How many Twelve String PSG Players Out There?
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Bill Ford
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12 extE9 since day 2, day one was misc 6 stringers, Gibson Console Grande 7/8, Fender 400, then S12 ext E9 since early 60s...
10 string just don't seem like enough, tried 10s but can't seem to remember where I'm supposed to be.(my Dr. said that could be a common ailment called O.L.D. )
Bill
10 string just don't seem like enough, tried 10s but can't seem to remember where I'm supposed to be.(my Dr. said that could be a common ailment called O.L.D. )
Bill
Bill Ford S12 CLR, S12 Lamar keyless, Misc amps&toys Sharp Covers
Steeling for Jesus now!!!
Steeling for Jesus now!!!
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Gary Newcomb
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Rick Schmidt
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Roger Rettig
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Thanks, Rick! I'm having trouble finding my favoutite string (that wonderful D!) on my new Mullen. Whereas it just falls under my thumb on a ten-string, I'm groping around for it now!
"May it pass quickly....."
"May it pass quickly....."
Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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John Billings
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Ivan Funk
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John Bechtel
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I've wanted to go to 12-string steel for quite a few years, but; I never have. Now, I realize that I never switched, mainly because; I don't think I was really ready with a good enough reason to do so! Lately I've figured how what I've learned during my ‘playing-time’ has prepared me to handle such a change! I'm in the process now of selling some steels so that I can put my knowledge to use on 12-strings. My new guitar will be a D-12 with (9 & 7) and the tunings will not be exactly what you might expect! I plan on C6 tuning: Lo to Hi = C~F~A~C~E~G~A~C~E~G~B~D and E9 tuning: Lo to Hi = E~B~D~E~F#~G#~B~E~G#~C#~D#~F# and basically pretty standard pedal-changes. If I'd have switched from 10-str. to 12-str. before now, I'd have a copedent-change ahead of me now! I'm glad it took so long to decide to move forward!
<marquee> Go~Daddy~Go, (No), Go, It's your Break Time</marquee> L8R, jb
My T-10 Remington Steelmaster
My T-10 Remington Steelmaster
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Mike Perlowin RIP
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Re: How many Twelve String PSG Players Out There?
Me too, E9/B6 universal.
I have an MP3 of my classical music trio in concert, playing a tune in which I play almost the entire song on the bass strings. It's not ion the web, but I can sent it to anybody who wants to hear it.
I have an MP3 of my classical music trio in concert, playing a tune in which I play almost the entire song on the bass strings. It's not ion the web, but I can sent it to anybody who wants to hear it.
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin
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John Bechtel
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In my case, I use (2) Nashville N~112's and I'm not sure a lot of extra low register chords would be best suited for such a set-up! I tend to place more interest in more intricate normal-register melodies! I'm sure the lower-register configurations would sound great with larger high-wattage Amps, such as N-1000, Stereo~Steel Combo, WEBB or EVANS Amps. w/15” speakers. I don't think even (2) Lower-Wattage 12” Amps. would cut the mustard too well! But, I could be wrong! I was wrong, once.
<marquee> Go~Daddy~Go, (No), Go, It's your Break Time</marquee> L8R, jb
My T-10 Remington Steelmaster
My T-10 Remington Steelmaster
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Robbie Daniels
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I Have played a D12 string since my first D12 MSA in about 1968. Never played a 10 string went straight to a twelve from a Fender 600 eight string. I also like the depth that one can occasionally get from a 12. I try not to do to much low stuff so not to interfere with the bass player's action. 
Carter D12, MSA S12, 12 String Custom Made Non-Pedal, Evans FET 500LV, Evans SE200, Peavey Nashville 400, Fender Steel King
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b0b
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I've played S-12 E9th w/low G# and E since 1978. A few years ago I switched to a D-12 with "expanded" C6th on the back neck (includes D strings between the C's and E's). Recently I've come full circle to my roots and started playing an S-8 tuned to D6th.
There are advantages and disadvantages in every copedent. The important thing is that all of the notes you need are there. I've always felt that I needed the low E note on the bandstand, which is why I've avoided the standard 10 string E9th.
There are advantages and disadvantages in every copedent. The important thing is that all of the notes you need are there. I've always felt that I needed the low E note on the bandstand, which is why I've avoided the standard 10 string E9th.
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video
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Scott Appleton
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12 st
Been play'in 12 string ether u or ex E9 or other abridged tunings for about 12 years .. started on a little SB pro 1 then a LDG then a msa d10 then to a Sierra
u12 and now a Emmons SD 12 .. I love the extended notes when in the 12 fret or above ..
u12 and now a Emmons SD 12 .. I love the extended notes when in the 12 fret or above ..
