The pedal steel guitar is a console-type of steel guitar with pedals and knee levers that change the pitch of certain strings to able playing more varied and complex music than other steel guitar designs. Like all steel guitars, it can play unlimited glissandi (sliding notes) and deep vibrati—characteristics it shares with the human voice. Pedal steel is most commonly associated with American country music and Hawaiian music.
Pedals were added to a lap steel guitar in 1940, allowing the performer to play a major scale without moving the bar and also to push the pedals while striking a chord, making passing notes slur or bd up into harmony with existing notes. The latter creates a unique sound that has be popular in country and western music— a sound not previously possible on steel guitars before pedals were added.
From its first use in Hawaii in the 19th ctury, the steel guitar sound became popular in the United States in the first half of the 20th ctury and spawned a family of instrumts designed specifically to be played with the guitar in a horizontal position, also known as Hawaiian-style. The first instrumt in this chronology was the Hawaiian guitar also called a lap steel; next was a lap steel with a resonator to make it louder, first made by National and Dobro Corporation. The electric guitar pickup was invted in 1934, allowing steel guitars to be heard equally with other instrumts. Electronic amplification abled subsequt developmt of the electrified lap steel, th the console steel, and finally the pedal steel guitar.
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Playing the pedal steel has unusual physical requiremts in requiring simultaneous coordination of both hands, both feet and both knees (knees operate levers on medial and lateral sides of each knee); the only other instrumt with similar requiremts is the American reed organ. Pioneers in developmt of the instrumt include Buddy Emmons, Jimmy Day, Bud Isaacs, Zane Beck, and Paul Bigsby. In addition to American country music, the instrumt is used in sacred music in the eastern and southern United States (called Sacred Steel), jazz, and Nigerian Music.
Rather, they re-tuned the guitars to make them sound a major chord wh all six strings were strummed, now known as an op tuning.
To change chords, they used some smooth object, usually a piece of pipe or metal, sliding it over the strings to the fourth or fifth position, easily playing a three-chord song.
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It is physically difficult to hold a steel bar against the strings while holding the guitar against the body and the Hawaiians laid the guitar across the lap and played it while sitting. Playing this way became popular throughout Hawaii and spread internationally.
Hawaiian lap steel guitars were not loud ough to compete with other instrumts, a problem that many invtors were trying to remedy. In Los Angeles in the 1920s, a steel guitar player named George Beauchamp saw some invtions which added a horn, like a megaphone, to steel guitars to make them louder.
Beauchamp became interested, and wt to a shop near his home to learn more. The shop was owned by a violin repairman named John Dopyera. Dopyera and his brother Rudy, showed Beauchamp a prototype of theirs which looked like a big Victrola horn attached to a guitar, but it was not successful.
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Their next attempt yielded some success with a resonator cone, resembling a large metal loudspeaker, attached under the bridge of the guitar.
Buoyed by their success, Beauchamp joined the Dopyera brothers in forming a company to pursue their invtion. The new resonator invtion was promoted at a lavish party in Los Angeles and demonstrated by the well-known Hawaiian steel player Sol Hoopii. An investor wrote a check for $12, 000 that very night.
A factory was built to manufacture metal-body guitars with the new resonators. Money problems and disagreemts followed, and the Doperyas won a legal battle against Beauchamp over the company, th wt on their own to form the Dobro Corporation, Dobro being an acronym for DOpyera and BROthers. Beauchamp was out of a job. He had be thinking about an electric guitar for years, and at least part of the dispute with the Dopyeras was over him spding too much time on the electrification idea and not ough on improving the resonator guitar.
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Beauchamp rolled in electronics courses and, for his first effort, he made a single-string guitar out of a 2x4 piece of lumber and experimted with phonograph pickups, but had no success. He evtually came up with the idea of using two horseshoe magnets circling the guitar strings like a bracelet, and six small metal rods wrapped with wire to conctrate the magnetic field (one under each guitar string).
