Question about C6 and E13 tunings on my D8

G. Robertson · From: California, USA

I've spent most of my time on my Sho Bud D10 Profession, but recently have been playing a sweet '52 non-pedal Fender D8 Professional for the first time. I also play dobro and a 6 string lap but this is my first venture into 8 string territory. Having been steered to putting C6 and E13 sets on it, it's odd to me (allowing I'm a theory-shy, non-pedal novice) that the intervals between strings on both necks only varies with the 7th string. Which is 1/2 step higher on the E13 neck than the 7th string on the C6 neck. I'm sure there is reason to that rhyme but upon first playing it escapes me why there is not more difference between the two tunings.

Other than the E13 globally being 2 steps higher than the C6, the only difference I can tell between them is that it gives a 7th chord on the bottom 4 strings of the E13 neck compared to a 6th chord on the bottom 4 (and top 4) of the C6 neck. You can get a major and minor triad on both necks.

Like I say, theory is not my strong suit so be gentle with me, friends. But I'm curious as to why this pair of tunings seems to be the choice of so many great players. I'd appreciate any info and wisdom you all might impart.

Larry Lenhart · From: Ponca City, Oklahoma

I have made that same observation and wondered the same thing. To further complicate it, I have a T8 with the same two tunings that you have plus an A6 which i tune exactly like the C6th but of course lower, which to me gives it a totally different sound because of the larger string gauges with the A6th. I can only state that the pitch difference of the tunings makes a difference in the sound, even tho in theory you could just change the fret and be in the same key from one tuning to the other, to my ears they still have a different sound because of the difference in string gauges. Sorry not to be able to shed more light on this good question, but hopefully someone with more knowledge than I have will answer...perhaps I should change my tunings...I know Margie Mays tunes to a B11 and a D9 from her tunings on her Excel D8.
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Jeff Mead · From: London, England

I'd be interested to know which version of C6 and which version of E13 you are using.

I use Leon McAuliffe's E13 with the low E and A6 which is the same intervals as the C6 with a high G but 3 frets lower.

Although strings 1-4 on my E13 are the same intervals as 3-6 on my A6 (or the equivalent C6), the other strings make the tunings sufficiently different from each other that they have a very different feel and different songs suggest one or other neck.

G. Robertson · From: California, USA

Thanks, Larry and Jeff!

I got SIT string sets from Scotty's. The C6 is (high to low) E C A G E C A G and the E13 is G# E C# B G# E D B.

I guess I've been thinking with D10 pedal logic. That the radical difference in intervals between E9 and C6 on a pedal steel would be as advantageous on a pair of non-pedal necks as well. But I do see the point in getting different voicing with near-same tunings but in higher or lower ranges.

Makes me wonder if anyone has ever set up a D10 pedal steel with both necks having the same E9 intervals but with one neck 2 or 3 whole steps higher or lower compared to the other. That, along with 2 sets of the ABC pedals!

Larry Lenhart · From: Ponca City, Oklahoma

as for me, i use G on top for the C6th tuning and use an E on top for the A6th. As for the E13 I use the Don Helms tuning. I am open to suggestions for improvement.
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Zum Encore, Remington D8 non pedal, Hallmark Mosrite clone, Gretsch 6120 DSW, Gretsch G5210T-P90 Electromatic Jet Two 90,1976 Ibanez L5, Eastman archtop, Taylor Dreadnaught, Telonics pedal, Squire Tele, Squire Strat, Fender Tonemaster, Gold Tone 5 string banjo, Little Wonder tenor banjo, 3 Roland cubes 30s and 80, Carvin combo bass amp

Jeff Mead · From: London, England

For me, using 2 different 6th tunings (or a 6th and G's E13) isn't "value for money". By that I mean that if I'm paying for a double neck and lugging the thing around, I want the ability to play extra chords and solos - not the same ones in a different position on the neck with a slightly different timbre.

Larry - Regarding Don's "E13" - it's not really an E13 at all - it's more like an E6 and that's what Don called it (most of the time). The only diference is the A on the low string instead of a G#. Since Don pretty much played everything on the top 6 strings anyway, it might as well be a 6th. I think he used it as a "split tuning" with E6 on the top 6 strings and an A major chord on the bottom 3.

Although I've never tried it, Don's B11 might be an interesting tuning to use on the second neck as an alternative to another 6th.

