2 coils to cancel out hum and other noise. The humbucker's output is usually stronger than that of the single coil; and the humbucker tends to be more mellow, also.
  
  The Lace Alumitone has a unique construction. The aluminum frame is the coil and a stepup transformer provides greater output signal.
  
  Different configurations, materials, wire gauges, and winding techniques will cause different amounts of wire to be used to achieve similar tone. For example, George L's E66 (10-string) has a DC Resistance of 17,500 Ohms, while their 10-1 (10-string) has a 19,300 Ohms DC Resistance, the Lawrence XR-16 has a 30,000 Ohms DC Resistance and The Lace Alumitone has a DC Resistance of approximately 6,500 Ohms.
  
  You can also change tonal characteristics when you make pickups by changing the following items:
  
  - Magnet material(Alnico, ceramic, etc.)
  - Diameter & size of the pole pieces, etc.
  - Wire gauge - Shape of the coil
  
  Most of a pickup's tone is based upon the configuration and the wire gauge. All of the pickups discussed here sound great and have approximately the same frequency response characteristics.

• Pickups: Mounting

  Question:
  What influence does the mounting of the steel guitar pickup have on the sound? Is it wise to keep the pickup isolated from the guitar body, thus eliminating noise transfer or is it necessary to maintain some degree of body contact to get the sound characteristics of the steel transferred to the amp?

  Answer:
  The mounting of the steel guitar pickup does influence the sound of a steel guitar. Different companies mount their pickups in different ways to achieve specific tonal characteristics. You can change these characteristics by changing the way the pickup is mounted.
  
  Isolating the pickup using double-sided, foam tape (or a similar method) eliminates body noise and is important if the mechanics are noisy on your guitar. To eliminate all mechanical noise and to get more of the tonal characteristics transferred from the body, you have to find a happy medium between total isolation and full contact.
  
  The configuration and winding methodology of the pickup contributes considerably to the tonal characteristics of the guitar. Air gap (the distance between the pickup's top and bottom plate) has a lot to do with tone, also.

• Pickups: Becoming microphonic

  Question:
  Why am I getting body noise from my older pedal steel guitar coming through my amplifier?

  Answer:
  If your older guitar has the original single-coil pickups in it, they are most likely becoming microphonic because moisture has seeped into the windings and/or some of the windings or pole pieces have become loose. The movement of the windings in response to vibrations induced in the body cause a signal to be generated. This signal results in amplified body noise.
  
  You may be able to reduce the amount of noise by putting a piece of foam between the body and pickup. Or, you could find a guitar repair shop and have the pickup immersed in hot wax in a vacuum to immobilize the loose wires.
  
  Most likely, you can eliminate the problem by changing pickups. Both George L's and Bill Lawrence make units that will drop right in as a replacement (just be sure to specify "Sho-Bud-style" or "Emmons-style" mounting if you order Bill Lawrence pickups). When changing pickups, make a wiring diagram before you unsolder the old pickups. Doing so will allow you to wire in the new pickup correctly.
  
  By the way, making a wiring diagram should also be standard procedure before replacing the neck selector switch and before replacing the pot in your volume pedal.

• Pickups: Resistance

  Question:
  Why are pickups wound to certain resistances (K Ohms, which means 1,000 ohms)?

  Answer:
  Pickups are wound to specific resistances to produce a certain type of sound. Resistance is a function of wire size and wire length. Wire length is also referred to as number of windings. Most pickups for modern steels vary from approximately 16K Ohms to 23K Ohms. That is, a 16K Ohms pickup will favor a brighter sound while a 23K Ohms pickup will produce a more mellow sound.
  
  Generally, all things being basically equal, the greater the resistance, the more emphasis that is placed on the low's.
  
  Remember: the sound of your guitar is dependent upon more than just the pickup. Construction, design, materials, & your "touch" are just some of the other factors that affect the sound of your guitar.
  
  Most likely, you can eliminate the problem by changing pickups. Both George L's and Bill Lawrence make units that will drop right in as a replacement (just be sure to specify "Sho-Bud-style" or "Emmons-style" mounting if you order Bill Lawrence pickups). When changing pickups, make a wiring diagram before you unsolder the old pickups. Doing so will allow you to wire in the new pickup correctly.
  
