My musical journey took an exciting turn when I transitioned from electric bass to the captivating world of lap steel guitar. The allure of the pedal steel guitar (PSG) had always been there, but the initial investment held me back. It was only later in life that I first picked up a 6-string lap steel, eventually “upgrading” to an 8-string and then a D8. Now, owning an entry-level PSG from a German builder, WBS, I thought my years of playing A6 lap steel would give me a head start, especially in the “pedals down” position. However, the reality has been a humbling and fascinating learning curve.
Initially relying on instructional books, I soon found myself drawn to Paul Franklin’s introductory course. It felt like going “back to basics,” but it’s proven to be invaluable. Paul often emphasizes the importance of his own early lap steel lessons, and I’m finding that connection myself. My biggest hurdle currently is coordinating the pedals and volume pedal – essentially rethinking simple 1-4-5 chord progressions in a whole new way. This demands focused and consistent practice. While my lap steel experience certainly softens the learning curve, it’s clear that the PSG is a different beast altogether.
Ergonomics are also a constant consideration. Finding the right seated position “inside” the instrument and even figuring out appropriate footwear (thankfully, cowboy boots are not mandatory!) are ongoing adjustments. I expect this setup will evolve many times as I progress. Interestingly, depending on your lap steel picking and blocking techniques, the transition to PSG might not be as drastically different as you’d expect. As Franklin’s course points out, pick blocking isn’t the only way! Adapting left-hand technique involves holding the longer and heavier steel bar straight, rather than tilting it as you might on a standard lap steel. By the way, Franklin advocates practicing with a “Stevens” bar to develop a solid grip – a useful tip for any aspiring steel guitar player. And then there’s the challenge of playing at a much louder amp volume than I’m used to, all in the name of mastering volume swells. Let’s just say my wife is still adjusting to that particular aspect of my practice!
But in my opinion, and it’s a crucial distinction, one should approach the PSG as a related but distinctly different instrument from the lap steel guitar. It requires a different mindset and a different set of physical skills to truly make it sing. At 61 years young, I’m comfortable jumping into a casual jazz session on a non-pedal steel guitar. Reaching that level of proficiency on the PSG is likely a long-term goal, but I am thoroughly enjoying the journey of learning and discovery.
paul
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