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John Groover McDuffie
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Connie Mack
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bought the frankendekely a year and a half ago. never looked back. absolutely love it. i guarantold ya'. a u-12 tuning e9/b6. sold both my emmons d-10's and bought a cooped sho-bud. i'm thinking about getting a new 12'er too. been messin' round with my own version of a copedant to mirror my playing. will end up with a 7ped and 6 knee rig.
82'sho-bud u-12, frankendekely u-12, bride of frankendekley u-12, a whole mess of other instruments...finger still messed up but getting better...
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Chuck Snider R.I.P.
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People might argue whether I'm actually playing at all, but I've been at it about a year with the GFI U-12 single. I started psg about 3 months before that with a Carter-Starter. After a couple of months I knew I wanted to get a pro-level guitar and continue the effort of learning to play. The quandry I was in was whether to get a single 10, or double 10, or U-12. After a little research I felt I hadn't gotten used to a 10 string, and the U-12 had all the E9 stuff there even if I never used the B-6/C-6 side of things. And it wasn't gonna weigh as much as a D-10 which from what I could tell, many players never use the C-6 neck. I figured I wasn't blinded by all the knowledge and experience of playing a 10 string, so I had nothing to lose, got the GFI U-12, sold the Carter-Starter, and haven't had any second thoughts about my decision. Matter of fact, I just got a Carter U-12 single to keep set up in the house. So, I'm committed to make more use of all the strings some day. I suppose some folks think I should be committed. Whatever, I'm having fun with it.
-Chuck
-Chuck
GFI U-12 Ultra Keyless, Carter Black U-12, both with Alumitones, and a sweet '70 Sho-Bud Permanent D-10, NV400 in Rick Johnson cabs, NV112, '73 Vibrosonic in Rick Johnson cabs, Hilton pedal, Steeler's Choice seat, Bessdang Gizmos from Dale Hansen, and a few other widgets and doodads.
I may not sound good, I just don't wanna sound bad.
I may not sound good, I just don't wanna sound bad.
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Dave Van Allen
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Zum U12 since '98. I play an S10 (Stage One) and a D10(ZB Custom) as well when the whim strikes but my primary gigging guitar is the U12 Zum.


"I just came in here from force of habit... I don't intend to spend too much time in here."
"I've got the 'ZB Jeebies�' !"
"I Am ZumBody!"
<small>1998 Zumsteel U12 "Loafer" 8&6 :: 1973 ZB Custom D-10 8&5 :: 2007 StageOne S-10 3&4 :: 1996 Carter S-12 7&5 Cox D13 :: Vintage Fender 'Tube' Amplification :: Quilter Amplification :: Rick Johnson Cab :: AUM + MIDIGuitar2
www.davevanallen.net :: ::Last Train Home
"I've got the 'ZB Jeebies�' !"
"I Am ZumBody!"
<small>1998 Zumsteel U12 "Loafer" 8&6 :: 1973 ZB Custom D-10 8&5 :: 2007 StageOne S-10 3&4 :: 1996 Carter S-12 7&5 Cox D13 :: Vintage Fender 'Tube' Amplification :: Quilter Amplification :: Rick Johnson Cab :: AUM + MIDIGuitar2
www.davevanallen.net :: ::Last Train Home
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Ron Randall
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I have been playing a 12 Uni..Bb6/Eb9 for about 5/6 years now.
I don't know why I would need anything else.
I started on 6 string Strat years ago. Bought a T3 Stringmaster, put a 6th tuning on one neck. Learned how to play it, learned where the notes(intervals) are.
Next step was a S12 Uni Milly. I need to get back with a band, because that is where I learn the fastest.
R2
I don't know why I would need anything else.
I started on 6 string Strat years ago. Bought a T3 Stringmaster, put a 6th tuning on one neck. Learned how to play it, learned where the notes(intervals) are.
Next step was a S12 Uni Milly. I need to get back with a band, because that is where I learn the fastest.
R2
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Mark Dershaw
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Mike Wheeler
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John Sims
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U-12 baby!
Best Regards,
John
1997 Carter U-12 Double Body-Natural Birdseye Maple-8p/5k, Peavey Nashville 1000 Amp, Goodrich L10K Vol. Pedal, Boss DD-3 Delay, Boss CE-5 Chorus, Behringer UMC-204HD Audio Interface, AKAI MPK Mini MK3 Professional Midi Keyboard/Controller, Gretsch Bobtail Resonator, Fender Banjo, Rondo SX Lap Steel (C6), DIY Lap Steel (Open D), and a few Mojo Hand Cigar Box Guitars (MojoHandGuitars.com).
