Getting out of the '2 modes' mindset on a Universal

Al Carey · From: Dublin, NH USA

Ive had this Sierra U12 for a couple weeks now, and I'm really enjoying it. But I find I'm always playing E9 or C6. I have the Newman Uni course, and it just reinforces that thinking.

Does anyone have any tips on how to break out of this, and get into a "one big tuning" mindset?
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Sierra U-12, Gretsch 6120, Fender Tele, old tube amps, etc...

Pete Burak · From: Portland, OR USA

One thing you can do is think about every place on E9 where you use the E>Eb lever, and realize that you are actualy in B6 anytime you have the E>Eb lever enguaged, and convert your thinking from the E9th chord, to the B6 equivalent. For example, Am at fret-1, is also a C6th chord, and coincidentally, Am is the relative minor of C.
If you are playing an Open C6 at fret-1 (with E>Eb enguaged), and add the B-pedal, you are now playing a C7 chord.
So if it is a B6 swing tune (with E>Eb enguaged), you can use the B pedal to go from the open chord, to the 7th of that chord.
I will try to capture some other thoughts on the One Big Tuning thing and post more later.

Al Carey · From: Dublin, NH USA

Thanks for the input, Pete. I knew there'd be a learning curve to the universal, I suppose I just need to take in small bites.

I look forward to any other tips you may have, or anyone else, for that matter!
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Sierra U-12, Gretsch 6120, Fender Tele, old tube amps, etc...

Rick Abbott · From: Indiana, USA

I suspect that Pete is going to give examples of what the pedals and levers are doing inside of the musical landscape of chords.

Think of this. If you know why the notes are combined, and in the order they are related, in the basic open tuning, then you can see why the changes are even on the pedals and levers. What I mean is: the open tuning gives you a set of road maps to scales and chords. The changes create opportunities to go other places musically. You have to think beyond the confines of "licks" for E9, B or C6. Look at what is being accomplished inside the musical framework.

I play a Uni-12 Carter. One thing that started my thinking was to find the good notes that lay between the A-B pedal down 6th chords and the E-lower 6th chords. Also, the no-pedal major chords and the A-B pedal and A pedal-F lever majors. Also, the 7th chords like Pete said. There are some interesting 7ths in the "B6" pedals to figure in too.

Good question!! Good luck!!!

Muttering

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RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Sehy #112
1975 Peavey Pacer

Pete Burak · From: Portland, OR USA

OK so we know that the E>Eb lever is the primary One Big Tuning lever.
Also, the B-pedal is a One Big Tuning pedal.

Lets shorten it to "OBT" for One Big Tuning.

Speaking of 7th's, I get a lot of E9th mileage out of the string-8 E>D on P6, used with strings 5,6,8, 6,8,10, just 8 and 11, ect...
Play 5,6,8, and then enguage P6 while the strings are ringing.
It can also be use to flat the 3rd of a chord, which we'll get to... think of P6 as a OBT pedal.

Take the B>Bb lever (LKV for me).
This lever is regularly used on both E9 and C6 tunings, so it is also automatically a primary "One Big Tuning" lever.

Let's use these changes now, and in this case we're going to use P6 to flat the 3rd to make a minor chord...

Some players have trouble incorporating the F# and D# strings at first, but the F#'s are used in both E9th and B6th tunings. So fwiw, You could also think of string-7-F# as a OBT string.

Here's a common progression that is used (in many variations) on many songs:

I'll write it out going from low strings to higher strings, think Thumb, Index, Middle, fingers.
Using the key of G:
G>G7>C>Cmin>G>D(7)>G

G - Fret3 - Strings 8,6,5 - no pedals/levers.
G7 - Fret1 - Strings 8,7,5 - B>Bb OBT lever.
C - Fret1 - Strings 8,7,5, - E>Eb OBT lever.
Cmin - Fret1 - String 8,7,5, - P6 OBT pedal
G - Fret3 - strings 9,8,6, - no pedals/lever.
D7 - Fret3 - Strings 10,8,7, - [E>Eb]+B (both are OBT changes).
G - Fret3 - Strings from 11,10,8, - no pedals/ levers.