G - if you want to spice up that E13 a bit, try dropping the high G# to a G. This gives you an E13 on the bottom 7 strings and an A9 on the top 4. So you can start a song or solo on the lower strings and go up to the top 4 for the IV chord. I've used this tuning on my triple neck for a few years now and it always comes in useful for something a bit different. I know it still shares the same interval on 5 of the strings but that low D and high G really change its character and allow you to play stuff you otherwise couldn't.

If you wanted to try A6 instead of C6 (to me an A and E based tuning go together more logically than a C and E based tuning) you can use the C6 string set you already have - the tuning is (High to low) E C# A F# E C# A F#. This is the same interval as C6 with a high G but 3 frets lower in pitch. This gives you a handy major chord on strings 1 2 and 3 and a minor on 2 3 and 4. A much easier grip for the major than the 1 2 4 you have to use on that C6. I find it easier to jump from an A neck to an E neck too.

Leon's E13 is a bit different to your one with the high G# and a bit more different from the C6 with that F# in there - I really like the low E and the big fat jazzy chords you can get on the low strings. I use it as my second neck. High to low it is E C# B G# F# D G# E The downside is that you'll need a new set of strings to try it out.

On my triple neck, I use the 3 tunings I have spoken about and would say I use A6 60% of the time (or even more), Leons E13 about 30% and the other E13 (but with the flattened top string) the other 10%

Larry Lenhart · From: Ponca City, Oklahoma

Jeff, thanks so much for spending all that time to explain things to me. I am ready to experiment a little, and this seems to be a good thing to try. Thanks a lot !
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G. Robertson · From: California, USA

Great info, Jeff. Thanks for your generosity. I'll be exploring these options for awhile!

Denny Turner · From: Oahu, Hawaii USA

Some very good stuff already posted above. Thank You.

Some other considerations for C6 and E13 (for folks that don't already know modal & substitution neck navigation):

(Please note that since I originally posted this stuff very late at night, ...I have found some mistakes and typos, and made a few changes and a few additions for better clarity. I have now highlited those corrections, changes and additions, ...so that people confused / stumped by the original mistakes or confusing words can find the corrections quickly).

This is a bit lengthy but as short as I could edit it down and still reiterate a few things. This may sound complicated at first, ...but a bit of woodshedding while reading a few times will make it remarkably easy, and open up the barn door to 6th tunings (which 13th tunings are too but with a b7 down at or near the bottom, providing big jazzy bottoms in that note's 11 position inversions relative to 11 root notes as it moves up and down the neck):