  By the way, making a wiring diagram should also be standard procedure before replacing the neck selector switch and before replacing the pot in your volume pedal.
  
  

  Addendum

  Before all you engineers and techie types out there jump all over me about using resistance instead of impedance, please read the next paragraphs.
  
  The vast majority of steel players use DC resistance to discuss pickups. While not correct, it is more easily understood.
  
  Impedance: With regard to impedance as a measurement of pickups, I recommend that you talk with Bill Lawrence. Bill will be happy to discuss his pickups in terms of inductance, which is the reactance part of impedance.
  
  Different pickups of different design and manufacture will not sound the same even though they are wound to exactly the same DC resistance. DC resistance is a function of wire material and diameter, as well as the shape and size of the coil form.
  
  Another thing about impedance: Impedance is an AC measurement. You could think of it as a measurement of AC resistance. It consists of 2 parts: a DC part called resistance (measured in Ohms) and an AC part which can be either inductance or capacitance (measured in Henrys and Farads).
  
  Or, if you want to think of this in mathematical terms, the impedance consists of a real part and an imaginary part (imaginary being the result of trying to take the square root of a negative number). The real part is the DC resistance; the imaginary part is the reactance.

• Pitch: Strings won't return correctly

  Question:
  I am having a problem with both of my steels. On the first steel, the 6th string lower to F# does not want to hold the proper pitch when being let up with my knee lever. It acts like it stays stable at first, but as I let it up, the pitch wants to drop back and then raise up. On the other steel, it does the same thing with the 8th pedal on the C note on the 10th string on the C6. I clean both steels regularly to your specs but I'm still having problems. I have the same knee lever raising the 1st string to G# as I do to lower the 6th. Can you help me with these problems?

  Answer:
  What is happening is that when you start to lower, your lower goes only a certain distance (not far enough) and then the raise finger engages. Then it sounds like when you are adjusting it to the note you want to lower to, the fingers are actually floating. That is, the lowers are beginning to pull the raise fingers along with them. That is my best guess as to why it is not consistent. What you need to do is UNhook the springs and stretch them a little bit (or adjust them so there is less tension on the spring).
  
  That should fix your problem.

• Return Springs: Adjustments

  Question:
  How do I adjust my return springs?

  Answer:
  If you believe you need to do this procedure, please make sure that the gauges and types of strings are correct for your guitar. For example, make sure that you have not substituted a wound string for a plain string and make sure the gauge is the correct gauge for each string. In other words, sometimes a person mixes up the 5th and 6th strings, etc.
  
  There are basically 2 different methods you can use to adjust your springs, depending on the type of spring setup you have:
  
  - Your springs are adjustable by turning a screw (usually in the endplate).
  - Your springs are "fixed" and you either will have to cut (shorten and increase tension) or stretch (loosen and decrease tension).

  No matter which type you have, before adjusting your springs make sure your pedals and knee levers have some slack and that you have not adjusted the tuning nuts so tight that either the raise or lower finger (or both) have pulled away from the stop bar. With the guitar upside down, activate each pedal and knee lever very slowly... especially when releasing the pedals and knee levers.
  
  For pulls that raise, watch the end of the lower finger to make sure that they remain held against the stop bar. The raise finger should return completely to rest against the stop bar. For pulls that lower, watch the fingers to verify that the raising finger remains against the stop bar. The lowering finger should return completely to rest against the stop bar.
  
  The most frequent forms of failure are:
  1. Inability of the spring to hold the lowering finger during a raise; and 2. Inability of the spring to return the lowering finger after a lower.
  
  These 2 problems may not be discoverable except by the slow activation and release of the pull.
  
  Here's how to adjust your return springs:

  Adjustable spring guitars

  1. Increase the spring tension 1 or 2 turns at a time.
  2. Retest to see if the problem persists.
  3. Repeat steps 1 and 2 above until the problem disappears.

