He felt that the gauges on A6th would not be as smooth and have a resistance regarding lowering the string desired to change making the rods work harder and the action would be
much stiffer. He felt that the depth of the A6th would not be a good choice,,so I took his advice.

The 1000 had A6th setup at the factory with pedal changes similar to what is being used today,,I found that to be fine.

I still use A6th on my non pedal guitars and
find it more beefy than C6th.

Herb R. and I discussed this many times as we both feel the same about A6th.

Noel Boggs used A6th most all the time as his lead tuning. Edited,,I tune my Emmons to D6th and find it to have bigger chops without
sacrificing any pedal action or pedal re-adjustments.

[This message was edited by Jody Carver on 14 August 2002 at 04:38 PM.]

I think A6 for the bottom neck makes ten times more sense than C6.

It gives you the same thing as Pedals down on the E9 neck for one thing, and is a lot more relevant to the E9 then C6.

It is no wonder most guys don't play the bottom neck, and use it for an armrest.

If they would change to A6 or even E6 they would start finding it easy to catch on.

Has anyone anylized Herb Remingtons A6 tuning? He gets a lot out of those 4 pedals and 4 knee levers. He is playing a lot in F# minor7(A6) and C#minor7(E6)

The same pedal setup can be used and same tab if one wishes. Bud Isaacs used A6 with the C# lowered to B and A lowered to G# to give you that E9 pedals down sound.

Reece Anderson used A6 for years, He played everything with that tuning, Jazz, country, you name it, but just tuned it one fret or half tone higher to Bb6. Same thing......al

[This message was edited by Al Marcus on 14 August 2002 at 09:41 PM.]

I still like the sound of a Cb6th though....

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

[This message was edited by Jerry Hayes on 18 August 2002 at 08:49 AM.]

If you want to hear some fine A6th playing, check out Bob Strum's Strum the Gospel CD.

Herb Remington's A6th is listed here. Very Interesting...

quote:

---

Well, they left off the LK vertical which flats the 1st string E to Eb (not an important change but I use it a lot). Currently, I'm not using the RKL for anything.

---

Paul,
I should have caught the joke but I had a senior moment. I do play the Steel Guitar Rag in Fb and Sleepwalk in B#.

As for the A6th tuning, my old friend Blackie Taylor has played it for as long as I can remember as his primary tuning. I first met him in '62 and he was nailing it then (The tuning that is).........

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

however, i can play lots and lots of chords that make people go 'AUGH!'?
(grimace included at no extra charge)

Jody Carver did a lot on A6th when I used to follow him around in the '50's from gig to gig in New York City and what he played was the last word in steel guitar music.

Jody's A9th tuning is really the thing that sparked an overwhelming interest for me in the "A" tunings.

I still use the A6th and a variation of the A9th on my Fender Stringmaster T-8. It's ALL there on the A9th. With the 4th string tuned to a G rather than an F# you can play passing chords, 7ths, 9ths, etc. AND you have all the basics of an E6th tuning with proper bar placement and slants.

Bob Strum has an excelent example of A6th playing in an E9th configuration on his recent CD "Strum The Gospel". I could've sworn he was playing E9th.

Curly Chalker played the C6th against an Ami7th or vice versa, depending how you look at it. Bar placement and fret position playing with pedals is a science unto itself. I use C6th on my 1968 Emmons D-10 push-pull, but I have recently gotten into the E9th/B6th setup on my Fessenden U-12. It's all there!

I.e.: Start with an E, add a G# (two full steps), add a C (two more full steps). Two more full steps goes back to E.