Pedal Steel & Dobro at Festivals: Tones That Travel

From Nashville to New South Wales, the pedal steel guitar and dobro resonator guitar bring unmistakable sounds to country, bluegrass, and Americana festivals. These instruments – known for emotive slides and twangy tones – captivate crowds when handled right. However, they also present unique challenges on stage. Drawing on decades of festival production wisdom, this guide offers practical tips to ensure these “tones that travel” reach the audience sweetly and securely.

For the uninitiated, the pedal steel is a console guitar with foot pedals and knee levers, enabling smooth pitch bends (unlimited glissandi) and rich vibrato for its signature vocal-like cry (en.wikipedia.org). The dobro, a type of resonator guitar, uses spun metal cones instead of a wooden soundboard to amplify its strings (en.wikipedia.org). Both are staples of Americana music, and both demand special care in festival settings. Let’s explore how a festival producer can support pedal steel and dobro performers – from stage setup and sound to spares and comfort – ensuring these instruments shine at events large and small.

Stable Stage Setup: Sturdy Stands, Secure Power & Isolation

A stable stage setup is fundamental when dealing with pedal steels and dobros. These instruments are often heavy, delicate, and sensitive to vibrations. Start with sturdy supports:

• Robust Stands & Positioning: A pedal steel guitar typically comes with its own metal legs – make sure they are locked tightly and placed on a flat, level surface of the stage. If the player uses a separate stand for a dobro (for instance, a stand to hold the dobro in playing position when switching instruments), ensure it’s a heavy-duty stand that won’t wobble or tip. Lightweight or flimsy stands are accidents waiting to happen; imagine a pedal steel toppling mid-song due to a collapsed leg – a nightmare scenario that is easily prevented by using proper supports. Similarly, allocate enough stage space so the pedal steel and its player (seated at a bench or seat) aren’t crowded or jostled by other performers. Tight quarters can lead to someone accidentally kicking the instrument or its cables. Give these instruments a secure footprint on stage.

• Secure Power Connections: Pedal steel players often use a volume pedal and sometimes effect pedals or an amplifier requiring power. Make sure there are power outlets or power strips near their setup to avoid long, tangled cords. All power cables should be taped down or run neatly to prevent tripping and accidental unplugs. Nothing kills a magical steel guitar solo faster than a pulled power cable or sudden loss of amplification. Use cable covers or gaffer tape to secure cords across stage pathways. Also, provide clean, stable power (utilising power conditioners or surge protectors for larger setups) – this helps avoid hum or noise in these high-impedance instruments. In international festival contexts (e.g. a UK band performing in the US or vice versa), double-check voltage requirements and have transformers or appropriate outlets ready so the musician’s gear can plug in safely.

• Isolation from Stage Rumble: One often overlooked issue is low-frequency rumble and vibrations on big stages. Pedal steels and resonator guitars can be surprisingly sensitive to stage vibrations. Thumping subwoofers, a loud bass amp next to the player, or even a hollow stage riser can cause the steel guitar’s body and strings to vibrate or feedback. To combat this, isolate the instrument from direct rumble. For example, place a thick rug or foam pad under a pedal steel’s legs – this cushions against vibrations and also prevents the legs from sliding. Keep the pedal steel station a little distance from the drum kit or bass cabinets if possible. At large outdoor festivals, consider positioning these instruments away from giant subwoofer stacks. Some stage crews use shock-absorbing pads under amplifiers or mic stands to reduce transmitted vibrations. The goal is to give the steel or dobro a stable, quiet platform. An extreme real-world example: one performer recounted that playing under direct heavy vibrations caused his pedal steel’s components to shift – at one event, the fretboard even bowed up and touched the strings in the afternoon heat (bb.steelguitarforum.com) due to a combination of sun and stage conditions. While that situation is rare, it underscores the importance of minimizing physical stress on these instruments. A solid stage deck, thoughtful placement, and a bit of cushioning can spare the player from fighting unwanted noise or drift.