John
1997 Carter U-12 Double Body-Natural Birdseye Maple-8p/5k, Peavey Nashville 1000 Amp, Goodrich L10K Vol. Pedal, Boss DD-3 Delay, Boss CE-5 Chorus, Behringer UMC-204HD Audio Interface, AKAI MPK Mini MK3 Professional Midi Keyboard/Controller, Gretsch Bobtail Resonator, Fender Banjo, Rondo SX Lap Steel (C6), DIY Lap Steel (Open D), and a few Mojo Hand Cigar Box Guitars (MojoHandGuitars.com).
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Bob Simons
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Two identical Zum U-12's 8/5. One black, one white. Yes, they sound different! 
I've never played anything else...I wouldn't want to play blues and rock without the bottom and all those guitar-like open notes in E. For blues the enormous uninterrupted pentatonic scales have become indispensable to me.
THe blending of E9 and C6 type chord forms seems to be an advance to me...makes a steel more like a piano in it's universal musical nature....but I don't exploit it very well.
My only wish is that there were room for more knee levers un der a U-12, but then my whole life is jammed with toys and I don't make full use of most of them...there may be a lesson it it!
Hmmmm....maybe a D-12???
I've never played anything else...I wouldn't want to play blues and rock without the bottom and all those guitar-like open notes in E. For blues the enormous uninterrupted pentatonic scales have become indispensable to me.
THe blending of E9 and C6 type chord forms seems to be an advance to me...makes a steel more like a piano in it's universal musical nature....but I don't exploit it very well.
My only wish is that there were room for more knee levers un der a U-12, but then my whole life is jammed with toys and I don't make full use of most of them...there may be a lesson it it!
Hmmmm....maybe a D-12???
Zumsteel U12 8-5, MSA M3 U12 9-7, MSA SS 10-string, 1930 National Resonophonic, Telonics Combo, Webb 614e, Fender Steel King, Mesa Boogie T-Verb.
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Larry Bell
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Bob,
If you'd consider a D-12, then perhaps you might be a candidate for knee levers positioned on a single-12 in the way that double-neck players do. You could easily add a LKL, LKR, and LKV starting at about the P5 position. Actually I had thought about doing something similar myself -- for the E9 (far left) levers, put LKL (and possibly a staggered second LKL) and LKV as usual and put LKR as close to the front of the guitar as you can. Put a second vertical and LKR with enough clearance to allow you to just shift slightly to the right, over the sixth tuning pedals. You could even stagger another LKR for the sixth tuning. That can give you 8 or even 9 levers.
FWIW, I've always resisted that approach, even though some players -- Bill Stafford comes to mind -- use knee levers in the center for additional sixth tuning functions (like the Emmons C to C#, A to Bb, and A to Ab on C6). I seem to recall that Mr. Bill has a central lever that duplicates the B pedal function -- which is the same as A to Bb, which is probably the 2nd most commonly used C6 lever. I like having everything there all the time, so I hit my limit at 7 levers. Staggered right levers didn't work for me at all. My Fessy has 8 and I never use the staggered RKL.
Again, FWIW.
If you'd consider a D-12, then perhaps you might be a candidate for knee levers positioned on a single-12 in the way that double-neck players do. You could easily add a LKL, LKR, and LKV starting at about the P5 position. Actually I had thought about doing something similar myself -- for the E9 (far left) levers, put LKL (and possibly a staggered second LKL) and LKV as usual and put LKR as close to the front of the guitar as you can. Put a second vertical and LKR with enough clearance to allow you to just shift slightly to the right, over the sixth tuning pedals. You could even stagger another LKR for the sixth tuning. That can give you 8 or even 9 levers.
FWIW, I've always resisted that approach, even though some players -- Bill Stafford comes to mind -- use knee levers in the center for additional sixth tuning functions (like the Emmons C to C#, A to Bb, and A to Ab on C6). I seem to recall that Mr. Bill has a central lever that duplicates the B pedal function -- which is the same as A to Bb, which is probably the 2nd most commonly used C6 lever. I like having everything there all the time, so I hit my limit at 7 levers. Staggered right levers didn't work for me at all. My Fessy has 8 and I never use the staggered RKL.
Again, FWIW.
Larry Bell - email: larry@larrybell.org - gigs - Home Page
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2021 Rittenberry S/D-12 8x7, 1976 Emmons S/D-12 7x6, 1969 Emmons S/D-12 6x6, 1971 Dobro, Quilter ToneBlock 202 TT-12
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2021 Rittenberry S/D-12 8x7, 1976 Emmons S/D-12 7x6, 1969 Emmons S/D-12 6x6, 1971 Dobro, Quilter ToneBlock 202 TT-12
