First, here is how it's done (I am paraphrasing Carl):

The pull rod for the B pedal 6 string raise G#-A has to extend to the crossbar for the A pedal. Mount a bellcrank on the A pedal crossbar and attach a halftone tuner. Run the 6 string raise rod through this halftone tuner. Tune the halftone tuner so that when a wohle tone lower is activated the A pedal brings it back up to G. The A pedal alone will not change the pitch of the 6th string.

This gives you the following:

pedals:                 string 6
no pedals                 G#
knee lowers whole tone    F#
B pedal                   A
A pedal alone             G#
A+B                       A 
A+knee lever lower        G (raise predominates)

In Winnie Winston's "Manual of Style" Jimmie Crawford talks about this split.

I tried to install it yesterday and ran into this problem: I currently use a .024w for string 6. I could not lower it to F#. Rather, it went to a very flat G. Also, the slack needed in the B pedal raise was more than twice compared to no lower, even though I changed the pull rod from the changer finger hole farthest away from the axle to the on closest to the axle. The throw in the B pedal was inacceptably long and considerably stiffer.

My question to all you P/P players: Will a wound 6 string lower to F# on your P/P, and what gauge do you use for it?

I had the full tone lower on string 6 on an S-10 P/P years ago, but I was using a .022plain then. Would a .020plain work also?

BTW: the split would have worked - I adjusted the halftone tuner so that the A pedal brought the string back up to G#. It would have brought it to G had it lowered all the way in the first place.

Thanks,
Rainer

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Remington D-10 8+7, Sierra Crown D-10 gearless 8+8, Sierra Session S-14 gearless 8+5, '76 Emmons D-10 8+4, Peavey Session 400 LTD

I have exchanged the .024w with a .022p and everything works fine!

I was able to take the extra slack out of the pull rod, reduce pedal travel back to normal and re-hook the pull rod into the hole farthest from the changer axle.

If you play a P/P and happen to have an extra halftone-tuner, a bellcrank and a longer pull rod lying around try the split; you might just like it!

Note: the G#-F# lower can't be on LKR, IMHO. Playing A+LKR to get the G-note is more than awkward. LKL2, LKV or any lever on the right knee would be the best place. Unless you're Jimmie Crawford ...

Rainer

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Remington D-10 8+7, Sierra Crown D-10 gearless 8+8, Sierra Session S-14 gearless 8+5, '76 Emmons D-10 8+4, Peavey Session 400 LTD

In essence yes. The only difference is; I used a separate bellcrank. I am assuming Mac used the normal 5th string bellcrank and a separate 6th string raise rod. But it achieves the same thing.

Because P/P raises overide lowers, I went one step further. I installed a bellcrank with half-tone tuner (on the 6th string--E9th) on pedal 4 using the same 6th string raise rod I used on the A pedal.

This gave me an E minor on pedal 4 when the 6th string is lowered a whole tone (with the knee lever). And I have the A7th when the lower is used with pedal A. Not quite as flexible as the "split" on an all-pull guitar, but still quite good.

May Jesus richly bless you Larry,

for a minor chord (Em) the 5th andd 10th string would have to remain B. The A pedal pulls them to C#, however. The resulting chord is either A7, Em6 or C#dim - depending on what note you consider the root.

Carl's 4th pedal solution is quite different, though. By itself, the 4th pedal will not change the 6th string. Combined with the 6th lower, however, it will result in an E minor on strings 10 (B), 8 (E), 6 (G), 5 (B), 4 (E).

The same thing could be achieved by lowering string 6 a halftone only with pedal 4. Advantage: you only have to push one pedal instead of pedal+lever. Disadvantage: the halftone tuner on a lowering rod is very hard to reach in the bowels of the undercarriage.

Rainer

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Remington D-10 8+7, Sierra Crown D-10 gearless 8+8, Sierra Session S-14 gearless 8+5, '76 Emmons D-10 8+4, Peavey Session 400 LTD