C6 12 string tuning. HELP

Buck Dilly · Post by **Buck Dilly** » 15 Dec 2003 1:02 pm

(Edited):
I have asked this before but would like to review before I decide. I am having Mike Cass set up a D-12 PP. I have E9 set. I am trying to decide on the order of high string on C6. 1) Should I use:
FGDEC (strings 1-5) or FDGED
I am leaning towards the former so that the tuning will be more like my D-10 with the D on top. But the latter seems more logical.
ALSO- If you want to include your copedant or email them to me, I'd be grateful. The last time I solicited your help I got GREAT feedback. Does anyone have any other ideas about options for extended C6 copedants? My email is buckdilly@yahoo.com Thank You in advance.
[This message was edited by Buck Dilly on 16 December 2003 at 08:35 AM.]

Bobby Lee · Post by **Bobby Lee** » 15 Dec 2003 8:36 pm

Here's mine:
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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 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

C Dixon · Post by **C Dixon** » 15 Dec 2003 8:46 pm

D
G
E
C
A
G
E
D
C
A
F
C

Buck Dilly · Post by **Buck Dilly** » 16 Dec 2003 8:38 am

I can see that you guys like the middle D and I understand its function. I am going to avoid that as I have included it on pedal 9 as a raise.

Bobby Lee · Post by **Bobby Lee** » 16 Dec 2003 10:50 am

Part of my reasoning for the "linear" arrangement including the D strings is for octave playing. I can set a thumb and finger grip on my right hand skipping 4 strings. That grip moves across the strings quickly for melody work in octaves - the 'Wes Montgomery' sound.

Another advantage of the middle D is the middle root tone in the pedal 5 position. Jazz players want to skip that note, which is why it's not in the tuning, but I play mostly blues and rock on C6th. The low 1-3-5-b7-1 is very useful for standard rock'n'roll riffs.

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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 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax[This message was edited by b0b on 16 December 2003 at 04:26 PM.]

Dave Ristrim · Post by **Dave Ristrim** » 17 Dec 2003 5:18 am

I prefer to have the traditional C6 tuning on strings 2 through 11 (C-F-A-C-E-G-A-C-E-G low to high) with a low A on the bottom (12)so you don't have to hit pedal 8, and a D on string 1 (A-C-F-A-C-E-G-A-C-E-G-D). This way you can get "chromatic" type runs on the top, with an extended low end. Bobby Black used this tuning when he had a couple of D-12 Emmons back in the day. I will post my copedant one of these days.
Dave Ristrim

John McClung · Post by **John McClung** » 17 Dec 2003 9:23 pm

Here's yet another version, this on my MSA D-12:
F
D
G
E
C
A
G
E
C
A
F
C

This gives a nice partial C major scale (str 5-2-4-1-3), a little similar to the top of E9. I have pedals and kl's that do nice things with all those strings. It's a very easy way to get some E9 type sounds out of C6. I even have "A+B" pedals raising E > F, G > A, exactly like the E9 neck.

Only thing I don't like is that D string sits kinda far away from the C and E, so it's a little trickier to grab for single note runs.

BTW: has there been a good discussion of how best to use that D string on C6? Where? I could use some tutoring on that topic!

Don McClellan · Post by **Don McClellan** » 17 Dec 2003 10:08 pm

Hi John McClung you old fart. We have to stop meeting this way. When are coming to Maui? If you come to see me don't bring your D12. I don't have a pickup truck! Merry Xmas, Don