F# raised G change or 7th string on RKR

Tim Brady · From: Ohio, USA

I purchased an MSA Supersustain not long ago and it sounds great to my ears.

On the E9 neck, the RKR Lever has the pulls that I consider to be normal: D# lowering to D/C# with a feel stop on String 2 and D lowering to C# on String 9.

But The RKR also has one more pull on it: On the 7th string, it raises the F# to a G. That change seems to get in my way a lot, making noises that do not at all seem like music to me.

I could disable it, of course, but it occurs to me that maybe I don't like it simply because I don't know how or when to use it. So I wonder if I could get someone to offer an old Ohio guy a little tutelage on how to utilize that change?

Thank you so much.
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Tim Brady

Lane Gray · From: Topeka, KS

I'd change it by ditching it.
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Tom Gorr · From: Three Hills, Alberta

Funny thing...I'm preparing to add a 7th string raise to my MSA supersustain....

However...it cant clutter anything so it will be its own thing....

As a combo change you get the c sharp on the d lower but releasing it buggers some scales up.

I think your combo change was used for stacatto scale licks.

Jerry Overstreet · From: Louisville Ky

Depends....no, it doesn't fit with the other changes you mention. Just depends if you want to skip that string when used with the other changes.

FWIW, I have a similar change on string 7 with those other pulls you mention except it's a whole tone which I use a lot on Maj 7ths {pedals down]. I just have to know which strings to use and which ones to skip for a particular position needed.

If that's confusing to you, you could detune it to where it doesn't do anything on that KL.

Most players find a G note, either lowered from 6, splits, or raised from 7 quite indispensable. YMMV.

Larry Behm · From: Mt Angel, Or 97362

We know that pedals down and F# to G open can give you a 7th, no pedals down a minor of that open key.

Since you might not use string 9 when playing the minor no problem.

If you play string 9 down with pedals down no problem either as 9 would be a C# (open E position) and string 7 a seventh.

So it works no matter what.

There are single note runs up and down the neck using string 8-7-6 and pedals and levers that change them.

Once again you are a big winner.
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Mike Fried · From: Nashville, TN, USA

Tim, I have and use that change a lot for the "A7" chord position (or an "A13" across the whole neck), and also for scalar runs and V7-I/I-IV, etc. arpeggios/block chords with contrary motion using most of the strings. It's on my RKR, and I have it engage when it hits the half-stop on string 2, which also helps stiffen the feel of the half-stop. It very occasionally gets in the way of the other changes on that lever, but not enough to warrant another lever or pedal (or disabling it), IMHO.
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Gerald Shaw · From: Florida, USA

I have that change on RKR also. It's a good one, and not that uncommon. I need to change string 7 independent of strings 6 and 5 (which are affected by my other lever changes) so putting it on RKR is the only other place I can put the 7 string raise. Maybe on a vertical. That stiffing may be a good thing if it makes it easier to not overshoot the feel half stop on string 2. Works good for me.

Tim Brady · From: Ohio, USA

What a wonderful set of ideas and suggestions. I think I am going to leave it as is for now and see if I can learn to do some of the things mentioned.

Thanks everyone!
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Tim Brady

Roger Rettig · From: Naples, FL

Tim:

I bought Tommy White's old Carter D-10 and he had that pull on there. Everything else was in line with my set-up (which is the main reason I bought the guitar) but that pull got in my way.

Now obviously there's a wealth of stuff available using it or Tommy wouldn't have had it there but, so far, it's been more of a hindrance than a help so I rolled it off.

Maybe when I come of age (musically speaking) and inspiration strikes I'll reinstate it. I keep meaning to ask TW what it's for but I've been too embarrassed to admit my ignorance. Now I've gone 'public', as it were, someone will tell me what a dunce I am and explain it.
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Jack Stoner · From: Kansas City, MO

I have that change on my Franklin. Been on there since it was built in 1981. I use it mainly for a couple licks, but I do use it.

Johnny Cox turned me on to that change in the early 70's and we put it on my Emmons PP D-10 guitar. Johnny told me Buddy Charleton called that his "Ernest Tubb" change.

Roger Rettig · From: Naples, FL

I failed to read the entire thread - some interesting thoughts there.

I like playing 9,8,7,6 for a 4-major 7th (pedals down) and descending through the 3 minor by engaging RKR, dropping two frets for the 2-minor. That half-step raise spoils it.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Mike Fried · From: Nashville, TN, USA

Roger Rettig · From: Naples, FL

Of course, it's not on my Emmons or my Encore, but when I next set the Carter up I'll tune it up for the raise and see what suggests itself.

I like the changes I outlined as I get to play a lot of pop as well as country stuff. Thanks for your thoughts.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Jerry Overstreet · From: Louisville Ky

I failed to mention in my earlier post that my full tone 7th string pull also has a feel half-tone stop that I use sometimes as well. I believe the half-stop is felt when the changer first picks up the 9th string lower move.

My old friend Boogie Sherrard used to tell me "it's all about string selection son"....which I practice doing quite a bit. The C6th tuning in particular.

Roger Rettig · From: Naples, FL

I also have a full-step raise on my 7th string (LKV) along with the 1st and 2nd string s up to G# and E respectively.

I don't use the 1st and 2nd string-raise much but often use the 7th strin g raise with pedals down.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Steve Mueller · From: Cincinnati, Ohio, USA

That's a great change in my opinion. In the open position you get the Em, A13, and C# diminished(strings 8,7 and 5 with your A pedal depressed). Very useful.
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Fred Glave · From: McHenry, Illinois, USA

I think raising strings 7 and 1 a half step F# to G is a great change but probably works best without other pulls added to it. It's nice with pedal A and B down for a good 7th chord. I have it on my Stage One on RKL.
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Mike Perlowin · From: Los Angeles CA

I raise both F# strings to on my vertical.
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