You don't have use all 8 strings!

Try this:

E .012
C# .017
B .018
G# .026w
F# .032w
D .038w
G# .056w
E .062w

It is E13. Credit goes to Cindy Cashdollar for this tuning.
It sounds great. Don't have to play all the strings at once. When you do, take it easy on the audience, you will blow em away.

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Fender Stringmaster T-8
PV N400

[This message was edited by Ron Randall on 30 May 2002 at 11:08 AM.]

C# and D would round out your tuning nicely. Adding those two notes will turn your E tuning into E13. And it will give you a 3 note minor chord (C#m open and C#m7 open).

There are many ways to set it up. Here's my 8 string version:

E13
1   E   .014  
2   C#  .017
3   B   .018P
4   G#  .024W
5   E   .030    
6   D   .034
7   B   .038
8   E   .056

E, G#, B = E major

E, G#, B, D = E7

E, G#, B, D, C# = E13

C#, E, G# = C#m

C#, E, G#, B = C#m7

If you want pedal steel sounds why not go with strings 1 through 8 of the standard E9 PSG tuning?

Eadd9
1   F#  .013
2   D#  .015
3   G#  .011               
4   E   .014
5   B   .018P
6   G#  .024W
7   F#  .026
8   E   .030

BTW... I play on the CT shore about once a month. At Boomers in Groten CT.

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My Site | Doug's Free Tab

[This message was edited by Doug Beaumier on 30 May 2002 at 10:15 PM.]

That tuning was around a long time before Cindy Cashdollar was.

E .012
C# .017
B .018
G# .026w
F# .032w
D .038w
G# .056w
E .062w

I like to use a 14 or 15 for that high E though, because it just sounds too thin to me otherwise. Depends on the scale, too, of course.

One other cool thing is with that wound G#, you can grab it with your bar had middle finger, and pull it back to get that suspension. With practice and using ears, muscle memory will develop, allowing you to learn to "nail" it on the fly. Bending the C# up a 1/2 step to the dominant 7th can be cool, too.

TJW

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Todd James Weger/RD/RTD
1956 Fender Stringmaster T-8 (Amaj9, E13, C6) or 1960 Fender Stringmaster D-8 (E13, C6) through an old Super Reverb or Deluxe; Melobar SLS lapsteel (open D); Chandler RH-4 Koa semi-hollow lapsteel (open G)

The biggest limitation to tunin' via Just Intonation is you can't have a chord "Beatless" with the second(F#), fifth (B), and the sixth (C#) present.

Since this is an E tuning:

If the F# is tuned to the B (which is already 2 cents sharp of ET) it would end up 4 cents SHARP of its ET value (since F# is the fifth of B).

This would make the F# "correct" in its agreement with the tonic E harmonic series.

If the F# is tuned to the C# (which is already 16 cents flat of ET) it would end up 18 cents flat of its ET value (since F# is the fourth of C#).

Not tryin' to be difficult ... just curious ... I know some pretty famous Hawaiian players used this tunin' and I always wondered how they got around this dilemma.

Do ya avoid the full strum as Ron pointed out ... or do you tune it all ET??

[This message was edited by Rick Aiello on 02 June 2002 at 02:21 PM.]

I have read your comment several times over, and, I just don't know what you are trying to say.

I was giving credit to the person who showed me the tuning.

If you know the origins and background of the tuning, then inform us, enlightn us.

Thanks, Andy, for keeping the thread moving in a positive direction.

I am learning every day, but I was in first grade in 1954.

I'd tune the second string to G# (.011) and the first to F# (.013). You'd get a lot of the E9th pedal sound with the addition of those two strings. Here's a couple of licks in E:

F# __________________________7_____________
G# ____8---_____7--8___8--7________________
E  ____\__/________\____________7__________
B  ____9--7_____7--9____________\__________
G# __________8__________________8__________
...