C6 Copedent with Two D Notes - Questions

Scott Swartz · From: St. Louis, MO

I have decided to add the middle D to my C6 tuning due to the commonality to the E9 tuning with strings 2 and 9 lowered to C#, and a huge portion of the C6 with both D’s tuning I show below is exactly the same intervals.

Bob Kagy · From: Lafayette, CO USA

My 2 cents worth -

I like the knee lever setup; I have the same ones.

On the middle F -you don't have a P4 I assume - I put the middle F on that abandoning the A's to B, bringing the lower E up to F. A lot of people put the G to F on a vertical knee lever. I'd like to do that but I don't have a vertical on my C6th (wish I did). I can't see a usable way to combine the F with your existing pedals, sorry.

There should be lots of other ideas about this.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I would reverse strings 1 & 2. With the D in the middle of the E and C, you lose the ability to strum all the strings from 2 to 10 to get that full fat F9th chord. Well, dang. Just noticed that you have a lower D. That ruins the strum anyway, so your setup looks OK.

Just a question. Why are you putting the lower D string in there. I don't understand when you say:

Scott Swartz · From: St. Louis, MO

Richard,

I am referring to the E6 with 9th tuning and the resulting E major pentatonic scale that is on strings 10 to 5 in pitch order, and all the way across with the "chromatics", using the string 2 and 9 lower to C#.

I use this position a ton, and by inserting the D's its very nearly identical across my proposed C6, meaning only one set of scales to learn for both necks.

I have searched the SGF and fully understand the pros/cons of the D's, I don't use the strum chords, but I do want better scale access.

Essentially I am picturing the "C6" as an "E9 with the C# lever held in", BUT I have a mostly new set of pedals/levers to apply to the "E9 with the C# lever held in" for chords/harmonization and only one set of scales to memorize for both tunings.
_________________
Scott Swartz
Steeltronics - Steel Guitar Pickups
www.steeltronics.com

Jim Cohen · From: Philadelphia, PA

You sound like a good candidate for a Universal. Have you considered that?

Bob Hoffnar · From: Austin, Tx

Scott,
I lower the 5th string a whole step with the 4th pedal (along with raising the 10th st a whole step).It gives a nice transition from the 5th pedal major to a minor.
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Bob

Scott Swartz · From: St. Louis, MO

I do have pedal 4 available that I could add an E-F, that is a possibility.

On the universal, I tried a U12 for a while, but for several reasons that I won't go into so as to not derail this thread, I decided 10 string necks were better for me.

I guess I am using the mindset of the the universal, ie one big tuning, just spreading it across 2 necks that I can utilize much of the same muscle memory.
_________________
Scott Swartz
Steeltronics - Steel Guitar Pickups
www.steeltronics.com

Brint Hannay · From: Maryland, USA

Totally off-topic--

Jimbeaux, I'm glad to see your avatar back! Always liked that one.

Jerry Hayes · From: Virginia Beach, Va.

Scott, I've heard that the great Terry Crisp uses the D string in position 7 as you do with much success. I've also heard the the big E has a steel set up like this also.

My 12 string with the E's lowered is basically the same as yours and for the same reasons. I have an extended E9 with the 2nd and 9th strings tuned to C# so it's the same as yours when in the B6th mode. I've had it for around 4 years now and am very happy with it.

If I had a C6th like yours though I'd also reverse strings one and two as someone else mentioned. Then on pedal eight I'd drop the high pull and just put a half tone lower on strings 7, 8, and 10. That'd give you your VI chord normally done with the BooWah pedal and it'd have a II in the scale on string eight. You could then add either your RKR or RKL levers into the mix with that change......JH in Va.
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Don't matter who's in Austin (or anywhere else) Ralph Mooney is still the king!!!

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I think having the G to F on string 5 would be better on a knee lever for you (I realize you don't have the extra lever). Since I have moved the traditional P7 to a knee lever (Strings 3 & 4 up a full step), I placed the G to F on pedal 7 next to the "F9" pedal. By activating both, you eliminate the 9th tone from the chord and can "toggle" between the F9 and a straight F7. I also raise string 1 (D) to D# for the added flatted 7th tone in the upper register of the chord.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Brint Hannay · From: Maryland, USA

Richard, that strikes me as an excellent setup. It solves several of the things that have been obstacles for me, preventing me from really bothering with C6th for all these years. I've long wanted to move the pedal 7 changes to a knee lever, but hadn't come up with what to do with pedal 7 then. And that inescapable 9th in the middle of pedal 6 has always bugged me. I think I'm going to have to try this setup.

Steve Hitsman · From: Waterloo, IL

I've considered lowering my 6th string a whole step with my C pedal to get a D in the middle. Does anybody else do that? Pros? Cons?

Jim Hoke · From: Tennessee, USA

John Hughey did that change. Not sure which pedal or knee. He also lowered his G to F. I tried doing both of those on one knee and loved it, but John convinced me that to separate them was better. These moves remedy the lack of forths and fifths found on the C neck. You're on the right track.

Earnest Bovine · From: Los Angeles CA USA

More ideas:
I had a lever like yours

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