Pedal 6 raise:

Pete Burak · Post by **Pete Burak** » 14 Sep 2003 8:40 am

When I play B6th on my S12U my D# string is tuned to C# (this is string 1 for me).
For D10 players this is the "D on Top".

I added a half step raise to this string, for the pedal 6 function (the basic I>IV progression using P6, no fret change).

I'm enjoying having that note available in the P6 enguaged position (I like the sound of that note on that string).

Is this a common D10/C6 P6 change?

C Dixon · Post by **C Dixon** » 14 Sep 2003 9:18 am

Hi Pete,

I don't think so, but I am thinking about doing it on my U-12. Here is why.

I lower the 2nd string to C# with my inner RKR. Since I lower my E's with my LKR, this works great with the B6 combinations. And would work great with pedal 6, EXCEPT my pedal 6 is my outer RKR. This means, I can't have that C# with pedal 6.

So by doing what you suggest, I can have the best of all worlds in this respect. The only reason that would prevent me from doing it is; IF it made the knee lever too stiff.

Lowering any string a whole tone is a long through and pushing that return spring takes a lot of effort. If it makes the knee lever action too stiff, then I won't do it.

This is precisely why I do not lower my D# to C# on the lever that lowers the E's. It simply IMO, makes that very oft' used lever tooooooo stiff for my tastes.

Thanks for bringing it up. It is a great change and works beautifully with pedal 6. This is one of the reasons I am sure that BE put a D on top on his C6 neck.

It also works great with pedal 5 because it puts the root of the chord on top which has been needed for years IMO. And having a D note (C# on B6) fills a big gap (musically) in the treble part of the B6 tuning.

Soooo good to meet you in person dear friend,

carl

C Dixon · Post by **C Dixon** » 14 Sep 2003 9:20 am

oops Pete!

I totally missread your post. Please disregard my entire post. It is irrelevant now that I see what you were saying.

I apologize for this blunder.

carl

Larry Bell · Post by **Larry Bell** » 14 Sep 2003 9:46 am

Pete,
I do that, but a different way.
I tune my 2nd to D
My Eb lever also lowers to C# (but from D)
On another lever, I lower E to D

To get the P6 change I start with E's and 2nd string lowered then I let off the Eb lever while engaging the E to D lever on 8
The result is 8 goes to D; 4 goes to E; 2 goes to D. Same thing you end up with, if I read your post correctly.

So, in the B6 postion, the 2nd string is C#; in the E9 position ('P6') it is D, but can easily be raised to D# on RKR. That's what works for me. One foot on the pedals for the vast majority of stuff others need two for.

All this stuff is absolutely critical to the way I approach the B6 tuning. And, I typically play 1/3 to 1/2 of my time in the 'swingy/jazzy' mode (whatever that means). I would not be comfortable with 6 on a pedal at all. That's right, I'm a doofus on standard 10-string C6.

oh, yeah
I agree with Carl that what you describe is not common on 10-string C6 -- in fact, I've never seen anyone pull the high D up to Eb on the 6th pedal.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
[This message was edited by Larry Bell on 14 September 2003 at 10:58 AM.]

Jim Smith · Post by **Jim Smith** » 14 Sep 2003 9:57 am

The C#-D change corresponds to the 1st string D-D# change on C6. Buddy Emmons had it on a knee lever for a while and now has it on his Boo-Wah 8th pedal. I have that change by itself on my C6 LKV. It does make for some nice combinations with most of the pedals.

Bobby Lee · Post by **Bobby Lee** » 14 Sep 2003 10:09 am

Let's see if I understand this correctly:
<pre> P6
D +Eb
E +F
C
A
G
E -Eb
C
F
C </pre>If that's right, you are losing a very pretty F13 chord, one that I use all the time.

Part of the beauty of C6th is the way the pedals give you different notes in the different octaves. This is much of what differentiates it from E9th, and makes it sound more "jazzy". I wouldn't add this change to P6 on my C6th, for that reason. It's nice on a separate knee lever, though. See the LKL on my 12-string C6th.

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<img align=right src="http://b0b.com/Hotb0b.gif" width="96 height="96">Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax[This message was edited by Bobby Lee on 14 September 2003 at 11:10 AM.]

C Dixon · Post by **C Dixon** » 14 Sep 2003 10:15 am

Now that I have my head screwed on correctly, I have to ditto b0b's words,

carl

Pete Burak · Post by **Pete Burak** » 14 Sep 2003 12:53 pm

b0b,
The beauty of it is, it takes about 3 turns of the tuning wrench to disenguage or re-enguage that change (and since it is a 7th tone it is easy to tune by ear in a moments time).
I do this with alot of changes.
If it's all rodded up underneath, you can either use it, or not use it.

I'm keeping it!

bob, for me it looks like this (in B6th mode):

Open - P6
C# > D
G#
F#
Eb > E
B
G#
F#
Eb > D
B
G#
E
B

[This message was edited by Pete Burak on 14 September 2003 at 01:54 PM.][This message was edited by Pete Burak on 14 September 2003 at 01:55 PM.]

David Wright · Post by **David Wright** » 14 Sep 2003 1:38 pm

Pete,
I raise that note, 1 full tone with the pedal that raises my root and 6th one tone...

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DavidWright.us

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