Page 33 - BiTS_01_JANUARY_2025

TBS: I've designed one with my son. It's stainless steel. He's an engineer

and it's a closed domed faced one, so it's one that I've designed myself, really.

And he made it, and I keep trying to press him to make ten more and I'll

start selling them. But yes, it’s a stainless steel one.

BiTS: Do you have a lot of

slides?
Inside the studio. The Weissnborne is on the left.
TBS: I have several. I've got a

lot of diamond bottleneck

slides. We're working together

on a lap slide at the moment

with glass and wood. I'm doing

the wood and he's doing the

glass. I also used on track

seven, I think it is, I used my
Weissenborn that I made, my

acoustic lap steel. That was on

‘Dog Tired’.

BiTS: I nearly fell off my chair

when you said you made it.

You made a Weissenborn for

yourself. Is that right?

TBS: I've made a couple now,

yeah, and I gig them out and
everybody comments on the sound and the look of it. You get this like

reverb-y, dark, swampy sound out of them. There's a picture on my website,

well, my Facebook page, Trevor Steger Woodworker, on the front page. I

made it out of English walnut with a bog-oak neck and I'm really pleased.

BiTS: That sounds absolutely fabulous. Now let's go back to the album again.

Tell me, why did you decide to make this almost field recording style thing?

TBS: It's just something I always wanted to do really. I made two studio

albums and then the third studio album we made, we used a SoundField mic,

which is when you sit under one big microphone, and I played under that.