My Bb6 Unified/Universal Copedent, and a Paul comment

Christopher Woitach · Post by **Christopher Woitach** » 23 Jun 2012 10:52 am

It's big ribeye time then!!!!

David Wright · Post by **David Wright** » 23 Jun 2012 11:42 am

I didn't know that

Douglas Schuch · Post by **Douglas Schuch** » 10 Sep 2012 4:40 am

Lane,

It's been a few months...just curious if you have made any changes from your first post in this thread, and how it is working out for you.

Doug

Lane Gray · Post by **Lane Gray** » 10 Sep 2012 5:32 am

I'm playing it some, about to tear it all down and start over. I discovered that I bent a finger (maybe two) in cleaning them, and some pulls affect neighboring strings. Since I have 10 more fingers, this is no biggie other than finding the time.
I've been way too busy lately to work on it. I have Sho-Bud rods and barrels, so I'll be able to hook up pedals 4, 5, and 6.

When I redo it, I shall also drop in the ToneAligner

Lane Gray · Post by **Lane Gray** » 24 Apr 2013 3:30 pm

I've talked with the cat who's given preliminary consent to undertake the construction of this monster, but I'll leave that under wraps til deposit is down and agreement is inked (or whatever form formal agreement takes).
But in order to price it, he needed the copedent.
It's changed a bit

John Alexander · Post by **John Alexander** » 24 Apr 2013 7:41 pm

Lane, what are all the little "#" marks next to the names of the notes?

Reality check - select one of the following:

1. B is where it's at.

2. Bb is where it's at.

[Reference: Search for posts by David Wright.]

Lane Gray · Post by **Lane Gray** » 25 Apr 2013 2:43 am

I "unflatted" it because I often use the open E and A, and didn't wish to give that up or use a capo. But since it has the pulls of the Bb6 tuning (plus a few), I hesitate to call it B6/E9. For lack of a better term, I'm calling it "B unflatted 6."
The only thing this guitar lacks that I'm used to is a lever dropping the 6th and 10th G#, the upper to G and the 10th to F#. I may just end up dropping 10 to F!# with LKV

b0b · Post by **b0b** » 25 Apr 2013 7:33 am

Two plus signs ++ sometimes looks like a sharp #. ++ means full step raise.

Lane, has anyone ever told you that you are insane?

This is a serious case of Obsessive Copedent Disorder.

BTW. the best therapy for Obsessive Copedent Disorder (been there!) is a good spreadsheet program. I recommend www.openoffice.org. It doesn't cure the disease, but it captures it on your computer.

Lane Gray · Post by **Lane Gray** » 25 Apr 2013 7:45 am

I used King soft for Android. Sadly, the builder couldn't open a .xls file, so I had to write it out and take a picture.
If anybody wants that bit of insanity, I can email it.
I submit the real insanity is making that happen on a double/double MSA Classic.
B0b, I think john was picking on the fact that I raised everything to B from Bb

Pete Burak · Post by **Pete Burak** » 25 Apr 2013 8:25 am

I would add String-7 F#>F to Pedal-7.

Lane Gray · Post by **Lane Gray** » 25 Apr 2013 8:32 am

And it's on the spreadsheet. I left it off. Just like I left the drop of the 9th string B on P5. I blame the proofreader. Oops, that's me. I blame the dog.

Niels Andrews · Post by **Niels Andrews** » 25 Apr 2013 10:37 am

And Silly me I am trying to get rid of pedals and levers. I guess it is my new found appreciation for the lap steel players. Is more really better Lane. I Love watching this adventure.

Lane Gray · Post by **Lane Gray** » 25 Apr 2013 11:53 am

Niels, I'm halfway with ya. I'm loving playing my 8 string Dobro. It's more work, harder on the brain to get the notes from my brain to my ears.
But on the Unified, I just didn't see why I should have ¾ of my E9th changes or leave some back neck stuff off. I'm going Unified because I have often bounce from one neck to the other between phrases; and I prefer just switching pockets over switching necks

Niels Andrews · Post by **Niels Andrews** » 25 Apr 2013 12:43 pm

Hey Lane. I have been watching your adventure all along,and just last week I wanted to change my millennium Uni to a F9/C6, but the prescription ran out. With you all the way!

