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Topic: Tuning the 5th pedal 5th strng |
Steven Welborn
From:
Ojai,CA USA
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Posted 30 Oct 2003 12:33 pm |
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| 5th string G to F#. I've been tuning the F# by tempering or tuning the beats out to the 4th string all along (to be able to do two note harmonies on those strings without tweak'n). But is that too flat for the 5th pedal down two below 9th chord? Thanks. |
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Jeff Lampert
From:
queens, new york city
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Posted 30 Oct 2003 1:05 pm
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I assume you're referring to the C6 tuning. If you try to get 2-note harmonies in tune with pedals 5 and 6, you will go "bonkers". There is a lot more cross fertilization of open strings and pedals on C6 than on E9. Getting strings 3,4,5,6 "beatless" with each other as well as pedals 5 and 6 separate and together in all string combos will never happen. There are two basic tuning approaches on C6 that are discussed on the Forum. One is tuning all strings and pedals to 440. The other is tuning the obvious problem intervals of the 3rd and 6th a little flat (5 to 10 cents) on open strings 2,4,6 and 8 and pedal 7 (string 4), pedal 8 (string 7), and the C# knee lever, do everything else at 440, and assume that all other combos have enough complex harmonic texture that you won't obviously notice out-of-tune intervals. And then, of course, figure out how to make it sound in tune with proper bar placement. Frustratingly, as far as I've seen on the Forum (I could be wrong here), none of the greatest C6 masters has ever described what they do. It would be nice if someone did it on this thread. Here's hoping.
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[url=http://www.mightyfinemusic.com/jeff's_jazz.htm]Jeff's Jazz[/url]
[This message was edited by Jeff Lampert on 30 October 2003 at 01:07 PM.] |
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Scott Swartz
From:
St. Louis, MO
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C Dixon
From:
Duluth, GA USA
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Posted 30 Oct 2003 2:51 pm
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Jeff Lampert doth speak truth. I have toyed with it for over 40 yrs and if one wishes to tune the C6 neck on a pedal steel guitar, you are going to grow silver hairs faster than tha guy behind ya blows his horn when the light changes from red to green, IF you wanna tun JI.
For those of you in Rio Linda, that means,
"ya caint do it bubba" 
For the rest of yuz; It simply cannot be done. Certainly not on the 5th and 6th pedals IF one wishes to get those beautiful and incredible 9ths and 7ths.
IMO we live in a dream world cuz we have our beloved JI neck, IE E9th. But when you plop that bar down on that bottom neck, JI will kick ya harder than a mule trying to be lassooed.
Sooner or later you will realize "it caint be did bubba "
So might as well hang on to those purty blond curly locks and tune dem strangs ta ET; at least the 5th and 6th strings when using pedals 5 or 6.
The old and boring saying, "been there! done that!" has never been more appropo in this case.
carl
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Steven Welborn
From:
Ojai,CA USA
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Posted 30 Oct 2003 10:51 pm
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| Im convinced. I'll probably stick to the JI for 3rds and 6ths everything elso 440. Even though others I've heard tuning 440 straight up sound just fine on C6, I just cant stand not tempering those thirds and 6ths. Thanks for clearing this up. I'll investigate that mean thing. |
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RON PRESTON
From:
Dodson, Louisiana, USA
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Posted 31 Oct 2003 10:21 am
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Bro. Carl.....
Ya Tickle me to death.
Gotta meet Ya someday down the road. Your TOO funny, Man.
Ya musta took comic "Pointers" from yours truly..Dr. Bobbe Seemooreofthis  |
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Larry Bell
From:
Englewood, Florida
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Posted 1 Nov 2003 7:26 am
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There is another choice that I use throughtout my universal tuning: something in between ET and JI. Combinations work much better if you flat the thirds and sixths and then bring them up toward ET until they become obnoxious. I use that approach for G#, C#, F (in both the E9 and B6 concept - where it's actually E#, but that's another story), and C (actually B# as the third of G#Maj). They end up between 2 and 8 cents flat (maybe a bit further than that for F) and sound much more in tune for most combinations.
(the 'P5' change is the C or B# I refer to above, so the answer is that it ends up about 4 cents flat, which is the best compromise to my ear)
Tuning is always a compromise, but obsessing over it can mess with your creativity and time spent on playing or practicing. Funny how some players, particularly beginners, seem to spend more time tuning, polishing, and wrenching on their guitars than learning to play it. The other stuff is secondary in my book.
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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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