For C6; Using 6 string for simplicity but the meaning is the same for 8 strings: First, mentally move your bar up to G6 chord; Notice that the notes are 1,3,5,6,1,3 (G, B, D, E, G, B); Now move the bar down 2 frets and you get b7, 2/9, 4/11, 5, b7, 2/9 (F, A, C, D, F, A) which are all the remaining notes of of both G7 and CMaj7 scale (G7 and CMaj7 notes are the same); Those 2 frets forming a box that provides G7 and CMaj7 notes (and 5 other scales we'll cover later herein). And CMaj7 being there also tells us right away that those same notes are not only CMaj7 but are also Dm7, Em7b6b9, F(#4), G7, Am7b6 and Bm7b5b6b9 (a half dim) ...just about all the scale and chord qualities of music west of Jerusalem and east of Okinawa! Put the bar at any fret on the fretboard and you still have the same math structure in that position's 2-fret box. It's easier to think in terms of numbers for what is contained in a 6th chord / Dom7 / Maj7 box (Maj7 box will always occur in a 6th chord's Dom7 box ...thus why CMaj7 is in the G7 box found at G6 chord). So every box at any 6th chord position is actually a Dom7 scale box for that 6th chord root note, and a Maj7 scale root note will always be the 4th note of the Dom7, and; I7 (aka IDom7) and IVMaj7 scales notes will always be the same (example, G7 = CMaj7), as will IMaj7 = V7 (example, CMaj7 = G7), ...and so are thus both found in the same box formed at the G6 chord. And again, the G6 chord box has the notes that are the very same for G7, Am7b6, Bm7b5b6b9, CMaj7, Dm7, Em7b6b9, and F(#4) ... they're all the very same notes; And when we think of C becoming CMaj7 root note in that box (rather than G being root like we are so used to thinking), then we can see that CMaj7 notes = Dm7 notes = Em7b6b9 notes = F(#4) notes = G7 notes = Am7b6 notes = Bm7b5b6b9 notes. But IT IS MUCH EASIER TO THINK IN NUMBERS WHICH FIT ANY & ALL 6th CHORD BOXES: Knowing that each box will have a Maj7 scale starting at the box's Dom7 4 note, then that 4 note becomes the 1 / root note of that Maj7 scale; So each and every 6th chord box will contain: The 4 note becomes the 1 note for the Maj7, so we get: V7 (the 6th chord Dom7 box's root note becomes the 5 note of the new IMaj7 root), = VIm7b6 = VIIm7b5b6b9 = IMaj7 = IImin7 = IIIm7b6b9 = IV(#4); Or simpler yet, the Dom7 4 note becoming a IMaj7 root note, we get IMaj7 = IImin7 = IIIm7b6b9 = IV(#4) = V7 = VIm7b6 = VIIm7b5b6b9, ...the very same math in each and every 6th chord box. Now we can see why the box at G6 chord (a G7 box) has CMaj7, Dm7, Em7b6b9, F(#4), G7, Am7b6 and Bm7b5b6b9 (a half dim). Each and every box also has partial chords for each of those scales, explained later below. ------- Now to make sure we got this, move the bar to C6 chord at the 12th fret. The notes there and 2 frets down are C7 scale notes, ...and the 4th note F is where FMaj7 sequence begins (FMaj7 scale = F, G, A, Bb, C, D, E, F), giving us FMaj7 = Gm7 = Am7b6b9 = Bb(#4) = C7 = Dm7b6 = Em7b5b6b9 = FMaj7. So just as a 6th chord moves up and down the neck, so does the numbers math in their boxes, ...giving us all those scales and their chords (often partial chords) for all of the 11 root notes in standard 'western hemisphere' music.. ------- The different scale quality notes we now see in the 6th chord box, relative to each of it's notes becoming a different root note, are what's also known as Church Modes for each root note in each box; Mode names are much easier to remember than writing and particularly in not having to think about the exact notes structure for each of those scales / modes and their chords. But I'm not going to get into assigning the mode names here ....that is done comprehensively in the SGF discussion link provided at the bottom of this posting (for further study later).

So what does having all those scales mean (besides having Maj7 and Dom7)?:
m7 = blues scale notes.
m7b6 = relative minor scale notes.
m7b6b9 = a common 'mid-east' sounding scale notes.
m7b6b9 = half diminished scale notes; A harmonic diminished scale.
Plus, for chords and chord partials, explained more in the 'Other side of the coin' section further below: If you don't want a particular extension note in the chords just listed above, ...then just don't play that note in the chord, ...like having just the triad notes of a 6th chord by not playing the 6 note. This gives even more chord pockets outside the boxes. So having those scales, chords and partial chords is GREAT; And in the 'Other side of the coin' section further below, I'll show how easy it is to find them for any root note.

More extensive discussions are in the SGF discussion linked at the bottom of this posting; Better reviewed after absorbing this posting.

To prove that this stuff works, and for that light that comes on in our inspiration: Get a friend to accompany you on an acoustic guitar. You play free-form in the G7 box (G6 + F6 frets), ...any notes at all, even random notes, ...while having your friend play rythm using these chords: C, Am, F, and G; Then after seeing that works, have your friend play any of the next chords in any order, even random, hanging out on each chord for a few measures (so ears / brains can adjust to the change): C, Dm, Em, F, G7, Am, and Bm. Then have him /her add some comlexity using CMaj7, Dm7, Em7, FMaj7, G7, Am7, Bm7 or Bdim. Then arrange a few of any of those chords in a melodic order while playing in the G6 / F6 frets box. It's amazing that all sorts of new note positions, phrases and ideas will come right out in a rather short amount of woodshedding time. You'll even find yourself saying, "WAIT - STOP, keep playing that chord, I want to try something I just found"! WHAT??? all those major and minor scales can be played with the very same notes??? Yessir, ...and it gets even better. ...And as an added bonus, you'll learn where those scales and their chords (some partial) are in the C6 tuning, (especially with the other side of the coin we're going to look at further below). And each of those scales and their chords will move up and down the neck just like the 6th chord does: Examples: EMaj7 scale notes box (B6 fret + A6 fret) is 1 fret lower than FMaj7 scale notes box (C6 fret + Bb6 fret); And GMaj7 scale notes box (E6 fret + D6 fret) is 2 frets higher than FMaj7 notes box; Cm7 notes box (Eb6 fret + F6 fret) is 2 frets lower than the Dm7 box (F6 fret + G6 fret); etc.