• Plan Setup Time & Backup Gear: A practical logistical tip for festival organisers – schedule adequate setup time for acts with a pedal steel or dobro. Unlike a standard electric guitar which is plug-and-play, a pedal steel can take several minutes to set up and tune. The musician may need to assemble the instrument’s legs and pedal rack, tune 10+ strings and multiple pedal/knee lever changes, and mic the amp or instrument. Rushing this process is risky; give them a few extra minutes in changeover. Communicate with the band in advance – ask if they need a chair of a specific height, a certain side of the stage, etc. This proactive approach helps avoid last-minute scrambles. Additionally, have gaffer tape, spare batteries, and basic tools on hand near the steel/dobro position. These little things (for securing a loose cable or swapping a battery in a pickup preamp) can save a performance. By taking care of the physical setup details, you allow the pedal steel or dobro artist to focus on delivering those beautiful sounds without fear of mechanical mishaps.

Microphone Techniques for Sweetness, Not Shrillness

Capturing the sweet tone of pedal steels and dobros requires finesse in miking. These instruments produce rich, singing tones with plenty of high overtones – but if miked or EQ’d poorly, they can sound thin or piercing. The mantra here is: mic for warmth and clarity, not harsh treble.

• Microphone Choice & Placement: Avoid using mics or settings that hype the high frequencies. For pedal steel guitars, the common practice is to mic the amplifier (similar to electric guitar). A dynamic mic like a Shure SM57 is a popular, rugged choice that handles the steel’s range without exaggerating the treble. Some engineers also use ribbon microphones or warm-sounding condensers to flatter the steel guitar’s tone – ribbons naturally roll off extreme highs, yielding a smooth sound. If the steel amp has a bright, cutting tone dialed in, angle the mic slightly off-center from the speaker cone to avoid the most biting high-end. For dobros, which are acoustic resonator guitars, a microphone should be placed to capture the body and cone’s resonance. Pointing a mic directly at the sound holes or cone can sometimes result in a shrill or tinny sound. Instead, many experienced engineers aim slightly above or below the resonator cone, or at the junction of the neck and body, to pick up a balanced tone. A small diaphragm condenser mic can bring out the dobro’s sweetness, but be cautious with condensers on loud stages (feedback can be an issue). In louder festival settings, some dobro players prefer to use a hybrid approach: a pickup on the guitar plus a microphone, blending the two signals. Work with the artist to see what method they use – don’t assume one size fits all. The key is to capture the shimmer and warmth of the instrument without the screech. If it sounds painfully bright up close, adjust the mic position or EQ before simply turning down; a well-placed mic makes all the difference.

• EQ and “Anti-Shrill” Adjustments: Whether at a small folk festival or on a massive stage, apply EQ thoughtfully for these instruments. Avoid excessive high-end boost on pedal steel channels. The pedal steel naturally “cries” in the high-mid and treble range – boosting those frequencies can make it piercing for the audience. Instead, many sound engineers gently roll off ultra-high frequencies or cut a bit around the 3–5 kHz range if the tone is harsh (this is the zone where human ears are very sensitive; cutting there can remove brittleness (playpedalsteel.com)). Aim for a sweet, singing quality – the steel should sound lush, like a human voice or a violin, not like a screeching whistle. On the dobro, listen for the metallic zing of the resonator. A small cut in the high mids can tame any nasal quality, and a low-cut filter (high-pass) is useful to remove handling rumble or stage noise below ~80 Hz. If the dobro is being played in a bluegrass context with a single mic for multiple instruments (common in traditional bluegrass), then positioning is even more crucial: the player will move toward the mic for solos, so ensure the mic’s tone in that spot is sweet and not overly edgy. One festival anecdote: at a roots festival in New Zealand, an audio engineer found the dobro’s tone too sharp through the PA; he switched to a vintage ribbon microphone mid-soundcheck, instantly smoothing the sound and earning an appreciative thumbs-up from the dobro player. The lesson is to trust your ears and be ready to adjust gear for the sake of tone. Don’t hesitate to work with the artist’s preferences – many pedal steel players carry their own preamps or EQ pedals to shape their sound. Coordinate with them so that the FOH (front-of-house) mix complements, rather than clashes with, the tone they’re aiming for.

