Even if it is there from 5+6

What I miss most is not lowering the 3rds in open position.

"Now understand this is not the most popular tuning but after playing it for nearly 2 months I've found this tuning has all of the features the others have. You will find the tuning on the website here.

For E9 Playing Here it is:
RKL and Pedals 2+3 = Emmons 1,2 floor
RKL and Pedals 3+4 = Emmons 2,3 floor

For C6 Playing Here you go:
LKL that's it.

This will get you started in doing ZB Tuning.

Zane's,
Reece's Bb6
And Ed Packards monster tuning, which may take another instrument.

------------------
My Website..... www.cmedic.net/~almarcus/

 	NOTES	L<	L^	L>,LK	P1	P2	P3	P4	P10	R<	R>
											
1	C#-Db		 								D
2	G#-Ab					A		G			 
3	F#-Gb		G			 		 			
4	E	F		D#-Eb					F		
5	B				C#-Db		C#-Db			A#-Bb	
6	G#-Ab					A	A		D		
7	F#-Gb		G								
8	E	F		D#-Eb			D#-Eb				D
9	B				C#-Db					A#-Bb	
10	G#-Ab					A		G			
11	E	F							F		
12	C#-Db									C	D
13	B					A	A		C		
14	E								F		
											
											
 	NOTES	L>,LK	L2<	L2>	P5	P6	P7	P8	P9	R<	R>
											
1	C#-Db										D
2	G#-Ab					G		A			 
3	F#-Gb					 		 			
4	E	D#-Eb					F				
5	B		C#-Db							A#-Bb	
6	G#-Ab		A#-Bb		A#-Bb			A			
7	F#-Gb			G		F					
8	E	D#-Eb					D				D
9	B								C	A#-Bb	
10	G#-Ab				A#-Bb			A			
11	E								D#-Eb		
12	C#-Db								C	C	D
13	B								G#-Ab		
14	E								D#-Eb		

And just to make it easier for the interval related folk, here it is in intervals for the root keys of C, or E.

 	INT	L<	L^	L>,LK	P1	P2	P3	P4	P10	R<	R>
											
1	6-13										b7-#13
2	3-b11					4-11		b3-#9			
3	2-9		b3-#9								
4	1-#7	b2-b9		7-##13					b2-b9		
5	5-bb13				6-13		6-13			b5-#11	
6	3-b11					4-11	4-11		b5-#11		
7	2-9		b3-#9								
8	1-#7	b2-b9		7-##13			7-##13				b7-#13
9	5-bb13				6-13					b5-#11	
10	3-b11					4-11		b3-#9			
11	1-#7	b2-b9							b2-b9		
12	6-13									#5-b13	b7-#13
13	5-bb13					4-11	4-11		#5-b13		
14	1-#7								b2-b9		
											
											
 	INT	L>,LK	L2<	L2>	P5	P6	P7	P8	P9	R<	R>
											
1	6-13										b7-#13
2	3-b11					b3-#9		4-11			
3	2-9										
4	1-#7	7-##13					b2-b9				
5	5-bb13		6-13							b5-#11	
6	3-b11		b5-#11		b5-#11			4-11			
7	2-9			b3-#9		b2-b9					
8	1-#7	7-##13					b7-#13				b7-#13
9	5-bb13								#5-b13	b5-#11	
10	3-b11				b5-#11			4-11			
11	1-#7								7-##13		
12	6-13								#5-b13	#5-b13	b7-#13
13	5-bb13								3-b11		
14	1-#7								7-##13		

There are also a number of interesting approaches to be found in the "tunings" section of the Forum.

I have been digging the 14s for 24 hours now, but ONLY playing throught the karioke mic input to the DVD player.
The amps are locked up and the guy with the key was doing a "visa run" before the festival.

Needless to say those low bass strings distort beyond words,
on a hig z mic input, and through the TV's speakers.
Still been getting a good handle on this setup.

Even getting used to the Eb on RKL instead of LKR... sort of! ;(

[This message was edited by David L. Donald on 21 September 2005 at 09:50 PM.]

Jim D...I hope that you don't feel hi-jacked re this 14 string stuff. You can pick and choose from the 14s to make whatever you have room for on your instrument.

The Bill Stafford setup, as has been stated, is the 12 string E9/B6 universal with a redundant G# on top and a low E on the bottom. It is Emmons in the E9 section, and the middle D is made by raising the B.

The C6/B6 section uses a lever(L2>)to get what most folk get with P7. This opens up a whole bunch of alternative combinations.

Jim D...The sound that you want to make should dictate what changes you use on your instrument. If those sounds are basically straight ahead E9 Emmons then you have decided what your first 3 pedals and at least three of your levers will do...same for a Day setup.

If the sound is mainly C6, you may choose differently according to whose C6 sounds you want to hear.

Then there is the decision of whether you want to do chords, scales, or licks, and how much melody you want to play...this also determines the chosen setup.

My personal preference is chord oriented. Bill Stafford is heavy in large chords. In this case, the E9 section changes give the I,IV,V = E,A,B chords with variations and relatives; The C6/B6 section gives the I,II,VI = C,D,A (if it was C6), or B,C#,G# (since it is in B6) chords with variations and relatives plus dim's etc.

Many folk prefer not to think of the E9/B6 uni as two structures, but as one large one. IMO,the two structure approach helps the D 10 players to get a vision of what is going on.

Hope that this helps some.

[This message was edited by ed packard on 21 September 2005 at 07:52 AM.]

Should I call it "Uni'ty"

There are some very cool interactions I foresaw,
but had not yet "found".
They are now popping up like possums on a rainy road.

Broke the P6 pedal rod, upper ball joint attach, this AM..
must be working too hard..DUH
See ; Want to Buy..

[ temp welding job done.. but]

[This message was edited by David L. Donald on 22 September 2005 at 04:02 AM.]

Drew

------------------

Drew Howard - website - Fessenden D-10 8/8, Fessenden SD-12 5/5 (Ext E9), Magnatone S-8, N400's, BOSS RV-3