| Author |
Topic: Give me the truth about the C6 neck |
scott murray
From:
Asheville, NC
|
Posted 12 Jun 2019 5:26 pm |
|
found this quote from Buddy Emmons:
| Quote: |
| Three different steel players influenced the pedal choices for my first C6 setup: Bob White, Jimmy Day, and Speedy West. My eight string Bigsby had an E6th tuning like Speedy's and one of the changes was in part, the equivalent of our 5th pedal. The 7th pedal was a Bob White change he used on Hank Thompson records. The other was a cross between changes Jimmy Day had on his Wright Custom that raised the 1st and lowered the 5th with separate pedals. I combined the two on one pedal and made it the 6th pedal. The 8th pedal was another Jimmy Day or Jerry Byrd change that raised the middle C 1/2 tone. I added the boo-wah lower to it. When we went to 10 string Sho~Buds, I added whatever 9th and 10th string raises or lowers that were possible, as it didn't have the capability of raising and lowering the same string. When the Emmons guitar came out, it allowed raises and lowers of all strings so I went the full route on the bass end and set the rest of the tuning as it is today. |
_________________
1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster |
|
|
|
Norm Fletcher
From:
Ashland, OR
|
Posted 22 Jun 2019 12:21 pm
|
|
I’m just starting feeling confident on the C6 (B6th) side. I Play universal tuning, so flying back-and-forth between ninth and sixth tunings becomes fun. Love the versatility. Of course, universal probably has limitations, but I won’t get there in this life....
_________________
Williams 700 E9th/B6. 1978 Webb 6-14. Taylor Acoustic, 1973 Ramirez Segovia 1a, Brian Moore iGuitar with synth driver and, my standby for acoustic gigs, a little Roland Acoustic amp. |
|
|
|
Ian Rae
From:
Redditch, England
|
Posted 22 Jun 2019 7:16 pm
|
|
Scott, thank you so much for finding those remarks of Buddy's. They answer all my curiosity.
Norm, at some point you will find that the boundary between the tunings starts to blur. I find myself doing things that are a bit of both. The idea of "one big tuning" is a bit of a myth, but there's definitely some overlap.
Yes, there are minor limitations with the uni but it beats hauling a twin-neck 
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
|
|
|
gary pierce
From:
Rossville TN
|
Posted 23 Jun 2019 10:24 am
|
|
| John Spaulding wrote: |
For those interested in getting into their C6 necks: C6 Essentials
 |
I just signed up for this course, and It is just what I needed to get going on C6.
Paul is the best instructor I've ever had, and the material is exactly what I needed. |
|
|
|
Drew Howard
From:
48854
|
Posted 23 Jun 2019 12:35 pm
|
|
You put the time in, you'll reap the rewards.
C6 makes me feel like the Keymaster when I'm "in discovery mode".
 |
|
|
|
Andrew Frost
From:
Toronto, Ontario
|
Posted 17 Apr 2024 9:11 am
|
|
| interesting discussion...... |
|
|
|
John Larson
From:
Pennsyltucky, USA
|
Posted 17 Apr 2024 9:50 am
|
|
What's some examples of C6 in country or pop music?
Paul Franklin on Alan Jackson's "I don't even know your name" is the one that comes to mind for me.
Sounds like Paul leans heavy into the C6 neck on the new tribute to Ray Price he did with Vince Gill.
Other than that I'm at a complete loss as to audio examples of C6 PSG if it isn't something where someone wants to sprinkle in some western swing Texas flavor.
_________________
Rejoice in the Lord, O ye righteous; praise is meet for the upright. Give praise to the Lord with the harp, chant unto Him with the ten-stringed psaltery. Sing unto Him a new song, chant well unto Him with jubilation. For the word of the Lord is true, and all His works are in faithfulness. The Lord loveth mercy and judgement; the earth is full of the mercy of the Lord.