• Avoiding Feedback and Bleed: In festival scenarios, stages can be noisy with multiple instruments. A sensitive dobro mic might pick up drums, or a pedal steel’s amp mic might capture a blaring guitar amp nearby. To reduce bleed, use cardioid microphones aimed away from other sound sources. You can also deploy gobos (portable acoustic baffles) if necessary – for instance, placing a small shield behind the dobro mic to block the drum kit’s cymbals. Keeping stage volume under control is vital: if the band isn’t overwhelmingly loud, the steel and dobro can be miked at lower gain, reducing feedback risk. If feedback does occur (often a low-frequency howl on a resonator guitar), engage a high-pass filter and notch out the offending frequency on the monitor EQ. Feedback is the enemy of sweetness. Finally, remember that many top players these days use technology to help – some dobro players have devices like the Fishman Aura, which provide a studio-mic’d sound via a pickup. As a producer, ensure your audio team knows what equipment the artist is bringing so they can integrate it properly (e.g. use a DI box for a dobro’s pickup signal alongside a mic). In summary, treat the pedal steel and dobro like the distinctive voices they are: mic and EQ them gently, avoid hyped highs, and you’ll let their natural musicality shine through.

Dedicated Monitor Mix for Intonation Confidence

Performing with a pedal steel or dobro on a loud festival stage can be challenging for one critical reason: intonation. These instruments, especially pedal steel guitars, are fretless (the steel guitar has marked fret lines but no frets) – the player must rely on their ears to play in tune. In a chaotic stage sound environment, even a veteran player can struggle to hear the reference pitch and might start playing off-pitch. To prevent this, always provide a dedicated monitor send or mix for the steel/dobro player so they can hear themselves clearly.

• The Intonation Challenge: Pedal steel guitarists often describe the experience of chasing correct pitch if they can’t hear themselves or the band’s tonal center well. One forum user recounted playing in a band where the bass was indistinct and no acoustic rhythm guitar was present; he said “I find myself… chasing the notes around the fretboard trying to get in pitch” when he couldn’t clearly hear the musical root (bb.steelguitarforum.com). This illustrates how vital a good monitor mix is – the player needs confidence that their notes align with the band’s chords. Unlike a fretted guitar, if their bar placement is a millimeter off, the note is off. Thus, ensure the monitor engineer gives special attention to the steel and dobro. Typically, the artist will want to hear plenty of their own instrument, plus key reference instruments (perhaps the lead vocals for pitch reference, and any rhythm section element like acoustic guitar or piano outlining the chords). They may need less of other things (for instance, a loud snare drum in their wedge can mask the nuances of their own tone).

• Dedicated Wedge or In-Ears: If possible, dedicate a monitor wedge exclusively for the pedal steel/dobro player’s mix. In smaller festivals or club settings, musicians sometimes share monitor mixes, but try to avoid pairing the steel player with someone else’s mix needs. Their requirements can be quite different – they might ask for more steel (themselves) than anyone else on stage would want in a shared mix! Providing them their own wedge and mix allows them to dial in exactly what they need for pitch accuracy. At large festivals, many musicians use in-ear monitors (IEMs). If the steel or dobro player is on in-ears, great – make sure their monitor feed has ample self-level and the EQ is flat (not scooped of mids, since mids help pitch perception). Some players who aren’t on in-ears bring custom earplugs or molds that lower overall volume while keeping clarity – one pedal steel pro calls his custom ear filters “life savers” in high-volume “battle conditions” (bb.steelguitarforum.com). The message for producers is to support whatever monitoring solution helps that player hear themselves. If that means an extra wedge or an on-stage amp pointed at the player’s head as a monitor, do it. For example, on a multi-stage country festival in Texas, the crew provided a small personal monitor amp for the pedal steel player of one band when the floor wedges were in short supply; it acted like a dedicated “steel monitor” and the player’s intonation (and smile) remained solid all set.

• Soundcheck and Communication: Always include the pedal steel and dobro in soundcheck if possible, and spend time on their monitors. Encourage the player to test their sustains and vibratos during monitor check – these long notes are where pitch issues show if they can’t hear properly. A wise festival organiser will also communicate with the band in advance: ask if the steel guitarist has any special monitor requests or if they prefer their amp tilted towards them (some steel players carry a tilt-back amp stand so they can hear the amp better – accommodate this on stage). If it’s a fly-in festival date and the musician is borrowing gear, ensure the provided backline amp is one they’re comfortable with and loud enough to serve as a monitor. Intonation confidence is all about audible feedback: when the player hears that sweet spot where their note aligns with the band, they can relax and deliver those soulful slides spot on. Give them that assurance through a dedicated, tailored monitor mix, and the audience will be rewarded with in-tune, transcendent steel and dobro melodies.

