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  12 or 14 strings?! (Page 2)

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Author Topic:   12 or 14 strings?!
Charlie McDonald
Member

From: Lubbock, Texas, USA

posted 13 November 2005 05:25 PM     profile     
Russ, Tom, Jeremy, thanks for watching the market for me. It's possible the '92 SE may still be available. Check out the levers:

Ed, I've never seen such a complete codification on any instrument before. I'd say it's overwhelming, but it's too good a resource for that. I, and surely others, appreciate the amount of research and data entry you've put into this. It will make a small book.
If you ever think about teaching that class you mentioned....

David L. Donald
Member

From: Koh Samui Island, Thailand

posted 15 November 2005 10:16 PM     profile     
Ultimately Ed's research will likely prove itself in musical expresssion.

After the theory and physical layout are codified
in relation to theory logic and physical logic,
then some smart player will start really
making "Music" with one of these monsters.

If the organization is as correct as it appears,
then the process of making music on it
will likely be pretty quick in the right hands.

I am sure Ed picks on it, and it satisfies his logical cravings.
And I have heard nothing but good comments from others who have tried it. Other than their not understanding it to much at first.
The man, not the machine being the falling point at first.

I suspect this instrument will be best served on some new player,
with few preconcieved ideas about what it should do.

"But, can I play Mansion on The Hill like Buddy did back when,
or last month at Show X."
Well maybe not,
but you CAN play a gorgeous version of Mansion On The Hill on it.

But it's when it is working on Epistrophy, Anthropology, or Donna Lee that it's logic will prove itself more fully.

As much as it might be cool to hand one to Paul Franklin or another of like stature,
for 2 years, and then hear what he comes up with.
He likely doesn't have the time to retrain himself to the extent needed.
Plus, why add different muscle memory habits,
to confuse a solid existing working situtation.

So that leaves the talented newcomer,
or someone off the mainstsream,
with strong ideas, and nothing to loose,
when learning a semi-renagade machines logic,
and by logic throwing away most of the older schools logic.
Nothing against it, but it was then and this is now. etc.

As to low strings crossing into the bass too much,
well it's a question of Tone Eq and taste.
Just because it can get so low,
doesn't mean it needs the same tonal balance as the bassplayer uses.

Piano players still play full range lkeft hand even with a contrabass player. They DO have a differenht tone. Sure HOW they play down low is modified a bit from playing solo, but as much as you migh suspect.

I might think about having a different pickup with either different, output jack, changed windings,
or actual eq for the low 4 strings.

Similar to Brett Masons 2 part Tele pickups. He has 4 strings like a standard tele,
and the twangy top two with a different winding.

So that could work for an S-14 too, just in inverse.

[This message was edited by David L. Donald on 15 November 2005 at 10:21 PM.]

ed packard
Member

From: Show Low AZ

posted 16 November 2005 08:42 AM     profile     
Kind words David, much appreciated. The first thought about the 13 series structure was to make it it's own instrument...but then it would be totally foreign to the E9/(C6/B6)players, it was integrated into the Emmons pedal and lever layout configured E9/B6 with acouple of changes.

The basic changes were lowering the middle E to get the 7th (as opposed to Bill S's raising the B) so that the two octave chords would be continuous intervals on contiguous strings; adding a C# for string 12 to continue the two octave structure downward.

Not nesessary to the scheme, but a preference of mine, is to change the order of the upper strings as per the C6 setup with the 9th as the top string.

As for the longer (30") scale....why not...the body is the same length and there is more instrument to play.

As for integrating the changer and keyless tuner into a single simple unit...it was there to be done, and it simplifies the instrument.

As for the two pickups...there was room.

As for the drop in fretboard...the body was stiff enough (by measurement), and it allows backlighting, housing circuitry, and some day a programmable LCD screen (extension monitor for a computer.

The next step....being modelled now, is a changer that allows setting the force required to activate the changes to whatever one wants (feels good) within reason.

Basically, anyone familiar with E9 and/or C6 could sit at the BEAST and play it as an E9 or C6. The changes that give the chords location lists posted elsewhere are just 3 added pedals, one of which (PZ)is not required for the 13 series function.

Some up and coming picker who wanted to add something to the E9/B6 standard could jump right in...keep the old, and add a new paradigm; new paradigm = new sounds...just look at all those jazz chords!! Would work just as well on a 12 string for those that don't care for the low range strings...and a shorter than 30" scale allows the same principles, just less range.

By the way Charlie, I am through with the chord charts for a while...those that might be waiting for the BIG C6 charts are going to have to wait for a bit...got bigger fish to fry re the changer...lots of arith'.

David L. Donald
Member

From: Koh Samui Island, Thailand

posted 16 November 2005 12:44 PM     profile     
And the beat goes on!

Looks like Charlie got some good milage out his thread here.

Charlie McDonald
Member

From: Lubbock, Texas, USA

posted 17 November 2005 04:26 AM     profile     
Lots of mileage! More than a thermos full of 30 weight coffee, and it's a long road.

I think the sorts of changes Ed proposes are what I had in mind with the thread about the evolution of the steel guitar--not so much that current concepts are outmoded, but that evolution is slow by nature. It's good to see someone looking at the details out of the box.
This changer is going to be very cool.


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