been working on a G6 copedant...

Andrew Frost · From: Toronto, Ontario

This set up came from working within limitations. I wanted to get something like a C6 or D6 tuning happening on a pull release guitar that has limited mechanical possibilities.
I started with D6, up a whole tone from 'standard' C6.
I then lowered the middle strings down to E & G and put the original F# & A on a lever.
So the tuning went straight to open G6 with that one alteration, and the lever 'restores' the open tuning back to D6, while also creating a pedal 7 style effect on the G6 by introducing the maj7&9 chord tones.

The first pedal is set up a bit like a pedal 4 against G6 and it sounds great in this tuning register. The next 2 pedals are more or less diminished pedals, inspired by what would be something like pedal 5 & 6 on a D6 set up. I like how the middle pedal creates a pretty straight dom7 and the 9th tone can be added with the first pedal.
These two pedals fit perfectly in this G6 scenario.

The tuning is super intuitive, and lines up with an E tuning in many ways as you can see.

I don't have a pedal 8 boo wa sound. If I had 4 pedals I'd probably set something up that combines with RKL and drops string 10 down to B. I suppose in that case, I wouldn't raise both D's on the left, just the bottom one to be a major 3rd. Fortunately, the 7#9 business is available on pedal 2 & 3 if need be.

Anyway, really digging this set up!

Marty Broussard · From: Broussard, Louisiana, USA

Andrew,
Your open tuning is almost exactly like the first 10-string tuning I played for Cajun Music. The pedals we had were the typical changes to the 4, dom7, and lowering/raising the roots. Iâ€™ve been thinking about how that tuning could be altered with the right coped to get some 6th stuff going. Im glad you posted this.
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Andrew Frost · From: Toronto, Ontario

It's a cool tuning Marty. I find it very intuitive because it relates to G and E tunings so closely. There are no E9 style changes on here going from 1-4.
I've thought about that, perhaps adding A&B pedals and moving it in a more universal direction, but its just a straight 6th tuning for now! Cheers

Fred Treece · From: California, USA

Besides getting all the main chord groups covered, I like all the half-step interval options for both single-note playing and chord extension. Having the tonal centers at I and IIIb instead of I and IV is a different way of thinking through changes at one fret. On the other hand, for the guitar player in me, looking at the neck in terms of E and G is like sliding in to home. You have done a lot and gone outside the box (maybe even blown up the box) with 3&3.

b0b · From: Cloverdale, CA, USA

Very nice!! Cool

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Andrew Frost · From: Toronto, Ontario

Thanks Bob. I've found the discussions on D6 / D13 tunings & timbre to be really interesting. I'm digging the sonic range of this set up, which uses D6 gauges, more or less.
Fred- yes indeed, one aspect that really seems to open up the voicing possibilities is lowering the 3rds in both octaves with the Bb lever. This makes for a Bb6 when combined w pedal 3, at the same fret as G and E type chords, furthering the I-IIIb sort of thing you mentioned. So there's a lot of 'up 3, down 3' substitution stuff going on. As a guitar player, another real bonus I'm finding is having half-dim chords rooted on the E strings. This means Bm7b5 is at the 7th fret, and so on. Given that the tuning is basically Em7, the useful parallels with guitar are all over the place.

Fred Treece · From: California, USA

Dave Zirbel · From: Sebastopol, CA USA

This is interesting to me. Will you be posting any audio/ video samples for us?

Dz
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Sierra S-10 (Built by Ross Shafer),ZB, Fender 400 guitars, various tube and SS amps

Andrew Frost · From: Toronto, Ontario

Andrew Frost · From: Toronto, Ontario

Hey all. I'm doing a little follow up here. I've made a short audio 'walk-through' of the 3&3 G6 copedant for those interested in how it sounds. It's in video format on the YouTubes, with some visuals to accompany the explanation. I'm mostly discussing chord voicings and copedant details and playing examples throughout.
I'll post the link in Steel on the Web as well.
Hope you all are doing well.
Andy

https://youtu.be/fsFwJ7fVrVw

b0b · From: Cloverdale, CA, USA

I get it now. Very cool! Thanks for the video.
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Andrew Goulet · Posted 3 Aug 2021 6:33 pm

This tuning is so cool!
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K Maul · From: Hadley, NY/Hobe Sound, FL

I use 8 string G6 with E on low string for 8 string dobro and my â€˜49 Fender Dual Pro. I might try this on the back neck of my Bud Permanent.
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Andrew Frost · From: Toronto, Ontario

Thanks fellas.

Jim Pitman · From: Waterbury Ctr. VT 05677 USA

I've been pondering something for an 8 string lap steel in G6 (I play bluegrass Dobro GBDGBD as well as U12 PSG). I thought about putting a couple of knee levers on the left and securing the steel to my right knee with straps.
If you only had two changes what would they be?

Dave Zirbel · From: Sebastopol, CA USA

Brilliant! Thanks for the follow up video. I love it!
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Dave Zirbel-
Sierra S-10 (Built by Ross Shafer),ZB, Fender 400 guitars, various tube and SS amps

Andrew Frost · From: Toronto, Ontario

Thanks Dave. By the way, I appreciate you sharing that great Zane Beck material in the thread about him from a few weeks back. I've been listening to those recordings a whole lot.

Rich Peterson · From: Moorhead, MN

Andrew Frost · From: Toronto, Ontario

That's a good description Rich.
Thanks for sharing your take on it.
The whole thing was an experiment within limitations.
But because it yielded pretty functional results, I've contemplated some options for expanding its capabilities a little.
If a 4th pedal were introduced, I believe this could be a good way to do it...

In the copedant below, the far left pedal is the addition, and it does a few things.
It introduces that 9th tone, enabling easier diatonic single note phrasing.
It combines with the F# pedal beside it to create a maj9 voicing similar to what pedal 7 does on C6.
Also when combined with the F# pedal beside it, the D6 voicing returns. Rooted on the B & F# drop (on string 9 & 10) it is the relative minor, a Bm7 sound. (The first pedal alone would yield a Bm11).
Finally, and perhaps most importantly, the classic 'pedal8' style Dom #9 voicing would be attainable with the first 2 pedals plus the D# on the string 7 lever. Having that D# on a lever is significant in that it allows a choice of whether to have the maj3 present or not.

This arrangement would make the RKL ( a & f# ) lever in the original copedant optional, or perhaps even unnecessary .

Having string 4 & 8 go to C and Bb on a lever ( as opposed to both going to Bb on the original set up) would enable a great IV9 sound and having that C on string 4 would make melodic phrasing a lot easier too.

Heady stuff! Wink

But I believe this could work. There are many additions that could be made if one had extra changes available, but I think this would be an effiicient means of covering a lot of ground.

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