thx

Guys with AP guitars also have a split-tuning application for it, making a minor chord with pedals down, among other things. This wouldn't apply for a PP user.

Having said all that, I took the change off my guitar. I slant the bar, like I learned to years ago, or I get the sound using the E-raise lever to reflect the change on the 5th string.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

2- the same position that you get by lowering the B string or strings a half step can be achieved by dropping the bar one fret and raising the E and G# strings on the R knee lever and B pedal.

I have the change on a wrist lever, which I believe is the most logical place to put it on a universal tuning. Sometimes the wrist lever gets in the way of my playing. At those times I have to fold it down, thus denying myself the use of the change.

It's not a complete 9th, of course - it just gives the flavour - hopefully, someone else in the band is pitching in with the requisite A and E notes! The 9th chord is a common substitute for the simpler 7th, so maybe that's what you were hearing.

I love the 5th and 10th lower; I have it on RKL, and have come to depend on it - in tandem with the 9th and 6th strings, along with various applications of the A and B pedals, there is a multitude of interesting voicings to be found.....

(Edited twice because of poor English!)
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Roger Rettig
Emmons LGIII(8+6), Fender Stringmaster (0+0) and a Zumsteel D10 on order!!!

[This message was edited by Roger Rettig on 10 September 2002 at 01:42 PM.]

quote:

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2- the same position that you get by lowering the B string or strings a half step can be achieved by dropping the bar one fret and raising the E and G# strings on the R knee lever and B pedal.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (F Diatonic) Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6)

[This message was edited by Bobby Lee on 10 September 2002 at 02:45 PM.]

I have a similar problem. I do have a vertical on the left that lowers my 6th string but, due to either the height of my guitar or the shortness of my legs (not much to be done about them, I guess!), I rarely even attempt to use it. It's 'split-tuned' with the 'B' pedal, but I may as well take it off for all the use it is to me! I know that most players that lower 5 and 10 do so on a vertical, but that would seriously impede my efforts so it's on my RKL.

It's strange because, in every other respect, my guitar is comfortable. All those musical 'doors' that are opened with that 6th string split remain firmly closed to me, I'm afraid. IF there's a way to lower it, I'm not aware of the method - certainly it'd be difficult to close the case! This is my LeGrande I'm talking about - does anyone have any suggestions?

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Roger Rettig
Emmons LGIII(8+6), Fender Stringmaster (0+0) and a Zumsteel D10 on order!!!

Roger Rettig, I have my B-Bb on the vertical, and have it adjusted down while playing so I can reach it. The split I have tuned going down to the "C", and it is very nice to have that. The split on the 6 string I have going down to the "G"...and the G#-F# is on my RKL. The vertical as a half-step is easier, while the whole-step is easier to lever with my knee going sideways.

I like my 5th and 10th drop where I have it now - on my RKL. Like Wayne, one of the principal uses I have for this change is the 'diminished' with pedals down and the 'E' lower engaged - take your pick of any string except the ninth!

Steve's suggested I have some sort of detatchable device that'll extend my vertical downwards, something that I can affix when I set the guitar up. It's a shortcoming on the LeGrande, but there's a limit to how much adjustment there is on this lever.
(Thinks: "Maybe I WILL be able to join the 'Sixth String Lower' club after all.....")

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Roger Rettig (NTSGA #147): Emmons LGIII(8+8), Fender Stringmaster (0+0) and a Zumsteel D10 on order!!!

Take a trip to the hardware store and look at the cabinet door handles.

I found one that is about the same thickness as my lever, and is flat on both ends that touch the lever.

It's shaped kina like this: |___|

I attach it to the bottom surface of the lever with a hose clamp that is custom bent to an oval shape, with the excess trimmed.

Had the wife make a little "sock" out of black lycra (strechy material) to slide over it so it looks like it belongs there (at first I used a length of bike innertube).

Takes just a sec to put on and lives in the pac-a-seat when not in use.

Definalty too many licks on that lever to let it go unused!

Key of E, Picking strings 3, 4, 5,:
Fret/Pedal+Lever
7/AB (E CHORD)
9/AB+LKV
11/AB+LKV
12/AB (A CHORD)
Walk it back down to E the same way.

Take it to the 5 chord:
7/AB (E)
6/AB+LKV
4/AB+LKV
2/AB (B)

For a quick 1-5-1 ending/turnaround in E:

Fret/Pedal+Lever
12/open (add a quick hit of the B to Bb to simulate a one-fret-back slide, only string 5 moves).
12/AB
13/AB
14/AB (5 Chord)
15/AB+LKV
16/AB+LKV
18/AB+LKV
19/AB (Back to the 1).

You can pick it quickly with double-stops and hit every fret from 14 to 19 on the 5 to 1 part if you want.
I often mix and match the picking and phrasing for different feeling licks.

[This message was edited by Pete Burak on 11 September 2002 at 12:46 PM.]

Sorry for the off topic thing.

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Carter D10 9p/10k
Richard Sinkler

quote:

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in practice that interval is out of tune if you don't use equal temperament.

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quote:

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I don't know why steel makers haven't solved the vrtical knee problem when closing the case

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Bengt

This approach can be used for other changes as well. Find out which notes is available on the other strings when the Bpedal changes between the 3rd/4th E/F of a C chord or between 2/b3 B/C for an Am chord or between 6/b7 E/F for a G-chord.

[This message was edited by Bengt Erlandsen on 12 September 2002 at 06:34 AM.]

1__(A)_____________________|_(D)__________
2__________________________|______________
3__5____5B_____6B____7B____|_10____12_____
4__5____5C_____6C____7C____|_10____12_____
5____5_____5C_____6C____7C_|___10_____12__

1_____________________|__(A)__
2_____________________|_______
3__12B______14B_______|__17___
4__12C______14C_______|__17___
5______12C______14C+v_|__17___

You could get the 14B+C+vertical also with 15F, but on a fast run I find it easier this way. The notes are D-G#-B making G#dim or E7 no root.

Rainer

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Remington D 10 8+7, Sierra Crown D 10 gearless 8+8, Sierra Session S 14 gearless 8+5, Peavey Session 400 LTD

That diminished with A+B+(B>Bb)+(E>Eb) works extrememly perfectly on my axe!
(My B>Bb is LKV and E>Eb is in RKR.)
Since I have no open D on my S12U, I get a diminished, perfectly in tune, on 11 of 12 strings!

Some others I was immediatly able to work into my playing:
A7 at 8th fret string 3 4 5 (E's-F) release the E-F lever and lower B-Bb at the same fret to get a D9.
These positions can also be used for the 2 and 5 chords, all in close proximity, with a cool feel about them.

The Steein' the Blues example was great also.
From the AB position, the B to Bb gives you the 4 chord and 2 frets up to the 5 chord. Kind of a "6th on 9th" lick.
Since you're in the A+B position, that diminished position works right into the mix!
Tune-able spits rule!

I also found the positions Bengt was talking about, and yes, I'll have to get used to those grips to work them in, but they are there.

Thanks Gang!
~pete

[This message was edited by Pete Burak on 12 September 2002 at 08:33 AM.]