John Alexander wrote:I was interested to see this because I've just acquired a new guitar that has a few extra pedals, and I've been giving some thought about how to get the best use out of them in an expanded Bb6 tuning.
Extra pedals? HAH. May I call your attention to your sig?
One thing is how to get more out of the "Boowah" pedal (your 10) - I am contemplating adding another raise to B on string 5, using a split with LKL to get the Bb when needed, plus switching its position with your pedal 5, so it is sandwiched between the "B" pedal (your 3) and traditional P4 (your 6), as it will work well in combination with either of those pedals. (I do not have a "C" pedal - your 4.) The raise to B on string 5 will create a lot more options for use of the higher notes on strings 2-5 with that pedal, and the raises on RKL will be useful in combination as well. I see all of this as bringing the Boowah pedal to life, whether or not the lower to G on the 12th string is kept.
Interesting. In the E9th world, I'd never given the C note much thought or use.
Your p5 has been in the Bb6 tuning in one form or another for a long time. On my old MSA, it only lowers strings 5 and 8. I've found it very useful in combination with the 7th string lower on LKR, with or without the additional lower on LKV, and with or without the D to C lower on RKR. I'm contemplating splitting it into two adjacent pedals, one which lowers to A on strings 5 and 9, and one which lowers to C on strings 4 and 8, and placing these over to the right of your pedal 9 (which will be 7 on my guitar). I will have a stand alone F string in the bass so will skip the lower to F on string 10. Splitting the pedal into two will open up some chord combinations, and add some melodic possibilities similar to the A/B pedals. There is some redundancy between the p5 changes and the lowers on LKL and RKR, necessary partly because you can't move a knee in two directions at once. I would be interested to know how other Bb6 players use this pedal, as it seems to be unique to the B6 tuning.
Agreed. I kept it because David Wright kept it when he was getting all of the modifications to his tuning, therefore it must be useful or interesting. Some of this change will come on later as a MSA Classic doesn't have room for everything. Stuff I know how to use is going on first. Strings 5 and 6 are slated to have more pulls than the changer can support, so I'll start playing with what I can put there, rather than wait til it reaches perfection
Your 1st string lower to Db on LKV is something I added on LKR (7th string lower). As a standard kind of E9 change, it gets used a lot in combination with the B pedal (your 3), which would not seem to work with the change on LKV. I assume you have good reasons for placing it there, and am curious about what they might be.
That's where David put his, and I borrowed heavily from him. I don't have a problem hitting the vertical either with B or by itself. And I certainly wanted that change.
I am contemplating relocation of some of the knee levers. The vertical lever lowering three strings is too stiff on my guitar. My new guitar will have an extra RKR, and I'm thinking of putting the 7th string lower over there, and moving the LKV to the LKR position.
I am not as worried about getting lost in 10 pedals as I am worried about being able to reach them all effectively with one foot.
One of the genius bits of the old MSAs. With the location of their knees, they're so far over you can hit all the pedals, 10 as easy as 1."