He listed the aid of a skilled craftsman to fashion a guitar neck and body to connect to his device. The final construct, he thought, resembled a frying pan, and that is what the instrumt was nicknamed. He applied for patt June 2, 1934 and received it on August 10, 1937.
Beauchamp asked a nearby gineer named Adolph Rickbacker to help manufacture the product and together they founded a company first named Ro-Pat-In, soon changed to ElectroString.
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The guitar brand was called Rickbacker because they thought the name was easier to pronounce than Beauchamp (pronounced Beecham) and because Adolph's cousin, Eddie Rickbacker, an American pilot and WWI flying ace, was a well-known name in the U.S. at that time.
In 1931, the Great Depression was at its worst, and people were not buying guitars; in addition, the patt office delayed on the application, in part because they had no category for the invtion—was it a musical instrumt or an electrical device?
Electrostring's competitors infringed on the patt, but the owners did not have the money to litigate the infringemts. Beauchamp was ultimately deprived of economic befit for his invtion because his competitors rapidly improved on it making his specific patt obsolete.
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And two, perhaps unrealized at the time, that electrified guitars no longer had to have the traditional guitar shape—this profoundly influced electric guitar designs forever forward.
The first lap steels had a smaller body, but still retained a guitar-like shape. Instrumt makers rapidly began making them into a rectangular block of wood with an electric pickup, the precursor of the pedal steel. According to music writer Michael Ross, the first electrified stringed instrumt on a commercial recording was a western swing tune by Bob Dunn in 1935.
The next problem to be dealt with was the need to play with differt voicings on the same guitar; i.e., the way the strings are tuned.
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The only way to accomplish this at the time was the addition of a duplicate neck and strings on the same instrumt, tuned differtly.
Players continued to add more necks, evtually getting up to four. This meant a bigger and heavier instrumt, now called a console which necessitated putting it on a stand or legs rather than the performer's lap. Noel Boggs, a lap steel player with Bob Wills, received the first steel guitar made by instrumt maker Leo Fder in 1953. Fder relied on promint performers to field test his instrumts.
Leon McAuliffe, composer of Steel Guitar Rag, also played with Bob Wills, and used a multi-neck steel guitar. Wh Wills said his well-known tag line, Take it away, Leon, he was referring to McAuliffe.
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A Fder Stringmaster triple-neck console steel was heard in a number one hit song in 1959, Sleep Walk, a steel guitar instrumtal by Santo and Johnny, the Farina Brothers.
The expse of building multiple necks on the same instrumt made them unaffordable for most players, and a more sophisticated solution was needed. At this point, the goal was simply to create a pedal that would change the pitch of all the strings at once to emulate a second neck.
In 1939, a guitar called the Electradaire featured a pedal controlling a soloid, triggering an electrical apparatus to change the tsion on the strings.
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This was not successful. That same year, bandleader Alvino Rey worked with a machinist to design pedals to change the pitch of strings but was without success. The Harlan Brothers of Indianapolis created the Multi-Kord with a universal pedal that could fairly easily be configured to adjust the pitch of any or all strings, but was extremely hard to push wh tsioning all strings at once.
The Gibson Guitar Company introduced the Electraharp in 1940, which featured pedals radially orited from a single axis at the instrumt's left rear leg. The instrumt was not popular and only 43 were sold before production was halted, but the U.S. try into World War II played a part in lack of demand.
After WW II, Gibson redesigned and reintroduced the Electraharp and Bud Isaacs used one on the song Big Blue Diamonds for King Records.
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The most successful pedal system from the various contders was designed about 1948 by Paul Bigsby, a motorcycle shop foreman and racer who also invted the commercially successful Spanish guitar vibrato tailpiece.
Bigsby put pedals on a rack betwe the two front legs of the steel guitar. The pedals operated a mechanical linkage to apply tsion to raise the pitch of the
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