Nice!

You'll see that you can actually use most of the strings from strings 5-12 at any step in this example, and that the general idea extends all over the neck.

Another E9th 7th chord is two fret back from open position with the B6th Pedal-7.
So P7 becomes an OBT pedal, too.

The lever that raises string-9 from B>D...
Let's say you are playing a swing tune in B6th.
Key of G with E>Eb enguaged at fret-8.
Instead of pressing P6 to go to the four chord, release the E>Eb and enguage the B>D lever.
Or, slide from the G6th at fret 8 with the E>Eb, to fret 15 with the B>D lever. Enguage/release the B>D lever to incorporate some string motion at the chord rings.
So the B>D lever becomes a OBT tuning lever also.

Anytime you hold A+B pedals down, you are in open A6th tuning. Herb Siener has a ^th on 9th course that is based on playing the 6th style out of the A+B position.
Note fret-8 G6 strings 9-4 with E>Eb lever, are the same notes as fret-10 strings 10-5 with A+B engauged.
Sometimes in the heat of the battle, one is easier to get to than the other, OBT factor to the rescue!
So, let's call A+B a OBT position, too.

So the E9 and B6 modes of S12U become One Big Tuning once you decide for yourself that, this is how I am going to assimilate the possibilities... It's One Big Tuning to me now.
The Sacred Steel tuning is based on an open E7 chord. There are 7th-chord positions all over the place within the OBT S12U, so you can throw on some Robert Randolph, (I prefer to jam along with Stevie Ray Vaughn, myeslf), kick in the distortion pedal and jam.

I love S12U! Cool

Jim Pitman · From: Waterbury Ctr. VT 05677 USA

For playing western swing I find going between 9 and 6 mode a great advantage.
Take a tune like Home in San Antone. It has a strong major scale melody the whole band plays. I find this best to play with the aid of pedals 1, 2 and the eb lever. As the song progresses I fill using 6's maj7, and maj9s, pedals 5, 6,and 7.
For single note improvisation I find myself playing pockets with the Eb engaged but will also go up two frets with A and/or B engaged in the same melodic passage.
Like Pete I'll pull in the Eb and sometimes stomp on the B pedal to change from a 6 to dominant 7.

Al Carey · From: Dublin, NH USA

Pete: that's great stuff, I'll play around with those changes tonight!

Jim: that's the kind of thinking I'm trying to get to, although translating your words to my playing is going to take some time. But you gave me some good goals to work toward!
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Sierra U-12, Gretsch 6120, Fender Tele, old tube amps, etc...

Sonny Jenkins · From: Texas Masonic Retirement Center,,,Arlington Tx

Hey Pete,,very good detailed description. I use Jeff's uni tuning ,,4th pedal (boowah) also makes a real good 7th or 9th or some very good "tension" chord,,,also handy, being 3 frets up from E>Eb,,,strings 6 thru 12.
BTW,,didn't you change your string sequence some years back,,,like moved G# to first,,or something like that??

Pete Burak · From: Portland, OR USA

I did change the order of my first 3 strings to D#,G#,F#, which is that standard order for the Bb6th Universal tuning (but I kept it in E9/B6).
This makes the B6th side of the tuning line up better (this order really enhances the use of P7), and imho, makes the E9th side line up more logically, too, although it is not the standard E9th order.
I keep the D# out of the way on string-1, then I have two stacks of G#,F#,E,B, on strings 2-5 and 6-9, then G#,E,B on 10-12.
I also added the standard E9th changes to strings 9-12, which allows me to really dig into the Chet Atkins / Mearle Travis style.
You don't have to do it this way though... you can still hang with the One Big Tuning concept on standard Jeff Newman S12U.
I want to do a video demo of all this stuff, but I keep getting distracted by the random distribution of reality. One of these days.

Chris Gabriel · From: Oregon, USA

Al Carey · From: Dublin, NH USA

Jim Palenscar · From: Oceanside, Calif, USA

me 2!