  Fixed spring guitars

  1. Loosen and remove the string on the finger you are going to adjust (Yes, that's sTring, not spring!)
  2. Remove the spring.
  3. Cut 1 link off the spring.
  4. Reattach spring.
  5. Reattach string and tune to pitch.
  6. Check to see if the problem has been fixed.
  7. Repeat steps 1 through 6 until the problem disappears.

• Rollers in Keyhead: materials vs. sound

  Question:
  Does it make a difference to your guitar's tone if you use aluminum or brass rollers at the keyhead?

  Answer:
  Yes, it does. Your guitar will sound different depending on the material used in the rollers. Generally, the harder the metal used in the rollers, the brighter (more treble) your guitar will sound. The following metals are listed in increasing order of hardness:
  - Aluminum
  - Brass
  - Bronze
  - Stainless steel
  
  So, all other design criteria being equal, stainless steel would typically produce the most treble or brightest sound. And aluminum would typically produce the mellowest sound.
  
  Other factors are also important and the choice of which metal to use for rollers is a tradeoff between longevity and durability, on the one hand, and optimization of sound, on the other hand. These types of tradeoffs are inherent in all stages of design. Typically, such tradeoffs include such things as:
  - Price
  - Manufacturability
  - Availability
  - Component life
  - Ease of maintenance
  - Playability
  
  Guitar manufacturers usually try to optimize sound and playability. And, finally, the optimum sound for you will depend on your technique, as well as the construction, design and materials used in your guitar. As I said in a previous column, most all of your sound comes from your technique. Practice, practice, practice!

• Sound and Tone Differences

  Question:
  My friend and I both own exactly the same brand and model of pedal steel guitar. My friend's guitar sounds better than mine. What causes this?

  Answer:
  There are several reasons for this difference in sound. I will assume that you both have identical amplifiers and effects. I find that most of the difference lies in the player's technique. In fact, try listening to your friend play your guitar on his system. See if he sounds any different (worse or better). Probably not. The rest of the difference in sound is usually caused by one of the following:

  If you take 2 amplifiers of the same manufacturer and model, the sound can be somewhat different, even when using the same settings. This is due to variations in component tolerance of both the electronics and the speakers. Variations in cabinet construction and density will also produce variations in sound.

  Each of the guitars made by the same manufacturer will have slightly different sounds. Although not a complete list, some of the reasons for this include Variations or Differences in any one of the following:
  - Wood or metal density
  - Strings (gauges and/or brands)
  - Construction (screw torque, etc.)
  - Parts and materials used in each steel
  - Pickup heights

  Different picks will cause different sounds.

  Different volume pedals may cause variations.

  Different cords also can alter sound.

  As you can see, the list can go on almost endlessly. Design and manufacturing process differences between different manufacturers can produce a great sounding brand of guitar, as well as a brand that does not sound as good. However, remember that most of the difference in the sound of identical guitars from the same builder appears to be: just plain old technique.

• Splits: Adding a split tuner

  Question:
  Is there an easy way to add split tuning adjustments (splits) to a steel that does not have them?

  Answer:
  Adding the splits to your steel can be done easily. It is a matter of adding another pull rod (available from most any welding shop), rod locking device (brass rod holder, etc.) and a tuning nut (from a George L's dealer).
  
  Attach the rod to the raise hole on the 6th string at the changer end. Then attach the rod to the pull bar (bell crank) in the position closest to the body.
  
  A split allows you to have a combination tuning on strings which are both raised and lowered. For example, G# lower to F# with a knee lever can be split to G with the B pedal.
  
  The tuning procedure for guitars equipped with tunable-splits is as follows:
  1. Tune open tuning keys with the keys as usual.
  2. Tune raises with the nylon nuts as usual.
  3. When both the raise and lower function are engaged at the same time, the resultant note is tuned with the nylon nut that lowers the string. Turn clockwise to lower the note.
  4. Finally, tune the lowered note alone with the respective Black raise nylon nut.

• Strings: Minimize breakage

  Question:
  What can I do to reduce string breakage?

  Answer:
  All strings will break eventually since they are constantly stressed when you play. Here are 4 major causes of excessive string breakage in no particular order:
  
  Sometimes the string itself is weak or defective. Try a different brand and use the same gauges.
  
