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Post new topic Universal P? / C6 P4
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Author Topic:  Universal P? / C6 P4
Scott Spadafora

 

From:
Washington, USA
Post  Posted 1 Feb 2021 3:11 pm    
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All,

I have recently acquired an MSA universal and had them install what on the C6 is the P4 changes that raise 4 and 8 a whole step. Mine is located on P8 but I've seen it elsewhere on other universals.

I've been neglecting it and have decided to see what it's made of. So far I can see that it produces a dissonant Major 7 chord with the 1 and the 7 next to each other. If I 2 foot it I can release it and engage my B pedal for a nice I to I7.

With A+B down I can engage it and get a I to VI7.

Anybody have some other ideas?

Thanks,

Scott
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Jim Pitman

 

From:
Waterbury Ctr. VT 05677 USA
Post  Posted 2 Feb 2021 10:21 pm    
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I play a U12 that had that change initially but found it redundant since pedal 3 raises 4 a whole step too. I eventually settled on flatting the thirds with pedal 4.
I do recall someone mentioning to me "won't you miss doing the Maurice Anderson lick"?
I never did find out what exactly that lick was. I suspect he used it to play a quick major 7 scale, not a chord but that's a guess based on what I used it for.
Maybe someone here will chime in on what that lick was.
Sounds like you have a good handle on what it can do in the context of a chord.
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Ian Rae


From:
Redditch, England
Post  Posted 3 Feb 2021 4:44 pm    
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It is interesting that in his Basic C6 course Buddy Emmons doesn't mention P4 at all, while he treats 5,6,7 & 8 fully. He clearly didn't regard it as "basic".
When I owned a D10 I repurposed it to raise 3 a half step.

Now that I play universal I have it on the one guitar that has enough changes to accommodate it, but I use it only occasionally. Maybe in a slow number where I've got time to think I'll use it for a suspended 2nd in a minor chord.
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J D Sauser


From:
Wellington, Florida
Post  Posted 4 Feb 2021 9:32 am     Re: Universal P? / C6 P4
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Scott Spadafora wrote:
All,

I have recently acquired an MSA universal and had them install what on the C6 is the P4 changes that raise 4 and 8 a whole step. Mine is located on P8 but I've seen it elsewhere on other universals.

I've been neglecting it and have decided to see what it's made of. So far I can see that it produces a dissonant Major 7 chord with the 1 and the 7 next to each other. If I 2 foot it I can release it and engage my B pedal for a nice I to I7.

With A+B down I can engage it and get a I to VI7.

Anybody have some other ideas?

Thanks,

Scott


Most C6th players have dropped that change. BE kept it all along, so it's certainly not wrong.
I Jazz (outside of the steel guitar world) over playing a 6th chord sound often like hammering the "minor" (the relative minor rooted at your 8th string) over Major, as most expect a M7th sound. BE who came up with the basic C6th setup knew that.
I believe that most look at the guitar more as rooted at the 9th string (FM7) and look at the 8th string root with the "7" pedal (that raises both top A and C a whole) as a M7 too (as it replicates the grips found off the 9th string.)
Many only raise the top A... so to keep the bottom one put... it makes for a nicer M7 chord with a wide grip.

I replaced that pedal with a C to C# raise on both C's. It turns the 8th string rooted minor 7th into a Dom7th by raising the Flat third half. Now, if you have the "5" pedal (the one that creates a II9th over the 7th string rooted 6th chord, it drops that Dom7th's flat 7th half to a M6th. That Major 6th evidently has it's own relative minor! In other words it replicates you whole open tuning 3 frets above set one string back, when both changes are engaged.
How is that desirable? It's a GAME CHANGER! first it brings it all 3 frets closer to the 9th string M7 inversion (4 frets above). But it becomes the main pedals for most playing, your foot's new home base. You try it, it's an easy change.
I've seen one of PF setup sheet to have that exact setup (most have the C-to-C# raise on an optional knee lever.

... J-D.
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The uses of Tablature is addictive and has been linked to reduced musical fertility.
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I say it humorously, but I mean it.
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