Ron Kassof · From: Las Vegas, NV, USA

Wow, that's fantastic Pete! I just got a U-12 and as a beginner without any C6 experience, I too would really like to get into the OBT concept from the get-go. Please try to do the video and impart any other pearls of wisdom. Thanks!

Pete Burak · From: Portland, OR USA

Thanks, Guys.
I will contact Chris and set something up, maybe next week.

Another OBT change that comes to mind...
On P5, the Jeff Newman setup raises the high F# from F#>G.
This makes a great E9th/OBT lick when used in conjunction with the E9th C-pedal E>F# on string-4.
I use it specifically on Lonesome LA Cowboy by The NRPS.
Think of a I>IV>V>I progression in the key of G.
From the open G at fret3, raise string 4 from E>F#, and then follow it with the P5 F#>G, then end on the open G# on string-3. Then reverse it and go back down the run, G#-string-3, release P5 G>F#, release the C-pedal F#>E. Then move to the open C-position and do the same lick, etc...
So this ends up being an E9th/OBT lick using the C-pedal in conjunction with P5.
Running the lick over any kind of a G>C>D>G country or bluegrass-ee progression for example, fast or slow, you can find a lot of uses for it.

So depending on how you raise string-4 E>F# (some guys have it on a separate lever), you may need to use two feet on the pedals to play this lick.
If you don't currently have the F#>G on P5, you can pull it from F#>G with the index finger of your bar hand. Behind the bar finger-pulls are fun!
Also, I've come to find that using two feet on the pedals when needed, is part of the OBT factor, so it's all good. fwiw, if I had three feet, I would use all three as needed. Wink

Another thing... In standard B6th, P5+P6 makes a really nice diminished chord. That combo can be used any time you need a diminished in E9th mode also, and you can do it without holding the E>Eb in, because P6 lowers string 8 from E>D in OBT land (no Eb note).
In the key of G for example, play the diminished with P5+P6 at Fret1 strings 9,8,7,6,(5) then resolve to the open E9th G-chord at fret3 strings (9),8,6,5,4.

Jim Palenscar · From: Oceanside, Calif, USA

I think of P5 in the B6 same as A/F in the E9th mode.- Git 'er done Pete!

Christopher Woitach · From: Portland, Oregon, USA

Pete Burak is one of the most helpful people I've ever met.

Before we even knew each other, he contacted me to offer his help in getting me going in Universal tuning. His grasp of the tuning, and his ability to make complex stuff simple, makes him a good guy to get together with, not to mention he's great to hang out with.

I consider him a good friend. Very supportive booster of all things steel guitar, especially S-12 Uni.

Because I play Bb6, and have focused primarily on jazz, I've spent very little time in A and B land. Recently, I started playing with a band that requires a lot more classic country sounds, so I've been using the whole guitar a lot more.

I've found that its relatively easy to go back and forth, especially with single note lines. The 6th tuning just feels much more logical to me, and combining it with all the whole steps possible with the D to Eb lever engaged, it's easier than I thought it would be

The only problem I have is adjusting quickly to the cabinet drop from the A and B pedals, but Im getting better at that...
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Christopher Woitach
cw@affmusic.com
www.affmusic.com

John Roche · From: England

I think this is a very important topic, more players would take up the uni tuning if there was more information on how to combine the two tunings. Even a short video on the changes would be useful, for example take a very well known song and explain what you could do with the OBT.

Jim Priebe · From: Queensland, Australia - R.I.P.

