It seems that quite a few triple necks are tuned to E13, A6, and C6. To further complicate things, I see that the C6 tuning might have a high G (5th) on top or it might have an E (3rd) on top. It looks like the A6 tuning usually has an E (5th) on top. Then there are various E tunings, some with a high G# (3rd) on top and some with an E on top. Usually there will be a C# and a D in there somewhere, making it an E13.

Let's say you have a triple neck and need to learn a new song. What is the deciding factor on which tuning to use? Or, do you keep all the necks hot and jump from neck to neck, depending on the chord needed at the time?

I just have a single-8 and am trying to figure out if there is a pattern of thought, when choosing a tuning. I started out with a C6, E on top and F on the bottom. I like those big, fat Maj7 chords; however, I'm starting to see the advantage of having a G on top, which means dropping the low F. Actually, A6 with and E on top seems to fit my brain better. The positions match the "pedals down" position on the E9 pedal steel.

Any help you can offer will be appreciated.

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Lee, from South Texas
Down On The Rio Grande

Mullen U-12, Excel 8-string Frypan, Evans FET-500, Fender Steel King

Generally, I see the A-6th as more of a western/swing tuning, E-13th as country and Hawaiian, and C-6th as very Hawaiian and some country.

its a good start for the information you are seeking. I'm sure many of the other forum guys will add some suggestions to your question.

In general, I use A6 for western swing/ blues / rockabilly. E9 for blues/ country- and some rock and roll. E13 for rockabilly and some swing tunes.

However it really depends on the song itself and what key it's in too. Let your ear decide the best tuning.

As far as the choice of which neck and tuning to play, it all depends on the type of music, the particular piece you are playing and the key it is written in.

I'm from the old school having started out on the original A, high bass, Hawaiian tuning so I had to have that on one neck.

The second neck was a form of the E tuning, the C#m7, and, of course, you would be considered a heratic if you wouldn't include the C6th on one neck.

The low bass is good to play a Boogie, Roaring Valcano, or a lower Steel Guitar Rag part.

I have built a single neck lapsteel and designed a changer with 4 tunings. They are--- A,C6th,A6th,& E.

FWIW: Except for my BR6 I took to my lessons, I practiced and played on a Rick 518 (10-8-8) Console. Since I had been playing slide on the BR6 for many years, I was not afraid to integrate the Steel I was learning into my gigs, on the C518. 33 years of navigating spanish guitar from E notes, had me put E13 on the closest neck; a good tuning for lots of things (plus I was studying Tom Morrell's work), and which also provided me a neck to go to when I got lost (often) on the C6 middle neck or whatever tuning was on the outside neck. For 2 years the outside neck was tuned to whatever tuning I was at in Jerry Byrd's course; But afterward I took a "cue" from a Tom Morrell setup and destrung the outside neck to hold my bar, tuner, boom light, ashtray, drinks ( ON YER STEEL!?!??? ... yea, I was pedal to the metal and pretty loose for what I knew were the last of my better years ...but walked away from it in 2002). After ceasing gigs 4 years ago, at home I would put whatever tunings of the moment / interest on the outside neck and have the other familiar necks to compare with in studying. Although the C518 has been packed away for a couple years now, ...as soon as I get things caught up on around here (ever?), I will pull it back out just so I can study different tunings and have the familiar tunings right there to compare with.

Aloha,
DT~

[This message was edited by Denny Turner on 23 June 2006 at 04:41 AM.]

For me, what decides which neck I use is :
What key the tune is in. I like to have the widest range of chords avaliable. If the tune is in B flat I may go with the E9,13 since I would be on the 8th fret as opposed to the 10th( C) or 1st and 13th ( E) frets on my other two tunings. Also my 4's,5's,6's,2's ect do not have me leaping all over the neck.

My second deciding factor may be .
Where the melody of the tune starts.
If the melody starts on the 5th note of which ever key were in, I may go with the A6 since I have my 5 on top of my chord. The timbre of the melody is an important factor as well.

Sometimes I will work up a tune on one neck and I may fight the melody a bit....one day you try this song on a different neck and it all clicks and works out smoothly. So sometimes it just takes trying all the necks to see what feels right. Time and experience will always settle which tuning fits best for yourself.

Michael,
On my 6 string lapsteel with the changer I built, here are the tunings that I'm using at the present.

(1 to 6--high to low) (low bass tuning)

1 2 3 4 5 6
A tuning --E,C#,A,E,A,E

C6th " ---E,C,A,G,A,E

E "------E,B,G#,E,B,E

A6th "----E,C#,A,F#,A,E

quote:

---

"tune all the 1st strings to E routine"

---

Michael, I think it's just a matter of personal preference. I have a triple Fender on which I tune all first strings to E. I just don't like the thin sound of a fine string. But, I can appreciate the versatility of having a string such as the G or G# on top.

E13th - C6th and A6, (or better still B11th) would seem to be the general consensus amongst the top echelon, be it Western Swing, Hawaiian or whatever..
IMHO the C6th with a high G is just a duplication of the A6th inversions.
Baz (The little 'B')

[This message was edited by basilh on 24 June 2006 at 06:28 PM.]

The middle neck is the same basic Bb6 tuning:
C top
A
F
D
Bb
G
F
D or sometimes Bb bottom

This gives me a quick 5 chord on the top three strings, that can slide back to a 4 chord or up to a 6 chord.
The C on top is tuned a whole step higher than the Bb. The 2nd string A is tuned a half step lower than the Bb.

The 3rd neck, the one farthest from me, is tuned to Leon's E13. I use Eb13 only because it makes sense with the Bb necks.

I use the middle neck when playing with a band that does not need any more low notes. I have lots of licks and chords right under the bar.

hope this helps

Michael, the C6th tuning relates to the standard guitar chord shape used to play , for example, Eb at the 3rd fret..But NOT if it the C6th has the high 'G'.

I can't post tab because I'm an ignoramus in that department, I will explain the position on a standard guitar that I'm referring to.
3rd fret 1st string, 4th fret 2nd string, 3rd fret 3rd string, 5th fret 4th string, 6th fret 5th and sixth strings. Finger 1 barre at 3rd and finger 4 playing 5th AND 6th strings.
If this explains the chord shape, Great, if it isn't clear then maybe someone can post a "Window Box" of what I mean ?

Basing the key on the C6th neck, and assuming the key of Eb, third fret C6th neck = 1 Chord, 4th fret E13th neck = 4 chord, 6th fret E13th = 5 chord, same fret A6/B11 = 1 with a 5th on top. (Top 4 strings only.)

Then if we adopt the C6th/A7th, 3rd fret All strings except 6th = Eb, first fret all strings except 2nd = Bb7.Three types of chords available with NO SLANTS... Major Minor and Seventh. And that's just one neck. If we also approach the B11th as a 'Twin Tuning' then we can think of it as A6th and B9th combined and play likewise.

This multi-neck multi tuning approach, changing necks for different inversions, is the STANDARD modus operandi amongst the players I know.
Using a multi necked guitar just for different tunings dedicated to specific tunes, IMHO, is an alternative to having three guitars with varied tunings, but not optimising the full capabilities of the instrument/tunings.

[This message was edited by Mrs. basilh on 25 June 2006 at 03:50 AM.]

[This message was edited by basilh on 25 June 2006 at 08:33 AM.]