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loveridehd@aol.com
Carter D-10/C6 & E9, Oahu 6 string lap/C6, and two Resonators/open G

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Livin' in the Past and the Future with a 12 string Mooney Universal tuning.

At this instant it is D because I was working on some of Buddy's TAB, but I still find the G on top logic of going right up the scale for higher notes too good to miss.

There are a few voicings for D top has that are cool,
but others the G top has, and an higher range.
I go with that.

[This message was edited by David L. Donald on 30 July 2004 at 05:22 AM.]

On a D-10, I would have to go with the D. For the same reasons Buddy put it on there (in lieu of the G). But I sho' nuf would miss the G. The universal solves it completely. As it does for other things, IMO. Also, on a U-12, you have a high "6th" (G#) which I am using more and more in the B6th mode. Love it

I would strongly suggest that if you play a D-10 and put the D on top (instead of the G) you add a knee lever that pulls 3 and 7 to C#. This will give you the "missed triad" 3 frets up. If you engage pedal 5 with it, you have even more at this "3 fret up" place.

If I ever went back to a double neck PSG, I would insist on the C neck being 11 strings because of the above. But I still would put the D on top. For the same reason the F# and D# is out of order on E9th.

Tony

[This message was edited by Tony Dingus on 30 July 2004 at 05:40 AM.]

I guess I'm still way too dependent on the G for 90% of my jazz chord melody playing. I also love the old G to G# change thats on my
5th pedal. Since I do have the D12, I understand the single note D thing that everybody talks about, but just like anything else, you can always find other ways to play the lines youre looking for (at the speed your chops allow). Lord know's, I totally agree that anything Buddy and all the rest of the big boys feel is important, is worth serious consideration!

G#....E
F#....D
E.....C
C#....A
B.....G
G#....E
E.....C

As Carl mentioned, you can get that C-E-G triad by going up three frets with the C to C# pedal in.Pick the 2nd 3rd and 4th strings.

I have done ,as many others ,used both ways but found out it is more convenient with the D on top.. I won't go into detail now for the reasons why. Only is ,it is more versatile that way. Although a bit awkward.

The D does give the Root of the D7 on Pedal 5, which comes in handy too. But E9 has those outside strings not in order so why not C6.

I think BE's exp S12 has the B and D on top like E9 (D# and F#).

Here is another alternative, so you can have both available. Reece had this on his Bb6 maj 7th tuning

Leave the G on top and have a knee lever that drops the 2nd string E a whole tone to D. Works like a charm and opens up a whole new world.

Another bonus is if the C to B knee lever is on an opposite leg, you can play both together and get the Same as E9 A and B pedals. Still also good for C6 jazz.

I have used this quite a bit in former years with Reece's Bb6 tuning but tuned down to A6, which is more familiar to me and then it is the EXACT same notes as A and B pedals on E9. and still have the A6 tuning, same as pedals down on E9.

If I remember, Bud Isaacs had A6 and dropped his C# to B and his A to G#. same effect.

So in answer to Bud's post, I like the D on top, but would use the G if I had the E to D drop on a knee lever.

I have to have that D one way or the other....al

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My Website..... www.cmedic.net/~almarcus/

[This message was edited by Al Marcus on 31 July 2004 at 08:46 PM.]

This is for the same reasons, the F# and D# are out of sequence on our D-10's. I venture to say if you were to restring most PSG's (putting those strings in sequence), their players would boil you in "earl"

There are some natural finger and thumb movements that causes them being out of sequence to pan out better, IMO. I feel a number of players would say the same.