Al
I sent you a PM but thought I'd make a few points in a
post. Really helpful interesting stuff coming in for you.
I never used the C6th - I started on E9th 30 odd years ago then went straight to a 12U. I looked at the Newman course but decided it was not for me - not knocking it - just a very fixed approach.
The way I see it is what ever tuning you use all the notes are there and the pedals and levers make them more accessable. Your copedent is really there to make the 'beast' even more suitable for you personally - no wonder there are SO many variants.
The real question here is what style do you want to play a particular song/tune in. You may change the tone from honky tonk to swing and to sound more like a traditional swing player you may tend to use extended chords but I think it's a more change of style and phrasings - the tuning is really secondary unless you HAVE to sound like someone else.
I now use a 10U - ditched the bottom two strings as they get lost in the band noise anyway. Lighter to lug around and I get the voicing I want - love it. I never think "gee I need a C6th" - never.
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Priebs GFI ('09)Short-Uni10. GFI ('96)Short-Uni SD11. ('86)JEM U12
www.steelguitardownunder.com

Al Carey · From: Dublin, NH USA

Jim: got your PM, sorry I didn't respond. But thanks for posting, I think this stuff can help a lot of people.

Everybody: this has really opened up some doors for me! I put some 3 chord progressions in BIAB and played along experimenting with OBT stuff, VERY cool, and fun! I'm almost ready to throw away the E-Eb lock Very Happy

I don't think there is any instructional material on OBT, you may have a niche! In the meantime maybe we could make this a sticky...
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Sierra U-12, Gretsch 6120, Fender Tele, old tube amps, etc...

Jim Priebe · From: Queensland, Australia - R.I.P.

Al
Well my old JEM U12 (an Ozzie made steel similar to a Sho Bud) originally had a very clunky E to Eb lock which was so bad I just took it off. This change is on my RKR and I have (ever since the throw away) just got use to holding the lever in when needed and still using my volume pedal with the (whoops) right leg/foot.
This probably has assisted in not thinking about "going into 6th" mode as it is just a normal change for me. For me, the E lever is also not just for "going B6th" but also gets a 7th (with B pedal) and also to gets Maj 7th and an Aug 5th (with LKR which on my copedent drops all open G#'s a tone to get minors).
So there is so many uses for the lever that there is just no thinking about a specific 'mode' change (as per the Newman U12 course).
Just edited - had to check which was my right leg etc.!! Whoa!

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Priebs GFI ('09)Short-Uni10. GFI ('96)Short-Uni SD11. ('86)JEM U12
www.steelguitardownunder.com

Al Carey · From: Dublin, NH USA

Jim Priebe · From: Queensland, Australia - R.I.P.

There are probably precious few U10's around. The GFI I have has the chassis that will take the (added) pedals/levers but there is always the issue of available free space to fit them in under there especially on a keyless with no pad (like mine). I am sure they (GFI) could assemble one though it would probably need a body with a pad. There's not much territory under there that is not already used on mine.
I am back to 4 pedals and 5 levers. I am 'over' fatenning up chords like cattle in a feedlot - audiences don't even hear them - only other musos (not drummers). My pedal 4 raises both string 5 & 6 each a tone.
The copedent I use is based on some of Noel Anstead's Anapeg steels (no longer available) - sort of a cut down U12 which retains the changes that you actually use more than once a month! in the real world.
If I was playing to a strictly "Jazz" audience (where the hell do you find that) I might go back to my U12 - as long as someone carries it for me and puts it together.
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Priebs GFI ('09)Short-Uni10. GFI ('96)Short-Uni SD11. ('86)JEM U12
www.steelguitardownunder.com

Tony Glassman · From: The Great Northwest

I like the concept of a universal tuning so much, that I sold off a Zum D-10 and bought a couple of Zum S-12's which I rebuilt for a S12U copedant.

Committed as I was, I couldn't get used to the addition of the two lower strings visually, or playing swing stuff a half step up. Eventually I sold them both and went back to D-10's.

I love the concept, and would go that route if I was just starting out, but I'm just too old of a dog to start learning new tricks.

Jan Viljoen · From: Pretoria, South Africa

Jim,

Will you please post your copedent?

Rolling Eyes

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Sierra S10, Stage One, Gibson BR4, Framus, Guya 6&8, Hofner lap, Custom mandolins, Keilwerth sax.
Roland Cube 80XL, Peavey112-Valve King and Special, Marshall 100VS.

Andrew Kilinski · From: Atlanta, GA

Thanks, Pete! Great stuff there.

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