  Strings that break at the posts of the tuning machines usually break because there is a burr on the post or because you have not wound the string far enough away from the hole. Check the post for burrs and remove them with emery cloth or very fine sandpaper. Cut your strings an extra one inch or one and one-inch longer to move farther away from the post hole.
  
  Strings that break at the keyhead do so for several reasons:
  
  - The rollers have a burr.
  - The roller is "frozen'(doesn't move freely).
  
  For both of these situations, check the roller and fix the problem. This should reduce your breakage problem.
  
  The angle from the roller to the tuning machine post can also contribute to string breakage. The steeper the angle, the higher the breakage rate. There is nothing you can do about this.
  
  Strings that break at the control bridge (pickup end) usually do so for the following reasons:
  - The winding or wrap that accommodates the string ball is defective.
  - Burrs or rough spots under the string on finger surface. Remove the burrs as described above.
  
  Probably the most common cause of string breakage at the control bridge is: picking too hard. Work on " lightening up" your touch and let your electronics do the work for you. These are some of the most frequent causes of string breakage. As you can see, a lot of string breakage can be reduced by properly maintaining your guitar and improving your "touch."

• Strings: Stop "sizzle" or buzzing

  Question:
  Why do some strings (especially the 4th and sometimes the 3rd on E9) suddenly develop a really shrill sound for no apparent reason? This happens sometimes to fairly new strings. Occasionally I have found bits of lint under the string at the bridge. Removing this lint and cleaning up the bridge roller has helped. But sometimes nothing helps. What can be done to fix this?

  Answer:
  The strings may not be causing the problems. It could be the guitar. These problems are most likely caused by:
  
  - The roller vibrating at one end. This can be stopped by putting a drop of oil between the rollers or the fingers.
  
  - The finger may not be perfectly round and smooth. If this is the problem, then shrillness and buzzes will develop. In this instance, the finger needs to be replaced.
  
  - On older strings, it could be an indication that the strings are getting ready to break.

• Tunings: Changing your setup

  Question:
  Which pedal steel guitar brand is the easiest to make tuning (setup) changes on?

  Answer:
  Obviously, each manufacturer thinks their undercarriage is the easiest to work on. However, here are some questions to consider:
  
  - How easily do the pull rods connect and disconnect?
  - Can you remove the pull bars (bell cranks) without removing the cross-shaft?
  - Is there an Owner's Manual you can refer to?
  - Is technical support easily available if you run into a problem?
  - Do you have or need special tools or wrenches to do the job easily?
  
  Most modern all-pull guitars are fairly easy to change copedants on. Some are easier than others. Some have small parts which can get easily lost if you drop them on carpet (some have more of these small parts than others).
  
  Some people are mechanically-talented, while others are mechanically-challenged. You might consider which category you fall into. Check out as many brands as possible and then decide which brand is "easiest" for you to use for tuning experimentation.
  
  We recommend you make a chart of the connections before starting so you can return the guitar to the original setup {Example: 1st Pull Bar Hole (position) to 2nd Raise Hole (position).}
  
  For more information on charting your copedant, check out our section on rodding.

• Tunings: Universal tuning for older S-12 guitars

  Question:
  Is there a universal tuning I can use for an older model S-12 that only has double-raise, double-lower capabilities??

  Answer:
  Yes, here is one way to do it. While it will do most everything that Jeff Newman's tuning does, it only requires a Double-Raise/Double-Lower mechanism. Since it requires only 5 pedals, normal knee lever spacing may be used and an extra long veritical lever is not needed. The C Pedal equivalent is A+B+RKL. The Pedal 6 equivalent is acheived by engaging LKR, while releasing RKL. (With Triple-Raise/Triple or Double-Lower, P6 raises String 4 back to E and lowers String 8 to D.)
  
