I'm going to Jim Palenscar on Friday to have that tuning put on my guitar in (B).
But I really like my 2nd string from Maurice's 12 string non-pedal tuning, so I was wondering whether it would be a high price to pay on that tuning if I just swap that high G# to a re-entrant A#?
Any examples for the use of that string with pedal/knee?
Or even a suggestion for pedal/knee IF it's that low A#?
It depends. If you play much Country stuff in the E9th pockets, I'd hate to give up the analog of the 3rd string. If you mean an A# ABOVE the G#, I'd leave it at G# and add a clustered lever that takes it up to A#.
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Wow. So the 6th tuning starts on string 3 and the 9th tuning starts on string 2 with the RKL... kindof.
RKL produces the E tuning with a string inbetween the root and third on top.
Actually the 2nd string on Mr. Andersons non-pedal tuning is below the 5th string ( a "B" below the "C"):
strings 3-4-5 produce a I and 1-2-3 a V.
6-2-5-1-4 is a scale fragment. Strings 2-3-4 produce a IIImi triad which works for me a lot like the BC pedal in IIImi to IImi. Root position up 3 frets produces a V7 fragment that I use quite a bit (in C): G-A-F. It can produce a mi chord with a dissonant 9 under the 3. Good really for close interval chords. Quartal fragments: 2-6-9
So, I have gotten quite used to the that open string below the root.
Actually, I'd say the 6th tuning starts on 2, with a high 6. It's not tge D-10's fault it has a couple strings missing.
If your changer can support it, I'd still think about a clustered lever DROPPING C# to A#.
That'd come close to the max for most.
I also tend to prefer thinking of it as pockets rather than tunings.
Also, I like Fo'Bro John Alexander's innovation of having 4&8 moving together a whole step with a half stop, so you have the D# and F levers (or their functional equivalents) on one knee. Holding the lever against a half stop is harder to learn to remember than it is hard to do; your ears remind you readily enough when you forget
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Christopher, I believe David Weight also tunes 1 to D.
The beat reason I'd have for "unflatting" the Bb6 would be because nobody does country in Ab.
Like this video: https://www.youtube.com/watch?v=mIDfEewtqgI would be difficult to make on my Bb6.
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Yes - I do! I missed that that change was missing...
Lane
I do get it - if you're playing a lot of country, having the open E world might be nice.
I don't play much country - although Im now playing in a band where I playing Tele and steel, a lot of Gram Parsons tunes. Pete Burak always loves to tease me that Im the only steel player that never touches the A and B pedals, but no more! I doubt Ill ever be great at it, but Im playing in tune, and I've always loved the music, especially the shuffles...
I spent a day now with mt new setup. Being mostly a non-pedal player this is great fun!
I can see now the need for a F lever. Jim (Palenscar) advised against a half stop on RKL. But my LKL is not working correctly at the moment, so I don't know what I'm missing.
How are you guys using that one? Can I repurpose that one for an F lever? Pull the D# up to F? What do I lose?
1: It surprises me that Jim would send you home without everything working. How is it misbehaving?
2: Why not give it a try? I'd hate to lose my A# lever, but you ain't me.
I put it where I did because my D-10 has some changes then I don't wish to lose, and I was running out of room. My universal will end up being 10 and 7 which includes combining that function
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Ulrich Sinn wrote:But my LKL is not working correctly at the moment, so I don't know what I'm missing.
It's equivalent to lowering the 5th string in E9 or the 3rd string in C6 - among the most popular and useful changes in either tuning. Plus you need it with RKR to get the notes that were given up on pedal 7 by exchanging traditional p7 for the extra B pedal.
If you look at the thread on Ancient Bb6 Copedents you can see how Maurice's setup has evolved over the last 40 years. Interesting variations, but the basic knee lever configuration has been pretty stable.
Ulrich, if you don't want to combine the two levers like John and I but want them both, I fear you'd have to cluster it: I'd recommend on a forward LKL.
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Lane Gray wrote:Ulrich, if you don't want to combine the two levers like John and I but want them both, I fear you'd have to cluster it: I'd recommend on a forward LKL.
Fear is the correct word, if by "forward" Lane means a lever moving right or left that is further in toward the front of the guitar. I have a sixth lever on my Excel that is like that, and it is much, much more awkward and harder to get used to than the E/F half-stop. The E/F half-stop is a snap.
Correct, John. I prefer "Forward" and "rear" to "inside" and "outside" because I think those terms have subjective meanings.
Here you see the LKR of Crawford's Cluster http://steelguitarforum.com/Forum5/HTML/005371.html
I don't find mine hard to work, but you still have limits
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
Thanks for the clarification. So there's another option - I probably overstated the awkwardness of the forward lever. Mine is on the right knee so I have to compensate on the volume pedal also . . . I'm sure I will get used to it.
