How does one use it? (let me count the ways)
Well, it's the 'Foxy Lady' or 'Purple Haze' chord that Jimi used a lot -- kind of a chameleon chord with a major third down low and minor third on top. It is a very often used jazz chord as well, commonly used as an altered V7 chord for a Im (like Am to E7+9). Listen to Buddy's composition 'Plus Nine' or the the Pat Martino Composition Buddy covered called 'The Great Stream' -- lotsa great ideas there.

Is it indispensible? That's a matter of opinion. A lot of swing/jazz revolves around I / VI / II (or ii) / V / I cadence. Having the VI chord on a pedal is very useful, in my opinion. I consider it an indespensible change.

As for placement, my personal preference is the last or next to last pedal. I put P6 (E to D for my application) on a lever, making combinations easier. So there are basically only three B6 pedals on my setup. On my guitars with more than six pedals, I usually put one to the left (G# to G in the past -- now, the Franklin 'P4') and one to the right (currently G# to A# on 10, soon to be E to F# a la Mooney).

That's the way that works best for me. My basic tuning is this one and those six pedals are the basic setup for any other guitar I play. The 'Full Monte' is what's on my Fessy, with the additional pedals and two more levers than what's on The Beast.

Hope that helps.

You speak gems. Ditto brother.

Jeff did indeed sell the idea of moving the 8th pedal next to the 5th pedal because they are sometimes used together; but more importantly "for going from one to the other". So when he went universal, this is precisely what he did.

I have never had a problem with it as pedal 8; either on a D-10 or Universal. I can go from one to the other as fast as I need and if I ever need to use both (which I don't any more) I simply use both feet as BE does all the time.

Would I give it up? NO way Jose! I love it and use it all the time. As Larry says, it is sooo intregal to the C6 neck and many classic tunes have used it by BE and many others of course. Buddy Charleton uses it all the time.

Also, since I play a great amount of Jerry Bryd (albeit using pedals) on my 6th tuning, it is a mainstay since Jerry is the one who invented the A7/C6 tuning; thus the reason for the pedal in the first place.

I have it on my universal, where it normally is on a D-10. Would never be without it. Used with pedal 7 it gives me an 11th chord that I use often.

Used with the lever that lowers the top C to B (B to Bb on U-12's) gives one a very needed ninth; with the ninth on top; but a more mellow chord than pedal 5 or 6; under the same scenario. Plus, it gives you a dom9th two frets down from the tonic chord. Again, that is soooo nice.

The term "boowah" was coined after BE did his classic lick on "Night Life"; but the boowah is only a miniscule purpose for the pedal. It has hidden charms. Once found, few would be without it I believe.

carl

[This message was edited by C Dixon on 27 October 2003 at 02:56 PM.]

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www.scottyhenderson.com

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Concerning the string 12 "Boo-Wha" movement... In the context of playing in a swing band, I've found it to be a bit of a one trick pony type of thing, and I really haven't heard anyone do anything "original" with it outside of everything Buddy Emmons has done with it over the years in both swing and jazz contexts.
The P5 and Boo-Wha standard copedant changes on the bottom 2 strings really come into play if you play Jazz, and if you are into exploring their use I would suggest checking out some tab by, for one example, Jim Loessberg
at http://members.aol.com/jlbrg/jazzinfo.html.

From my S12U perspective, and as a member of a swing band that also plays some Hawaiian and Jump Blues, I've chosen to use P4 to raise my B's on 5 and 9 (and sometimes 12) to C.
This has opened up alot of playing for me in both cool sounding chords and chord progressions (I've found P4 (B's to C) can be used with most every other pedal on my S12U), and single note soloing, in the higher register where I feel my instrument fits best in the "ensemble".

Like I said I am a newbie and as yet have not quite mastered Americanese or PSGese .lol

Thanks.

I feel for ya bubba. How many times does one hear a term and feel like, "how come I have no idea what they are all talking about?'

Ok, When Ray Price recorded "Night Life", Buddy Emmons's was in typical form. He created a sound ("lick") that simply knocked us all dead. It was soo unique that it even coined a phrase. Alah......"Boowah".

Why?

Because that is exactly what the lick sounds like to most who hear it. It is created by the ONLY standard change on a D-10 that pulls a string a full tone and a half. And that change is the C to A lower on the 10th string on our C6 neck.

That dear friend, is the change that all us "good ole boys" call "Boohwah". Ooops some call it "doowah". But remember a steel guitar by any other name would still "play" as sweet.

May Jesus richly bless Buddy Emmons and all the others that have brought us soooo much joy and may HE continue to bring each of you joy all the days of your lives,

carl

[This message was edited by C Dixon on 04 November 2003 at 07:31 AM.]

JW

[This message was edited by Winnie Winston on 03 November 2003 at 11:27 PM.]