Other Guitars

NGD or What’s the weather in hell today? A modern Fairy Tale.


But can you play the RAMONES on it?

Of course! It's MADE for 1-4-5-ing all day long.

And of course to Walter's comments. My tongue has been in my cheek a few times, especially in this thread.

I'm apparently just overly sensitive about the roots-rockin' bona fides I apparently should - but so evidently don't - have.

I guess I keep trying to emphasize how greatly perspectives differ. To me, the music coming from Britain (and Europe) from the mid-60s onward was as exotic as the lap steel was to you, Walter. Never mind that many Brits and Europeans were intending to pay homage to music that was apparently in my back yard - but remember how large the American back yard is. It took those furriners to draw my attention to it, once I figured out where they were "coming from." You know, Robert Johnson by way of Eric Clapton, etc.

(And, nonetheless, it's the one-remove perspective they brought to the music that made it interesting to me. As authentically American-rootsy as your music casts itself, I still hear stuff in it that makes it fresher than plain'ol genre rehash - which I greatly appreciate. Whether that's "purely" your own, or comes from your continental cultural background, I guess I don't know.)

To me a lap steel wasn't exotic; to the extent I knew of it, it was associated with music so subliminally present around the edges of my experience that I didn't even think about it.

We all start somewhere, we all dig in and learn in our own ways.

rigged with a bunch of rube-goldberg-esque string- bending contraptions made by your handy brother Tru-Arc machinist!

Alas, I don't think The Brother and his crew are going to get excited about this pitch-bending prospect. But who knows. Maybe there's a whole untapped market of Dieter-despisers primed for a bender bridge that can be retrofitted to any lapsteel.


This thread is a hoot . . .

Congrats on the Duesenthingymibob, Herr Direktor! Your lap-se is excusable, as it is a uniquely unique axe, as opposed to just a guitar guitar. Slide and bend in good health, sir!


Your lap-se

Oooh, that's goooood! Kudos and gold stars.


Way to build the suspense! That is very nice! Love the benders on there, its a great idea I hadn't seen before. I hope you don't post any sound clips (hint) ....it just might make me want to get one


More crazy stuff no one ever thought would happen: I want a Strat.

Serious GAS for one. I really actually think I need one. Saving money for one.


It's good to have a goal.


Yeah I was kidding too. It was just surprising seeing you in "D" land. I really enjoy when you bring your lap steel to the roundups. It adds another dimension to the weekend. I still have video of you and Jody at the cabin last year on the porch. That was entertaining.

I was raised on the same music that you were just a few years later and I'll have to admit I have been curious about where your love for the slide guitars came from but since I enjoy what you do with it, I just tend to sit back and listen.


Thanks, Dave.

Other than spacey soaring progrock lead (a la Yes & Pink Floyd), which I rarely do at Roundups, I don’t know WHERE my lap steel “style” and approach came from. Stylistically, I think of it as coming from somewhere between the Delta and the Piedmont...not deep enough to be Delta blues, not high lonesome and intricate enough to be country. (Not that I know either of those traditions well enough to claim them.)

It answers the un-asked question “what would riff-based blues-rock sound like if it had been invented by kids on lap steels playing through overdriven cheap amps in middle Tennessee or north central Mississippi?” Kinda like semi-classic rock power trio guitar translated to the layout, tuning, possibilities, and limitations of the instrument, but built around messy banjo roll picking and slide technique of hopeful but not reliable intonation.

And it’s very similar to what I do on lap-style resonator, which is where I really “developed” the “style” one summer years after I’d gotten my old National biscuit-bridge reso (but hadn’t done much with it), when I made it my mission to come to terms with it and spent hours every day hiding in the basement sliding around.

The electric just takes more judicious note choice and more aggressive damping.

For better or worse, though, it seems kinda my own thing. No one else would claim it.

Anyway, no part of my intentions or expectations for lap steel had anything to do with the usual effects, uses or techniques of pedal steel. The levers on the Dieterberg are my first foray in that direction, and so far when I mix those bends into my bluesrocky hacking, it always sounds too purty. Not bad or wrong, just “where did that come from?”

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