Other side of the coin:

So far we've seen what DIFFERENT root note scales are in each box; But there's a second side of the coin: How do we get those different scale and chord qualities for the same root note; i.e. Where do we find all those scales and chords for just the root note C (or any other root note)??? That is explained extensively in the discussion and it's charts linked at the bottom of this posting, for reading later if desired. But in short here's the fret boxes locations, using the number system, to find each scale / chord quality for any root note (the root note is designated here as roman numeral 'I' while numerals II thru VII are respective interval step locations: IMaj7 scale = V6 + IV6 box. Im7 scale = bIII6 + IV6 box. Im7b6b9 scale = bII6 + bIII6 box. I(#4) scale = II6 + I6 box. I7 scale = I6 + bVII6 box. Im7b6 scale = bVI6 + bVII6 box. Im7b5b6b9 scale = bV6 + bVI6 box. NOW, the reason I just listed the upscale fret in the Major scales boxes first, ...and listed the the downscale fret in the minor scale boxes first, ...is because it's part of remembering that a signature chord (usually a partial) is located on the upscale end of every Major scale box, while a signature chord (usually a partial) is located on the downscale fret of every minor scale box. Once we know that, then we can make it even simpler by knowing where the signature chord fret is and which end of the box Major signature chords are and which end of the box minor signature chords are, ...knowing that the remaining notes are on the other fret in the box. So now we know that: IMaj7 = V6 box ... Im7 = bIII6 box ... Im7b6b9 = bII6 box ... I(#4) = II6 box ... I7 = I6 box ... Im7b6 = bVI6 box ... Im7b5b6b9 = bV6 box. I have a chart showing how to easily find all of those scales FOR ROOT NOTE 'C'; And if that chart / template exists for 'C', then you can see that in your mind moving the tone bar to any root note's 6th chord fret the template exists there too, so from there you will know where every one of the scales boxes exist on the neck, quickly plotted from any root note's 6th chord position. Here's that chart:
http://dennysguitars.homestead.com/092901_5.html

In this next charts link you can see the same thing for each of 'C's scales / chords, but without the clutter around each box that the chart linked above has:
http://dennysguitars.homestead.com/ionian1.html
And at that link, watching the different scale / chord boxes move downscale along the neck in a perfect orderly fashion, is great for delving deeper into how both the C6 template and modes template works; And it makes good sense and is easy to see: In this discussion chain we've learned that Dm7 note 1 starts on CMaj7 note 2; So it makes perfect sense that Cm7 note 1 would start on BbMaj7 note 2. A Maj7 scale is commonly known as the 'mother' scale for each different scale quality that starts on each note of that Maj7 scale. And since a Maj7 note sequence is in every box on the C6 neck, then what's happening is the Maj7 scale in the CMaj7 / G6 / G7 box is moving downscale progressively and thus providing a new-root Maj7 scale for 'C' note to progressively move 1 note upscale on, giving note 'C' a new scale quality in each box moving downscale. i.e. the boxes move downscale for note 'C' to climb upscale on.

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E13th tuning:

NOW, with a 13th tuning, such as E13, the b7 note in the low octave doesn't follow the boxes' math template said above for the 6th tuning boxes math ...because 2 frets down from the E13's b7 is a b6 and thus out of the 6th tuning's straight-bar boxes math sequence, although the Maj 7 note can be had with bar slants; But all notes above E13's b7 DO have the same math as the 6th tuned boxes (E13 is just E6 with a b7 on the bottom), ...so it's only the E13's b7 note that is out of 6th tuning boxes sequence; AND although we've already seen in the C6 boxes math that where-ever a Dom7 exists (such as the E13's b7), a Maj7 also exists somewhere in notes sequence math along the neck, and in partials pockets outside the boxes because the E13's b7 doesn't line up in the 6th tuning's boxes / frets math like b7 does in the 6th tuning boxes math. MEANING that the E13's b7 note does all sorts of things being added to the different scales qualities in the 6th tuning boxes along the neck, and added to out-of-the-box partial pockets up and down the neck for each scale quality; Providing a big addition of notes to scales, chords and partials qualities to go to and move among down in the low octave up and down the neck; Which is why Tommy Morrel (and other Greats) used / use the 13th tuning. When the 13th tuning's b7 note sounds bad at a bar position, you simply don't play that note, which is pretty easy to get used to since the E13 b7 note is always way down low on a fret and all else above that note fit right into the 6th tuning math and boxes.

