Universal Tuning - Split on 6th string

Jon Schimek · From: Lyons, Co - USA

Hey Guys,

Acquired a Newman Coped e9/b16 U12 that I'm trying to understand a change on. There are a lot of folks on here that really see these things better than me so I'm hoping for some help.

Only string 6 has been tapped for a split screw. I'm fairly new to splits, but I'm wondering if this is a common split string in universal?

For string 6 it seems I've got the G# open, the A with pedal 2, the A# with Pedal 7, and the G with a LKV. The split currently seems to be with 7 and LKV giving me an A. So i'm assuming that this split gets me the B7 maybe a F#m.. Does anybody else have this change? How do you use it? I can't think of anything really better for it, can you?

I tried searching this, but I didn't get any hits... Sorry if this is a repeated topic and sorry for my lazy image editing below.

-Jon

_________________
MSA Vintage-XL, Pre-RP Mullen
Nashville 400 w/blackbox, Space Echo.

Ian Rae · From: Redditch, England

The commonest split on the 6th string is between a lever which lowers it a whole tone to F# and the B pedal, the result being a G.

This is nothing to do with it being a uni - it's just as common on a straight E9.

Unis are great - welcome aboard!
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

Jon Schimek · From: Lyons, Co - USA

Hey Ian,

Thanks for the comment. I am a big fan of the F#->G# sound on E9, so I was pondering tweaking to get this change and using the split in that way. In my head this split is essentially getting you a minor third in the E9 Root Position, right?

I have the manufacturer's coped specific to this exact steel and the knee is definitely only to G drop. The split is not indicated on the coped sheet. Maybe I'm ignorant on splits a bit, but I think the combo with pedal 7 is the only one that make sense from a split perspectives. As I understand you need one lower (G) and one Raise (A#, I would assume since splitting with the B pedal would make the split-tone back go G#, right?)

Am I thinking about this all wrong? It seems sorta cool to be able to get the Maj7 and 7 maybe some cool chromatic type stuff...

Any other thoughts?

-Jon
_________________
MSA Vintage-XL, Pre-RP Mullen
Nashville 400 w/blackbox, Space Echo.

Jon Light · From: Saugerties, NY

All I can think of (but I'm not very good at setup conceptualizing) is that the split hardware is there because it is 'standard'.
G#>G is not uncommon on a vert. lever. But G#>F# with a split with the B pedal, the most common split, would be tough on the vert. because G#>F# is a fairly long pull, not something you want to call on the vert. to do. So I am thinking that this coped. opted out of using a split and just does the half-step lower.

Just speculation.

Ian Rae · From: Redditch, England

If your lever is only lowering a half step, that would give you an A in conjunction with P7. But I'm not sure what use that would be.

Bear in mind that counter-intuitive though it is, the split note is usually tuned at the lower finger, and the full lower with the split screw. So there is room for experiment there.

Whatever you end up doing, you are quite right that a G note is desirable.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

Pete Burak · From: Portland, OR USA

I also predict the string-6 Split hardware is there, but not in use at this time.
That is not uncommon. Some of my steels have Split hardware that is not in use on some strings (screw is backed out a bit).
fwiw, I think all Uni's should be drilled for Splits on all strings, so that users can implement them as desired.

Looking at your chart... Since the X-lever and LKV are both single string changes, it would be very easy (famous last words) to switch those changes by switching the rod positions and sliding the bellcranks over.
Then LKV would be String-5 B-to-Bb (very common on Uni).
The X-Lever would be String-6 G#-to-F# using the Split-screw to tune the F# note.
It also helps if the E-to-Eb lever and G#-to-F# lever are on opposite knees, for a nice One-chord to Five-chord change.
Then the B-pedal+X-lever "Split" is tuned at the endplate (the one that currently tunes G#-to-G).
You now get the G#-to-G lower with the B+X Split.
You can now tune 5 notes on string-6, A#(P7 endplate tuner), A(B-pedal endplate-tuner), G#(Open-Keyhead), G (B+X Split tuned at endplate), F#(tuned with Split screw).

Some basic usages while gigging.
Change open chords to minor chords.
Change AB-down chords to 7ths.
Change Open chord to the V-chord.
Start with B-pedal down, Pick 8,6,5 and go On/Off B-pedal to G#-to-F#-lever licks (one note moves while other strings ring).
Engage G#-to-F# before you pick, then pick and release for open-chord twang-ee-ness, also works well on slow songs.
Makes a nice ending lick.
Those are just some E9th-ee usages. I'm sure there are more.

Ian Rae · From: Redditch, England

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