The open strings are more usefull for one thing and I don't need to avoid strings while I play now at least for tone reasons.

I was getting frustrated with the E9 tuning because of the high G# string. It seemed to skwonk out on my Franklin. I found myself avoiding the 3rd string almost completely for the last couple years. Depending on what amp I used I sometimes felt like I was navigating a mine field in the studio.

The D tuning sounds more full and even all up and down the neck to my ears. I haven't switched my JCH over yet but I should get to it by next week. I'm not smart enough to keep track of multiple pedalsteel set ups.

If you want to play hardcore country from the early 60's to early 70's it might not help much. But for single line, vocal range melodic work the D9 is pretty nice.

Jim, I fixed it.

[This message was edited by Bob Hoffnar on 28 March 2002 at 09:14 PM.]

Try lighter gauges on strings one through seven. That must handle like a two ton truck without grease in the steering assembly. Strings 8,9, and 10 work great with .030, .036, and .038 - in that order.

Bill H.

I believe that the ultimate resonance, and sustain are determined by bar pressure. Not to be fooled by the bad feature of the flimsy 3rd string, that receives much less downward external force, due to the resistance of the 2nd, and 4th strings. On some steel guitars, the 3rd string lies slightly below the level of the 2nd and 4th strings. A thin shim to raise the 3rd string a tiny bit above the 2nd and 4th could very well eradicate the "thin" sound, that is better known for its declining sustain. Predetermining proper string gauges to fill one's needs, is always the first order of priorities in tuning changes. I hope that you are successful with the D9th tuning.

I'm not aware of any music written, traditional, or otherwise that cannot be played on the D9th chromatic tuning. The majority of written music is not in control of the musician. A player should reserve the right to perform in any key that pleases the vocalist. Let the rhythm players slide their key changers, while the steel guitarist enjoys utilizing sharps and flats for a welcome change.

Bill H.

Skwonky for me is when the uneven overtones start to stick out . I like a very brite and clear tone and with that sometimes the thiner strings on the E9 don't blend so well. An example for me is I prefer the sound of strings 4 and 6 over the sound of strings 3 and 5 if I play something like the solo from "Together again".

If I want a big rude lap sound I go for my beat up old Supro. It is very skwonky. Skwonky can be a good thing it just doesn't work for me when I'm trying to blend with other instruments sometimes.

Skwonky is a musical term most used to describe this guitar player named Marc Ribot around here. But that is another thing all together !