| Author |
Topic: E9 6th string lower on X lever vs. Right Knee Pros and Cons |
Fred Glave
From:
McHenry, Illinois, USA
|
Posted 13 Mar 2012 10:46 am |
|
I've seen copedents with it both ways, and I'm sure there are others. I like my Left Knees for the E raises and lowers. What are the advantages (or not)of either?
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord, |
|
|
 |
Tucker Jackson
From:
Portland, Oregon, USA
|
Posted 13 Mar 2012 11:52 am
|
|
Does the guitar have 'tunable splits' on the 5th or 6th strings? If so, the notion of putting one of two common changes (6th-string G#-to-F# or 5th-string B-to-Bb) on the vertical lever becomes much more attractive.
This is because the vertical lever is awkward to use for a lot of folks unless the toes are already down; for me, it seems to work better in combination with one of the pedals rather than alone.
So if your guitar has a tunable split on the 6th string, you might want to put that 6th-lower on the vertical: with B-pedal down, it gives you a minor chord in no-pedals position.
Similarly, if you're steel has a tunable split on string 5, you might want to consider putting the B-to-Bb change on the vertical. That change gives you a minor chord in the pedals-down position.
Once you've decided what's on the vertical, the other changes have to go on a knee (a right knee in your case, since you've stated that preference). Personal preference. The only small advantage to using RKL for one of the two changes discussed here is that it's more 'standard' to reserve RKR for the 2nd-string lower. But, really, there are no rules. |
|
|
|
Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
|
Posted 13 Mar 2012 1:03 pm
|
|
One thing to keep in mind is, the 6th string lower to F# is very often used with the E to D# lowers, so having them on opposite knees is a good idea. If they were both on the left knee (say the E's lower on LKR and the 6th Lower on LKV) you could possibly hit both at the same time. But it is common to hold one in while letting off the other and also working in the B pedal at times. This would be difficult if they were both on the left knee.
_________________
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. |
|
|
|
Fred Glave
From:
McHenry, Illinois, USA
|
Posted 13 Mar 2012 1:18 pm
|
|
Richard, do you think that is the most common way of using that move? (with E-D#, and B pedal) I'm not really interested in lowering the 5 string. I'm going to visit Bobbe Seymore's in May, and I'm going to see if he has a steel there with that lever to mess around with.
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord, |
|
|
|
Brint Hannay
From:
Maryland, USA
|
Posted 13 Mar 2012 1:32 pm
|
|
| Richard Sinkler wrote: |
| One thing to keep in mind is, the 6th string lower to F# is very often used with the E to D# lowers, so having them on opposite knees is a good idea. If they were both on the left knee (say the E's lower on LKR and the 6th Lower on LKV) you could possibly hit both at the same time. But it is common to hold one in while letting off the other and also working in the B pedal at times. This would be difficult if they were both on the left knee. |
Even with the D# lowers on the right knee, IMO putting the 6th lower on the vertical isn't the best idea. I use the 6th lower in the ways Richard describes all the time, and hitting the vertical with the left knee and a sideways lever with the right knee is a pretty awkward move. I favor the "really gotta go" configuration.  (D# lowers on RKL, F# lower on LKR.)
If you've got the E lowers on LKR, and want to keep them there, I'd definitely put the F# lower on RKL. |
|
|
|
Fred Glave
From:
McHenry, Illinois, USA
|
Posted 13 Mar 2012 1:58 pm
|
|
That's the "Knock Knees" move. Looks funny but sounds purdy. 
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord, |
|
|
|
Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
|
Posted 13 Mar 2012 3:07 pm
|
|
The combination of the 6th string lower and the E lowers gives you a B major chord in the open position (all these examples use strings 4,5,6,8,10 - 3 doesn't work that well as it isn't lowered). Just think of it as the same chord as the A&B pedals, but 2 frets down. Let off the 6th lower lever and you have a B6 chord. Now add the B pedal and you gave a B7 chord. Moving that string around like that can give you some great melody movement. With the 6th lowered, you can let off the E lower lever and get a Bsus4 chord.
I also wouldn't put the G# to F# lower on the vertical, but that's just me. It seems it would be too awkward there. (note, I put the 5th string lower to Bb on my LKV and I really don't like it there - I may pull it back off and put my F# to G changes back on).
| Quote: |
| If you've got the E lowers on LKR, and want to keep them there, I'd definitely put the F# lower on RKL. |
| Quote: |
| That's the "Knock Knees" move. Looks funny but sounds purdy. |
Since I play the Day setup, my E lowers are on LKL and my 6th string lower is on RKR. Looks like I am spreading my legs to draw attention 
_________________
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. |
|
|
|
Mike Perlowin
From:
Los Angeles CA
|
Posted 14 Mar 2012 4:56 am
|
|
| Tucker Jackson wrote: |
....the vertical lever is awkward to use for a lot of folks unless the toes are already down; for me, it seems to work better in combination with one of the pedals rather than alone.
|
This is why I say the vertical should raise the 2 F# strings, 1 and 7, to G (G natural, not G#.) You never use that change without also using the B pedal. It makes sense both ergonomically and musically.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
|
|
|
Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
|
Posted 14 Mar 2012 5:49 am
|
|
Mike P said:
| Quote: |
| This is why I say the vertical should raise the 2 F# strings, 1 and 7, to G (G natural, not G#.) You never use that change without also using the B pedal. It makes sense both ergonomically and musically. |
Some of the time that's true, but I use the F# to G (I used to have it on my LKV until a couple weeks ago) change more often in just lick runs (than as a member of the 7th chord) with no pedals activated at the time. Although, I do agree with Mike that this is the one of the best locations for it.
_________________
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. |
|
|
|
Fred Glave
From:
McHenry, Illinois, USA
|
Posted 14 Mar 2012 8:07 am
|
|
Mike and Richard, that's how I had it on my Sierra Crown. But my RKL lowered B's 1/2 step. I think that's the way to go for me....just put the 6 string G# to F# on RKL. Is there another string that is commonly activated along with it without getting into the full blown Franklin change? Not that I don't like the Franklin Change, but I don't personally see it as an every day kind of use. I have it on another steel I own but don't play.
_________________
Zum Encore, Zum Stage One, Fender 2000, Harlan Bros., Multi-Kord, |
|
|
|