Backup Kit: Spare Bars, Slides & Volume Pedals

In the high-pressure environment of a festival, backup gear can save the day – especially for niche instruments like pedal steel and dobro. A savvy festival production team will have a “pedal steel/dobro emergency kit” on hand. This kit should contain those small but irreplaceable items that these musicians rely on, in case something is lost or fails. The key spares to include are steel bars, slides, and a volume pedal, as well as other accessories unique to these instruments.

• Steel Bars and Slides: The steel bar (also called a tone bar) is the solid metal rod that pedal steel and lap steel guitarists use to fret the notes. Dobro players and other slide guitarists use a slide, which might be a steel bar (often a smaller one or a steel “rail” called a Stevens bar) or a glass/metal tubular slide on a finger. If a player drops their bar or slide and it rolls off the stage or falls into an inaccessible spot mid-performance, they’re effectively muted – they can’t play without it! It sounds unlikely, but under festival conditions with dark stages or quick instrument changes, it does happen. Having a spare steel bar and a couple of guitar slides in a known, labeled location (like tape it to the mic stand or have it at the side of the stage) can turn a potential show-stopper into a non-event. For example, at one UK folk festival, a dobro player accidentally left her slide in the green room right before the set. Luckily, the stage manager had a spare bronzed steel slide in the emergency kit, and the show proceeded on schedule with no delay.

• Volume Pedals: Most pedal steel guitarists use a volume pedal under their foot to create those swelling dynamics and sustain notes. It’s essentially part of the instrument. Volume pedals can and do fail – the internal potentiometer might go scratchy or die, or a cable could short out. If a pedal stops working mid-show, the steel guitarist suddenly has no convenient way to control volume and sustain. A spare volume pedal (even a basic one) on standby is golden. Festivals might coordinate with backline companies to have an extra volume pedal available for steel players. If your budget is tight or the instrument is rare at your event, at least inform the artist ahead of time to bring a backup. Seasoned players often carry a spare pot or even a backup pedal themselves, but not always. Having one in the production kit earns you the eternal gratitude of a musician in distress. Label it clearly and keep it side-stage so it can be handed over in seconds if needed.

• Other Handy Spares: Beyond bars, slides, and volume pedals, consider a few more items: finger picks and thumb picks (steel and dobro players use metal fingerpicks – these can get lost or broken; keep a couple of common sizes), a bar tuner wrench (pedal steels use hex wrenches to tune their pedals/knees – if the player misplaces theirs, they can’t adjust tunings; having the common size hex key available is a nice touch), and spare strings. Pedal steel guitars have many strings (10 or even 12 per neck), and they are under high tension, so string breakage happens. Dobros usually have 6 strings but played vigorously can snap strings too. While most musicians carry their own spares, being able to supply a replacement string quickly (especially an odd gauge pedal steel string) can keep the schedule on track. Keep a flashlight or headlamp in the kit as well – if a string breaks in a dim evening show, the artist will need light to re-string in a hurry. Finally, store all these spares in a dedicated box or bag labeled “Pedal Steel/Dobro Kit” so that any stagehand can locate it when someone yells, “I need the spare slide, now!” Organization here is key. As the saying goes, “fortune favours the prepared.” By preparing a few inexpensive spares, a festival producer can avert show-stopping crises and earn a reputation for being artist-friendly. Musicians talk – if you rescue a headliner’s steel player with a spare bar in Mexico or Indonesia, word will spread in the touring community that your festival really knows how to support the artists’ needs.

Player Comfort and Intonation (Comfort = Pitch!)

