
Intermediate
Intermediate
- Develop an understanding of how to approach chord tones with bends.
- Learn to think and phrase like a pedal-steel player.
- Create old-school, honky-tonk lines with a twist.
Let’s face it folks, pedal-steel is a pillar of the country music sound. It’s one of my favorite instruments—not just in country, but all music genres. The ability to play complex chords, the range of the instrument, the way you can manipulate bends (with knee levers and pedals), and the lyrical quality and tone add so much to the country sound. The textures and chord voicings can really beef up a rhythmic part, but also can make you cry in your beer with a single-note line that includes so much articulation and manipulation it can make your head spin. We are going to mainly focus on a one element that really makes the pedal-steel guitar special and very difficult to emulate on guitar: bending notes.
Most guitar players typically will bend with their ring finger. In some of these examples you will be bending with your index and middle as well—in a very foreign fashion. Think of it like lifting weights and adding more independence to each individual finger. It’s not easy and will take time if you’re not used to this technique. Keep in mind, you do not need any bender built into your guitar. Your fingers will do all the work. I also didn’t include any licks using a volume pedal although you could incorporate one if you desire
Now let’s break down these licks!
The first two examples will give you a good idea of how to start thinking like a pedal-steel player. Ex. 1 is a simple A major scale (A–B–C#–D–E–F#–G#) but certain notes are bent instead of fretted. Note the half-step bend on the 3 (bend that with your middle finger) and the full-step bend on the 7th fret of the 2nd string, as well as the half-step bend to get back to the A. Mastering playing in tune is vital to having that pedal-steel effect on guitar. I would also let the first note played in this example ring until you’ve reached the 2nd string. This will give the line a cascading effect. Listen to the audio example and try to match the phrasing and articulation of the line. For all examples a healthy dose of reverb helps notes “sing” more.
Ex. 1
Ex. 2 is a descending line that starts with a pre-bend. You will see this technique a lot. It’s a key component in getting the sound. Ring finger does all the bends on this lick.
Ex. 2
While there is only one bend in this example, you’ll need to hold the bend on the 12th fret of the 3rd string while moving your pinky from the 13th fret down to the 12th fret on the 1st string. This is a pretty standard type of steel lick that I always use in my playing. It works great over a C chord.
Ex. 3
The tricky part about Ex. 4 is connecting the two separate bends. You do this by releasing the bend at the 11th fret on the 3rd string and sliding down to the 9th fret then bending up again. It should be seamless and immediate to get the phrasing correct. All bends are done with your ring finger. This is just a great lick to play over an E chord.
Ex. 4
In Ex. 5 we add an element of chicken picking with a “cluck” or dead note before the first three bends. We work down the neck with a series of pre-bent double-stops. It’s a standard but effective pedal-steel technique, but it’s tricky. The first bend in measure 1 bends the 1st string up a half-step while the 2nd string goes up a whole-step. It sounds complicated, but because of the differing string gauges, it actually works pretty naturally. Just go for it. The next double-stop bend requires both the 3rd and 2nd strings to go up a whole-step. Attitude is more important than intonation, so do it with no fear. For the final Gsus2 to G bend, barre your pinky on the top two strings and use your middle finger to bend up a whole-step.
Ex. 5
Ex. 6 works well if you’d like pedal-steel bends over minor chords. This lick uses some open strings, which creates a nice tension that emphasizes the 9 (B) against the Am chord. As you work your way down the neck, you’ll need to bend with the middle finger on the 7th fret of the 3rd string. More notes in this lick but well worth the work.
Ex. 6
Ex. 7 is another pre-bend lick that uses unison notes, which is common for steel players. In this turnaround lick, use your in index to bend down on the 2nd fret of the 3rd string. You could think of this as an end of a tune lick so using rubato or a free feel is cool.
Ex. 7
Here (Ex. 8) we move into a repetitive lick with a triple-stop slide at the end barred with the index finger. Notice we start in a simple D minor shape. Adding a bend gives it lots of texture and once bent, the chord functions nicely as a G7. The middle finger is busy on this lick, bending up a whole-step on the 14th fret of the 3rd string.
Ex. 8
Hopefully you’ve enjoyed some of these licks. They aren’t easy but they add some cool textures, tension, and resolution to your guitar lines. Make sure to really try to nail the part as close to the recording as you can. It’s taken me years of practice and thousands of gigs to really have some of these ideas and licks under my fingers. This is just a small microcosm of the possibilities of these kinds of licks. Let them inspire you to try to write your own or fit them into a tune you already play.
I like incorporating pedal-steel bends into my playing because it makes me think about different musical elements. Experiment with half- and whole-step bends, as well as pre-bends, and learn to phrase more like a pedal-steel player. It’s fun and challenging and will add tons of color and options when creating musical lines.
- Cosmic Country: A Bad Case of the Bends - Premier Guitar ›
- Orange Guitar: “Little” Steel Guitar Voicings - Premier Guitar ›
- Twang 101: Pedal Steel Bends 101 - Premier Guitar ›
- Pedal to the Metal: A Short History of the Pedal Steel Guitar ... ›
- Chromatic Twang - Premier Guitar ›
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo that’s as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I don’t want to have to ditch another that’s working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFly’s Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. That’s far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
“Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof.”
The fuzz section has a familiar Fuzz Face-like tone profile—a little bit boomy and very present in that buzzy mid-’60s, midrangey kind of way. But Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzz’s flexibility—especially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. That’s a good thing, particularly when you introduce hotter settings from the boost’s treble and bass controls, which extend the boost’s voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
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TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
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TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
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TONEX ONE
- A selection of 20 expertly crafted presets from the list above
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Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
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Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
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Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedal’s extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format that’s designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modes—Preset,Scene, and Stomp—for instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaar’s electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.