A couple other common reasons for using E as the root for a 13th tuning is, (1): the low E root is the same as the low E root for standard guitar, while the root note for C6 tuning is the low C note in standard guitar's open C chord, at the 5th string / 3rd fret, giving both E13 and C6 tunings similar timbre from the C note upward, ...and E13 also provides notes lower than the low C, AND; (2): For someone who plays standard guitar reasonably well, and particularly to standard guitarists still working on fluency on steel guitar: The E string's root note positions for different chords / scales up and down the neck are the same on an E tuned steel as the 1st and 6th string E notes on standard guitar; Making it much easier and faster for standard guitarists to get back to some familiar spot when they (we) get lost on the C6 or E13 steel neck. Tommy was a very very good jazz guitarist, and he used to laugh when partly joking that he used E13 because it made it easy to find his way out of getting lost on the steel; But I found it to be very true when I would get lost playing more complex theory on the steel; I played a 3 neck Rickenbacker, tuned the first neck to E13 and the middle neck to C6; So when I got lost in C6 I could move down to the E13 neck and recover, ...and could use the E13 neck's triads to play slide guitar parts in positions I was familiar with. And at Tommy's suggestion I left the 3rd neck unstrung, ..."ya gotta have a neck to put yer light, tuner, ash tray, drinks n'all on, Hoss!" And sure enough that worked very well too!

The night I decided to quit playing regular gigs (in 2003) and quit drinking, there were 5 Jack-and-cokes (double & triple) that folks in the audience had lined up on that outer neck ...and I knew that our bar tab was most likely more than our pay; Enough already! Time to retire to my home guitar shop, and spend much more better time with my 2 young sons that playing and drinking had neglected. E13 also departed when I sold that big & heavy but well-loved Ric Console 510 (although I wouldn't have sold it if I had continued gigging)!

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Yikes, ...what a brain strain to write all this (and probably to read). Please let me know by replying here if I made any mistakes, ...or if anyone has any questions; I will try my best to get back as soon as I can after the SGF automatic email notice to me that a reply was posted; I'll come back for any posting since this subject matter is most interesting to me and I enjoy seeing different takes on C6 fretboard math, theory and navigation.

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*"Threadzilla"; C6 neck navigation by modes and substitution:
http://steelguitarforum.com/Forum2/HTML/003549.html

*"Threadzilla" Indexed for different levels of music theorty knowledge, from basic to advanced:
http://steelguitarforum.com/Forum8/HTML/002238.html

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rodger_mcbride · From: Minnesota

Just want to thank Denny for a fine website and maybe the clearest and cleanest explanation to the theory and methodology behind C6 and E13.
If you haven't seen his website, pay a visit!
Thanks Denny!
rodger

G. Robertson · From: California, USA

Fantastic info! Thanks, Denny. Makes my head spin, but I'm going to dive in to it.

Denny Turner · From: Oahu, Hawaii USA

Please notice that since I originally posted the stuff above, very late at night, ...I have since found some mistakes and typos, and made a few changes and a few additions for better clarity. I have now highlited those corrections, changes and additions, ...so that people confused / stumped by the original mistakes can quickly find the corrections.

.....

.....

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Denny Turner · From: Oahu, Hawaii USA

Rodger and G, Thank YOU for your kind words.

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I was here to post several hours ago, but an urgent matter came up and snatched me away. Glad I could get back to say Thank You.

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G, ...Yes, most of the whole enchilada plopped down at one time can seem like a head spinner; But take it slow and easy sitting down at your steel and it will become clearer and come together in much less time than it initially seems. I wrote the posting progressively, so what is said builds upon what was previously said. Getting pencil and paper out to do / make some fretboard chart work also usually helps to plant such stuff in the brain, if a person is reasonably up to speed on basic music theory. But no rush, take it easy and enjoy whichever approach works / feels best for you.

Gotta run, ...it's getting late (almost 4:00 AM); But I'll try my best to get back here to post some things about it being much simpler than it initially looks.

If anyone would like a rather brief basic music theory refresher, you can find one here:
http://dennysguitars.homestead.com/basictheory1.html
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G. Robertson · From: California, USA

Thanks for the encouragement, Denny. It does appear daunting but I'll give it my best shot. Your "Basic Music Theory Review via The Number System" has already helped me a lot!