Happy, comfortable musicians give the best performances – and this is especially true for pedal steel and dobro players, whose instruments demand finesse and calm concentration. Comfort equals pitch when it comes to these instruments. If the player is uncomfortable – physically or mentally – it can directly impact their intonation and tone. Festival producers should strive to create a stage environment where these musicians can be at ease, so they can deliver those hauntingly beautiful notes in tune and with feeling. Here are key comfort factors to consider:

• Proper Seating and Posture: Most pedal steel players perform seated. They often bring their own seat (some use special steel guitar seats that double as equipment cases), but if not, provide a stable chair or stool of the correct height. The ideal seat height lets the player’s legs comfortably reach the pedals and knees fit the knee levers. A wobbling or inappropriate chair (too high, too low, or – heaven forbid – one with arms that block the guitar) can hinder technique. Check the stage plot or ask the band if a keyboard bench or armless chair is needed. For dobro players, many perform standing with the guitar on a strap (especially in bluegrass), while some play lap-style sitting down. Have a stool on hand in case a standing player wants to sit for a lengthy set or for soundcheck. Also ensure any footrests or stands they need are available (dobro players might use a foot stool to prop a leg if playing lap style on one knee). These posture considerations reduce fatigue and help the musician hit their notes accurately throughout the set.

• Environmental Factors (Shade, Weather, Lighting): Festivals worldwide face varying climates – scorching sun in Texas, heavy humidity in Singapore, chilly nights in the UK. These conditions can affect both the instrument and the player. Direct sunlight is notorious for causing tuning issues on pedal steels (the metal expands, strings go flat, and as one famous steel guitarist noted, glue and finishes can soften – “not good for the guitar at all” (bb.steelguitarforum.com)). Indeed, one veteran player insisted “I wouldn’t play in direct sunlight for any amount of pay” (bb.steelguitarforum.com) after seeing his instrument’s finish warp in the sun. The takeaway for festival organisers: always strive to provide shade or cover for daytime performances. If your stage doesn’t have a roof, consider at least an awning or umbrella for the steel player. At Australia’s Tamworth Country Music Festival (held in the summer heat) and at outdoor stages of the Americana Fest in Nashville, crews often cover instruments when not in use and use canopy tents to shield performers. If an afternoon sun angle starts hitting the player, allow them a minute to reposition or provide a piece of cardboard or towel they can use to block the sun on their instrument. Similarly, be mindful of cold and damp – in a cool evening, cold fingers make precision playing hard and instruments go sharp or brittle. Provide a small space heater by the pedal steelist’s feet if the weather is near freezing, or ensure they have time to warm up their hands. Keep a towel handy to wipe down sweaty or rain-dampened instrument parts. Comfort extends to visibility too: stage lighting should let the pedal steel player see the fretboard markers. These markers are their only visual intonation reference. If you plunge the stage into near darkness for mood, consider a soft sidelight or music stand light for the steel guitarist. Many carry their own little LED clip-on lights for such situations – coordinate with them. A well-lit, weather-considerate stage setup tells the musician “you’re cared for here”, which reflects in the confidence of their playing.

• Minimising Distracting Stage Noise: We covered the technical side of monitor mixes, but comfort also means not being subjected to overwhelming volume or distractions. If a pedal steel player is positioned right next to a crashing drummer or a loud horn section (as can happen in crowded festival stage setups), see if you can give them a bit of physical distance or a plexiglass drum screen to cut the impact. Excessive volume not only threatens hearing but also forces them to tense up (both physically and in how hard they pick, which can throw off the delicate balance of bar pressure and intonation). By managing stage layout so that the steel or dobro is not directly in the line of fire of other loud instruments, you help them stay relaxed and focused on their own sound. Additionally, ensure their equipment is comfortable: check that the steel guitar’s pedal board is not sliding on a slick stage (gaffer-tape it if needed), and that cables are run in a way that won’t snag their feet or seat. Little touches like placing a small rug under a pedal steel (very common in practice) both isolates vibrations and gives the player a defined space to plant their feet and gear securely.