- Psalm 33:1-5 |
|
|
|
Ron Hogan
From:
Nashville, TN, usa
|
|
|
|
Bud Angelotti
From:
Larryville, NJ, USA
|
Posted 17 Apr 2024 10:37 am
|
|
C6 is so much fun! Don't be afraid of it!
It's like a big musical noise maker
It will play itself if you let it.
_________________
Just 'cause I look stupid, don't mean I'm not. |
|
|
|
Ron Hogan
From:
Nashville, TN, usa
|
|
|
|
Donny Hinson
From:
Glen Burnie, Md. U.S.A.
|
Posted 17 Apr 2024 4:01 pm
|
|
| Barry Blackwood wrote: |
| ...Nowadays, there is almost no need for it (C6th) in so-called "modern country"... |
When you come right down to it, the same can probably be said for E9th. 
Look, I like C6th, even though I'm far from an expert on it. There's just something about it, the different sound and the different mindset the tuning evokes in me. Yes, a few players can play 10-string E9th and make it sound almost like C6th. But they can't do the stuff and get the sounds that I play on C6th.  |
|
|
|
Thornton Lewis
From:
New York, USA
|
Posted 17 Apr 2024 6:21 pm
|
|
I love a uni. I actually almost never play string 12, unless I am playing solo or the bass player didn't show up. I don't play roots down there, it clogs the sound.
Oh, do I love the pedals though. Especially
P6 (dropping the middle E a whole) and the much reviled P4 (raising the bottom 2 G#s a whole.)
Give me those and a lever to lower my g#s a half step with a vertical to lower my Bs a 1/2 and I can play any chord in the world and invert most all across the neck.
Yes, it takes both feet for some stuff. You take your feet off and on pedals all the time. Why not the volume pedal?
Meanwhile the top 10 strings are an E9 with a lever replacing the D string.
Straight country? I got an E9. Great American song book? I can play every standard. Bebop? I don't have the chops and probably never will, but it's there.
Not E9, not C6, four picks and a universal. Everything you know about an E9 is there plus a world of pop and jazz. Where you used to be the square peg but now you fit right in. |
|
|
|
Dale Rottacker
From:
Walla Walla Washington, USA
|
Posted 18 Apr 2024 7:04 am
|
|
I find it crazy, disappointing and regretful that even though I've had D10 almost from the beginning in the early 70's it took me decades to warm up to it. When I pushed on the AB pedals of my first E9th Sho~Bud Maverick I was pretty much off to the races. But with D10 shortly after, I learned a few C6th stuff like the Nightlife intro and Girl From Ipanema, but still unable to connect with it.
Even with everyone saying C6th is easier than E9th, and me being VERY C oriented on the piano, I still wasn't getting it on C6th, (still today struggle a bit with the 3 tunings in 1 thing). Fact is, that C6th on E9th for me was far easier to achieve than on the C6th neck itself.
FINALLY about 4 years ago, (seems like yesterday) decided that the only way C6th and me were gonna become friends was for me to play EVERYTHING on C6th, pretty much avoiding E9th altogether. Now I play C6th at least 90% of the time, all the while kicking myself for taking about 50 years to get warmed up to it. Today, I know what I know by position and intuition, and seem somewhat able to navigate my way around a little easier every day. Just don't ask me to explain anything, ON EITHER NECK, I probably can't.
I can't thank guys like Jody Cameron, Christopher Woitach, Rick Schmidt and Steve Catamore enough for their encouragement and prodding pushing me towards C6th. They saw better than I by what I was playing on E9th how much I NEEDED to be on C6th.
_________________
Dale Rottacker, Steelinatune™
*2021 MSA Legend, "Jolly Rancher" D10 10x9
*2021 Rittenberry, "The Concord" D10 9x9
*1977 Blue Sho-Bud Pro 3 Custom 8x6
https://msapedalsteels.com
http://rittenberrysteelguitars.com
https://www.telonics.com/index.php
https://www.p2pamps.com
https://www.quilterlabs.com |
|
|
|
