(relaxing guitar music)
- I like that. That was cool - Well let's add.
(relaxing guitar music)
(laughter)
You got me.
- Ladies and gentlemen,
I'm Dweezil Zappa, this is Paul Franklin
and this is Guitar Power.
But today, it's pedal steel guitar power.
(laughter)
This particular instrument
you developed this with your father
so maybe you could fill us in
on why this instrument is different
than any other pedal steel.
- When I started, I was eight years old in Detroit,
the steel guitar capital of the world.
(Paul laughing) - Yeah.
- There were no steel players
so we went into a music store, ordered a Fender 400.
The moment we received it, we learned that
it was obsolete to Nashville standards
cause you could only do one function.
You could either raise the string
or lower the string.
My uncle had a body shop so my dad just said
well, we order one of those things.
(laughter)
and he did and he put these
literally like a forklift he put 'em under the key head.
So as the string tries to pull up,
it forces the key head
and the guitar to dig deeper into the wood.
And it lengthens this..
Sustain, we didn't really know that was gonna happen.
It was just an idea that was tried, and it worked.
And he built my second one, which I played up
until the time I moved to Nashville.
He followed me about six months later
and went to work for Sho-Bud,
building their endorsed players.
He also changed the pivot point in here
cause steels would typically only raise out,
when pulled, about three tones
(guitar pitch increasing then decreasing)
So it's either lower the string
or raise it that far.
He made this like a whammy bar (laughs)
This will raise or lower a whole octave.
- And that hadn't been done at all before.
- Oh it still hasn't.
This is the only guitar out there that does that.
- So full octave. That's incredible.
- Those are the two unique factors about this guitar.
It enables me to do changes like
(bright guitar tunes)
That's what most people do.
(bright guitar tunes)
So I can take it on-offs.
So when people hear this
(bright echoing guitar tunes)
And that gives me a unison
(bright echoing guitar tunes)
- What's happening right there
describe it for me, if somebody was to sit down
on that stool right there, and they're looking
at this instrument and you had to say
alright, here's how this works (laughs)
- I use an E9 tuning
which is to give any single person credit, Buddy Emmons
probably developed the most of the tuning.
You have a major nine on top (bright guitar sound)
Major seven (bright guitar sound)
For the second string, then you have a third,
root, fifth, third and then you have another nine.
And you have an E, a root,
and then the fifth down the bottom.
In between those, you have a dominant seven.
So they're all basically, all of them, triads.
(progressively deeper guitar sounds)
In versions, duplicating one.
Then, the first pedal gives me a minor with those
(progressively deeper guitar sounds)
And if you press both pedals down,
you go into a four hood.
(Rich echoing guitar sounds)
Then if you just do the second pedal,
and you've got (playing sus chords tunes)
- Those sus.
- You've got a sus.
And if you hit third pedal like, hit pedal two
and pedal three you've got
(rich sus chords guitar tunes)
(fast bright guitar tunes)
All these are the traditional stuff.
That's what most people play on country records.
And then the fourth pedal, I have.
(mellow guitar tunes)
Gives me an add, add nine
(mellow guitar tunes)
If I want it with the bending sounds.
- This is something that you've developed
This is fourth pedal that goes to both X.
- This pedal, the steel guitar community
calls it the Franklin pedal.
It still makes me cringe when they say that
but I was the first one to come up with the concept.
It does some cool things
(mellow guitar tunes)
Then the next pedal, which I love.
This lowers the fifth.
(quick bright guitar tunes)
So I can go
(fast upbeat guitar tunes)
And then next to it,
(slow mellow guitar tunes)
That also raises the top strings.
So I like a Miles kinda thing
(cheerful guitar tunes)
So you can do (jazz guitar tunes)
A small door opening into that world of jazz.
We use a volume pedal a lot
- Yeah to reduce the attack-- (guitar tunes)
- Listen to the difference
(bright guitar tunes)
- I didn't use my volume pedal
But listen to the difference.
(bright guitar tunes)
So it gives it a cry
but in the rock world, if you're doing like a
(echoing guitar tunes)
When I was on the road I was doing stuff like that.
What I love about the steel guitar is
everybody's used to these sounds
(bright upbeat guitar tunes)
that's really almost a beginner-phased sound.
And I'm not putting that down
- That's like the early vocabulary
- It was the earliest.
It was the alphabet, maybe.
But when you do these sounds
(deep guitar tunes)
If I played a melody on that in unison,
then it becomes something totally different,
especially if I do
(echoing guitar tunes)
- [Dweezil] I like that
- You've got a whole different animal.
When you buy a steel, if you've got
a mental understanding of music
you can say hey listen I don't care about playing country
I don't care about doing this.
I wanna play blues.
To me, it's all open out there.
- So if you wanna start like an Albanian dubstep
pedal steel band - exactly!
- You're good to go (laughing)
That's the thing, it's so crazy.
When you listen to music and go
there's only 12 notes
and you have an infinite number of possibilities
- I think that each individual has to express
their own heart or their own, passion or whatever
into the instrument
And being a studio player is a composer,
you can't go far if you copy everybody else's thing.
You've gotta create parts for the record, for the song.
- That brings up a good point.
When you're playing with different artists
and on music that you have never heard before,
how do you decide
how you can connect with the song
and put the emotional content in there?
- You never hear the song (laughs) before you walk in.