David Wright · Post by **David Wright** » 25 Apr 2013 5:53 pm

Lane
Go spend a day with Maurice, he will set you stright on Bb 6th

Lane Gray · Post by **Lane Gray** » 26 Apr 2013 12:31 am

Believe me, David. If I had a job that could swing the time off, I'd love that, or one of his multi day camps. Or a day or few from yourself.

David Wright · Post by **David Wright** » 26 Apr 2013 3:25 am

,
I started with Maurice 43 years ago, he put my first set of picks on me, have played Bb all my life, and when I sit next to Maurice and we play, I see how much I DON'T know ...He is a Master of Steel Guitar...I am his Oldest living student!! and very proud of it.. Bb has all you need, the only thing it does not do is raise the E;s, and at one time had a Sierra with 3 up levers on it, and had the change on it.. Never have played E 9, neve learned the use for that change, I do know it's a very big change for the E 9 players..... I;m here to help ya all I can..

Bob Simons · Post by **Bob Simons** » 26 Apr 2013 4:46 am

It is conversations like this that drive me all the way back to my lap steel. I don't understand the pedal steel player's fascination with juggling tricks that resemble a Chinese Circus. I tend to say "Wow, I didn't know human beings could (almost) do that!" and then go look for some MUSIC to listen to!

I've watched countless (mostly elderly) steel players vie with one another to see who can jam the most B.S. under a guitar or into a single measure. I don't find it musical, moving, or inspiring,

Lane Gray · Post by **Lane Gray** » 26 Apr 2013 6:31 am

David, if I only knew what to start asking, I'd pick yer brains over.

Bob, you'll notice that 10 and 7 has basically everything that's on my Zum D-10 8&7, plus a change or two that looked interesting when I started talking to Bb6 guys. And you've heard me play; I like to think that I have a good bit of lyricality and soul. I know others that sound as mechanical as their guitars, but I try to avoid that

Niels Andrews · Post by **Niels Andrews** » 26 Apr 2013 6:56 am

Lane, if you are enjoying your 8 string dobro, check out Reece's C6 12 String lap steel tuning. A little while ago I got on a Jerry Byrd kick, and what drives me more today is the quality of my notes, more so than the quantity of the notes. What I enjoy about the forum we are like blind men feeling an elephant from different ends. But it is the same elephant, isn't it?

Pete Burak · Post by **Pete Burak** » 26 Apr 2013 7:26 am

I'm pretty sure he's just funnin' ya, Lane.
The thing at the bottom of his post says he's jugglin' 3 S12U's, a D10, a S10, a Reso, and 4 amps, himself.
Good one, Bob.

Lane, I think you are really gonna like the E9th side of your open tuning once you get used to it.
I've had my first 3 strings D#, G#, F# for a long time.
From an E9th persective it keeps the D# nicely tucked out of the way on string 1, and gives you two identicle stacks of [G#, F#, E, B] on strings 2-5, and 6-9.
... and it's a slam dunk for the 6th side.

Lane Gray · Post by **Lane Gray** » 26 Apr 2013 9:02 am

I have been enjoying it on the MSA I've been working on. I'm just finally getting a new custom guitar. It'll be my third new guitar. And I can't wait.

Bob Simons · Post by **Bob Simons** » 26 Apr 2013 9:14 am

Yes, I've heard Lane play often and he is often quite "musical."

My main instrument is an MSA M3 U-12 with 9 and 6 that coincidentally used to belong to David Wright. While I mostly play E9 positions using all the knees quite a bit but the A and B pedals primarily, I regard it as a single tuning- not an emulation of two different tunings and techniques.

Bearing in mind that both an AB major chord and an E's lowered minor chord emulates most of the strings of an open 6th tuning the chord styles are easy to mix and combine once you are over the hurdle of thinking that you are faking another style of instrument and simply regard it in the way you might think about a piano.

John Alexander · Post by **John Alexander** » 26 Apr 2013 9:09 pm

Bob Simons wrote:My main instrument is an MSA M3 U-12 with 9 and 6 that coincidentally used to belong to David Wright.

The one that had the hot-rod flames paint-job? I've seen pictures and thought it was bitchin' (the only 50's slang word I can recall).

David Wright · Post by **David Wright** » 27 Apr 2013 2:47 am

John Yes
I had a custom Bike painter in Ca do the flame job, I seen other builders try to do some flames, which were Lame at best

this guitar is a one of a kind, and done Wright...