  

  
   Open               Pedals                    Knee Levers
  
  Tuning      1    2    3    4    5       LKL  LKV  LKR  RKL  RKR
  
  ------------------------------------------------------------------
  
    F#                      (G)*     
  
    Eb                                                D        C#
  
    G#             A
  
    E                                      F              F#   Eb
  
    B         C#                  C#            Bb
  
    G#             A              A#
  
    F#                       F
  
    E                                      F          D        Eb
  
    B         C#        C
  
    G#             A
  
    E                   Eb   F             F
  
    B                   G#   C#
  
  ------------------------------------------------------------------
  

  
  Thanks to Ron Bear for the basic idea and setup, which we have modified.

• Tunings: Tempering

  Question:
  What is happening when you are playing along and you hit 2 or 3 pedals and knee lever combinations at the same fret, and by the time the 3rd one engages, the guitar sounds somewhat out of tune? But then to fix it, you just release all the pedals and knees and the guitar springs back in tune again? It seems that the chords you are getting from the changes on the first 2 combos are in tune fine, but the 3rd or even 4th one sounds out? It does not matter what combinations of pedals and knees are being used. If I have 3 groups of combinations, it does not seem to matter what order I play the 3 groups in, the 3d group sounds out of tune, (no matter which group it is). Wouldn't the sequence reflect that if it was a tempering issue?

  Answer:
  What you have described is a result of the fact that you can never tune all of the possible chord combinations so that they are in tune. It is actually impossible. So, you have to compromise and temper your tuning to produce the best result for you.
  
  For the problem you have described, the chord combos do not matter. Anytime you implement a change in chords (using the pedals and/or knee levers), which requires the root note for that particular chord to be on another string, you will have at least one string out of tune in that new chord.
  
  Example: The E string on the E9 is your root note. When you push the first 2 pedals down, the chord changes to A6. Your E string is no longer your root note. A is now your root note. Every time you change your root note to another string, at least one string in that particular chord will be out of tune. This is because you play a tempered tuning. Unless you can temper all of your pedal and knee lever combinations when you tune them, you will have the same problem on all chords. This is where compensators come into play.
  
  Remember that G# is not the same as Ab. It depends upon which chord you are playing whether you playing a G# note or an Ab note in that particular chord.

• Twin-Steel: Doubling effect

  Question:
  How do you get a stereo chorus and delay to simulate a twin-steel effect?

  Answer:
  Your stereo chorus effect is basically a detuning effect. So, wiring your chorus as suggested below will probably produce a twin-steel effect. Try the following:
  
  - Set the chorus to a slight and slow to medium-and-slow mixture
  - Wire from the volume pedal to the chorus input
  - Use a straight (no chorus or plain) output of the stereo chorus to amp #1 (or channel #1 of a two-channel amp)
  - Wire the chorus output of the stereo chorus to the input of the delay
  - Then wire the delay out to amp #2 (or channel #2 of a two-channel amp)
  - Try using approximately 210 msec (milliseconds) delay or approx. 20-30% delay, and approx. 18-20% feedback on the delay
  - Balance the 2 amps (or channels ), using each one's volume control, until you get a " big" sound
  - Increase or decrease the speed of the chorus until it sounds like two very slightly "out-of-tune" steels

• Weight: Too light?

  Question:
  Is it really possible that modern, lightweight guitars are too light and will "walk all over the floor" when you use the knee levers? I have heard it said that this is true. Is this really accurate?

  Answer:
  It is possible to design a steel guitar that is too light (although if you play in places with lots of stairs, it probably will be unlikely that you would think any steel could be too light...!!). Also, you can make any steel "walk" using the knee levers if you play them hard enough.
  
  Note that, all other things being equal, the more top-heavy a steel is, the more it will have a tendency to walk while using the knee levers.
  
  Most all of the lightweight, modern steel makers (lightweight being a D-10 weighing less than about 45 pounds or 20.4 kilograms) remove the weight from the top part of the instrument. This actually makes the steel more stable since the weight ratio of the top-to-bottom decreases and lowers the center of gravity.
  
  Additionally, proper design of the raise and lower system will result in less pressure being required for activation of the knee levers, and further reduction of the likelihood of movement of the guitar while it's being played.
  
  Remember: a steel guitar's quality and characteristics are the Sum of the Total Design, not just one or two features or parts. This means that you may want to evaluate your next potential steel as a Total System to see if the whole instrument works for you.