Denny Turner · From: Oahu, Hawaii USA

Mr. G,

If you found working along through the basic music theory page was reasonably easy to be helpfull, then you will most likely find it reasonably easy to work along thru the fretboard navigation stuff in this discussion chain. At first the whole enchilada looks like arriving at a big family reunion potluck; A huge table full of food, layed down haphazardly as each dish arrived ...some you recognize, some you don't; Where oh where to begin dippin' up! BUT the 'whole enchilada' I posted further above is more like a cafeteria serving line that you just work your way along. And early in the discussions in the SGF "Threadzilla" , some postings mentioned how quickly they progressed in using it.

Once you start applying this stuff woodshedding with your steel, ...then when you get to a scale quality you don't use and aren't likely to use for awhile, then just skip over that scale to the next one to see if it's familiar to your ears. It's often GOOD to have a guitarist (or keyboardist) to play the simple root chord for the scale you're working on, to pull your ear to the root and scale you're woodshedding on; Use simple triad chords like basic major (1, 3, 5) and minor (1, b3, 5) or those two triads with ONE simple extension note of the scale you're working on, such as 6, b6, 7, b7, 9 and b9. If you don't have someone to strum the chords on guitar (or sound them on a keyboard), then keep a guitar (or keyboard) next to you to hear the chord a few times to pull the ear in.

Once you've basicly woodshedded through the enchilada, you can then select the scale qualities you already use, then you can get down to serious woodshedding with them progressively, such as:
--Dom7 (the box used a LOT by most steelers to jam in due to us thinking in terms of 6th chords along the neck, and the 6th chord positions are where the Dom7 box is readily apparant, laid out intuitively and easy to play).
-- Maj7 (Most popular & familiar songs melodies are probably written in Maj7 and Dom7 more than any other scale notes, ...and early-on in the SGF "Threadzilla" discussion chain it becomes apparant that there is a very useful and easy co-existing relationship between Dom7 and Maj7 for I / IV / V chord changes and notes. And most folk / folkish / country / country-ish / folk blues / raucus blues / and basic rock songs, are of the I / IV / V chords format).
-- min7 aka m7 (It has the blues scale notes, ...and m7 can be played over Maj keys in blues style, especially 9th and 6th and 9(13)th chords, ...and Imin7 chords and notes can substitute for IV chord notes (they're IV7 notes), or slide up 2 frets and it subs for V chord notes, ...and it's notes are easy because they're the same note numbers as Dom7 but with the 3rd note flatted to make minor scale (& chords) ...aka 1, 2, b3, 4, 5, 6, b7).
-- m7b6 (it's the relative minor scale notes / chord, such as Am in the simple chord change passage C, Am, F, G and those chords full extension notes CMaj7, Am7b6, F(#4), G7 ...and YIKES, KADIE BAR THE DOOR, all those notes are in the very same V7 box!).
-- That leaves only the diminished (m7b5b6b9) and "arabian" scale / chords, but who the heck and how often are most players going to be using or thinking where diminished scale notes are!? (But it's good to know where the dim location is for the few times it might be needed, ...and it's and easy accomplishment reward). The dim box is only 1 fret up from the Maj7 box for any given diminished's root note (Idim box = #IMaj7 box = #V6 / #VDom7 box), ...and the dim chords are on the bII6, bV6 and #V6 frets).
-- And then last (and probably least) there's Ahab's m7b6b9 for sounding like an A-rab, or for accomplished jazz musicians.

Here's a charts page that makes each of the scale / chord qualities easy to see by all the other notes clutter taken away:
http://dennysguitars.homestead.com/ionian1.html
I also posted a few more notes about that link in the enchilada in this discussion chain..
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Charley Hill · From: The Dirty South

I may have missed it so sorry for the redundancy here....but what are the string gauges on the c6th and e13th tuning?

Thanks!
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G. Robertson · From: California, USA

Charley -

I got my C6 and E13 sets here:

http://www.juststrings.com/sitstringsnonpedallapguitar.html

If you click on the set you're interested in, the string gauges are listed in the Description tab.

Miles Lang · From: Venturaloha

Does anybody know the 8-string C#m7 tuning that Santo Farina used?

Brad Bechtel · From: San Francisco, CA

Discussed many times previously.

1. E
2. C#
3. G#
4. E
5. C#
6. B
7. G#
8. E
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Brad’s Page of Steel
A web site devoted to acoustic & electric lap steel guitars

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