It's rare. You've gotta read the room.
If you know somebody's more into traditional
or if they don't like that,
then for me, that means I have to play completely different
If I know somebody likes the country style.
(country guitar tunes)
I might can play
(country guitar tunes)
those kind of voices.
But if they don't like that, like when I did Shania Twain.
See, that was not the mission on that record.
(fast echoing guitar tunes)
I was doing all those kinda lines.
Then in the background if you listen closely
to those records, I was also doing stuff like this.
(upbeat guitar tunes)
So I was actually playing the role of a guitar
Then Mud would mix that down.
The interesting thing for me in music
is all so interrelated.
We practice for those moments at home years before.
- If you're smart.
(laughing in unison)
We all have our goals.
So I started at a young age and how I learned was
I also listened to the radio
and they might play a record that I wanted to learn
maybe three times a day.
But I might only get four notes from that.
Then, if I was lucky enough to get the record
and setting the needle back,
I would have to do that.
I would practice things like
(slow guitar tunes)
Then I just think about somewhere I'll use that.
And saving time to learn something can be good
but sometimes it doesn't go into your soul
because you didn't have to struggle to learn it.
I always ask everybody that
do you remember the first time you learned something
completely on your own and you got it?
That's the best feeling in the world
- Right where you are and that,
do you remember that moment of that one thing
that you, as a kid..
Because you start when you were eight, right?
So do you remember one of the first a-ha moments like that?
Can you play it for us?
- I'll show you
It's an ending that was on a Buddy Emmons' record.
And I heard it and it was fast
I probably can't play it at the right speed.
(Buddy Emmons' guitar tunes)
I heard that and I thought
what in the world is he playing.
And I sat there with that record and put it back I get
(Buddy Emmons' guitar tunes)
That was like Mount Everest
I can see it and thought, no way.
But I kept on trying.
And when I got it, without anybody showing me
then I thought, okay I can do this (laughs)
- That is a great thing
You can learn so much from the failure
way more than you can from the success.
- I totally agree with that.
That's the whole point.
There's a story that I love
that I recently heard Herbie Hancock tell.
He said that he was with Miles
and he played a really bad chord.
And another thing that could happen,
when players learn how to really listen to everbody,
he said he hit this chord, it was like (groans)
and then he said Miles hit a note
That made that chord right.
And he goes, lightbulb went on.
There really is nothing wrong.
There is some way to make everything work.
I have an exercise, I'll play it.
Some of you might recognize it
(quick upbeat guitar tunes)
That's called Dire Straits, Calling Elvis
That has been my just getting my coordination
between my bar
and my picking
It's just something that it kinda gets things going around
I'm in an iso booth in London Air
and I'm playing this,
and all of a sudden Carl starts playing
(drumming softly)
He starts playing to me
The genius that Mark Knopfler is
it was me doing my exercise
It was never meant to be musical
(laughs) it was just a warm-up thing.
Once he did that, then Mark, we heard over the phone
"calling Elvis. Is anybody home?"
He started singing the song
and it transitions like that.
The rest of the band joined in.
That song was arranged, just like that.
That's why I said you gotta practice at home
be ready for those, whatever's coming your way
(laughs) hope you can swim.
- That would be a bit terrifying, I would imagine.
Then I guess you get used to it
after having done it a few dozens times
and in your case, a few thousands times
(laughs)
- For me, I think a little bit of nervousness
is always the best thing
cause it keeps you on edge.
I'm forever a student.
That's where I view myself,
I can't learn enough of this stuff.
- I appreciate that because I feel the same way.
- Knopfler has a quote about this.
He always said
the more you learn about music, it dwarves him.
It's like, I actually feel like I'm shrinking
as a musician because I don't have
enough time to learn at all.
- Part of the sound that you are creating
is coming from this little effects box
which seems to be a multi-effects unit,
you want to talk about that a little bit?
- I worked with this friend of mine,
Sage Benado, and he'll take your favorite things.
This is kinda like the Wampler reverb
which I thought was a really good reverb for steel.
(reverb guitar sounds)
And what's great about it is
even though there's a lot of 'verb
the presence of the note is still up front.
Same thing with this delay, but it allows me
to still have the presence of the note.
(cheerful guitar tunes)
I can go to extremes.
I can also radicalize it, like
(mellow guitar tunes)
- Is it analog to the point where you have a time knob
and when you change the time,
it will work like an old echoplex?
I don't like it when it's absolutely perfect.
And then when you get into techno pop and all that,
where it has to be, it does.
But I listen to all those old records
with the echoplex and all that.
They were never perfect and that was part of the beauty.
It was a fact of having it delayed,
maybe a little bit behind,
or sometimes a little ahead.
It did something to the track.
- You just tuned it musically.
- Yeah tune it to whatever my taste is that day.
Then this is like a little overdrive
It's kinda like a..
It's not, but it's like a Zendrive
(reverb guitar tunes)
I've got a little delay -
Back the delay off.
(upbeat guitar tunes)
Now when I play rock or any of those things,
I also use like you do.
I grab guitar amps and break them up naturally.
- That sounds great.
We've done quite an extensive tour of all of this stuff.
And I've learned so much from you, Paul Franklin.
- Thank you so much - Thank you.
- I've learned tons (laughs)
- Thank you so much.
(relaxing guitar sounds)
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