• Mental Comfort and Support: Finally, the human side – encourage an atmosphere of respect for these players who sometimes might feel like a niche within a broader festival lineup. If you’re producing a multi-genre festival where most acts are rock or pop, and one act brings a pedal steel, make sure your stage crew knows this instrument is not just an “extra guitar” – it needs care. Train crews not to place heavy hands on a pedal steel when moving it (always ask the musician the proper way to lift or move it – usually from under the body, not by the neck which can throw it out of tune). Show patience during their line check; those extra seconds tuning can spell the difference between heavenly music or wince-inducing sour notes. A comfortable musician is one who feels unhurried and valued on stage. In one instance, at a festival in France, a pedal steel player was running slightly over the quick changeover time while tuning; the organiser gave a polite assurance through the stage manager: “Take your time, we want you in tune.” That gesture took maybe 30 extra seconds, but the resulting performance was flawless and entrancing for the crowd – a far better outcome than rushing on schedule but with an out-of-tune instrument.

In summary, player comfort directly translates to musical quality for pedal steels and dobros. By addressing physical seating, environmental conditions, stage noise, and providing a supportive stage culture, a festival producer enables these musicians to do what they do best – conjure soulful, travelling tones that can make an entire audience swoon. And when you hear that perfectly pitched steel guitar solo cry out into the night, you’ll know the effort to keep the player comfortable was well worth it.

Conclusion

Pedal steel guitars and dobros may seem like specialist instruments, but they often serve as the emotional heartbeat of an Americana or country music performance. Ensuring that these instruments sound great on a festival stage is a rewarding challenge. As we’ve discussed, success comes down to forethought and attention to detail: creating a stable setup free of technical hiccups, tailoring the sound reinforcement for sweetness and clarity, giving players the monitor support they need, preparing for Murphy’s Law with spare gear, and fostering an environment where the musician can be at ease to deliver their best.

Across the world – whether it’s a mega country music festival in the USA, a folk & blues weekend in the UK, a wine-country Americana gathering in Australia, or a local roots music fair in Germany – the same principles apply. Legendary festival producers know that when the pedal steel soars in tune or the dobro rings out warm and true, it’s often because of myriad behind-the-scenes efforts that made it possible. By applying the practical tips shared here, the next generation of festival organisers can uphold those standards and even improve on them.

In the end, facilitating these “tones that travel” is about respect: respect for the instrument’s quirks, respect for the craft of the musician, and respect for the audience who came to be moved by music. Pay attention to that trifecta, and you’ll create festival moments where the music truly soars – golden notes floating away into the night, leaving lasting memories for all.

Key Takeaways

• Rock-Solid Stage Setup: Always provide stable support for pedal steels and dobros. Use sturdy stands or secure the instrument’s legs, tape down cables, and isolate the setup from stage vibrations. A solid foundation prevents accidents and keeps the instruments in tune.
• Mic for Warmth, Not Harshness: When miking these instruments, choose techniques that capture their sweet, rich tone. Avoid emphasizing high frequencies – position mics for a balanced sound and apply gentle EQ (cut harsh high-mids rather than boosting highs) so the pedal steel cries and dobro sings without shrillness.
• Dedicated Monitor Mix: Give pedal steel and dobro players their own monitor send or wedge. They need to hear themselves clearly for accurate intonation. Ensure their monitor mix is heavy on their instrument (and key pitch references) so they can play in tune with confidence, even on loud festival stages.
• Emergency Spares Kit: Prepare a backup kit with spare steel bars, slides, a volume pedal, extra strings, picks, and common tools. In a pinch – a dropped bar or a failed volume pedal – these spares can rescue the performance. Keep the kit labeled and within reach side-stage for quick access.
• Prioritise Player Comfort: Promote conditions that keep the musician comfortable. Provide proper seating or stools, shelter from direct sun and extreme weather, adequate stage lighting to see their fretboard, and a reasonable stage layout to avoid overwhelming noise. A comfortable pedal steel/dobro player is far more likely to deliver pitch-perfect, soulful music.
• Plan & Communicate: Incorporate these needs into your advance planning. Talk with the band about their requirements (special amp, monitor preferences, setup time). Allow a bit of extra changeover time for assembly and tuning. By proactively accommodating pedal steel and dobro players, you set them – and your festival – up for success.

By remembering these key points, festival producers everywhere can ensure that the enchanting tones of pedal steels and dobros truly travel from the stage to every listener’s heart, no matter the venue or crowd size. When these instruments are well-supported, the music soars and the festival experience becomes unforgettable.