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Topic: How to position the pedals for C6th |
Marty Broussard
From:
Broussard, Louisiana, USA
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Posted 20 Sep 2016 4:55 am |
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Thanks Paddy. I'm studying C6th copedants to see what I'll try to go with as my permanent set-up. (Whatever permanent means in the pedal steel world for a tinkering mind)
_________________
RETIRED
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
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Tony Prior
From:
Charlotte NC
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Posted 21 Sep 2016 12:20 am
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Marty I am far from the most knowledgeable person to join this fray but from my perspective when making ONE change you can easily be messing up positioning for the next phrases.
What may seem as a very nice easy way to do something on the Pedal Steel may appear very obvious for one or two POSITIONS, but the music that FOLLOWS those positions is whats all important. FLOW.
Ped 4 is an interesting conversation, I rarely use it, mostly because I am not familiar with it's phrasing, so it is literally in the EXACT right place, out of the way, way over there .
P8, to me, sure it's in an awkward location and not used as often, so same thing, it's in the right place. FOR ME.
Peds 5,6 and 7 just flat out appear to me to be in the EXACT proper location but do indeed need some foot work practice to become proficient.
Should you move P8 in the 4th PED position this would also now mean you need to use your left foot for PED 4 and your right knee to grab the knee lever to lower 3. You just added another physical movement, two legs rather than one previously.
P8 in it's standard state indeed needs seat time to become proficient, either with the left foot or with the right which is how I practice. Right foot on P8. These things don't happen overnight. Pedal Steel doesn't happen overnight. Pedal steel may not happen for a very long time !
Whatever positions you decide on, STICK WITH IT. Put your seat time in with those positions, there is no easy fast cure for "awkward". The positions are not the primary importance, what is important is how WE apply or execute those positions , we become very proficient (auto pilot) with them.
If we keep changing positions looking for euphoria we will never become proficient. We are creatures of habit, we love repeating the same things over and over again.
thats all I got.
_________________
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website |
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Marty Broussard
From:
Broussard, Louisiana, USA
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Posted 21 Sep 2016 5:35 am
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Thank you Tony. I agree with you and I wish I had stated earlier that I was looking for the best way for things to "flow" overall and then I would just invest the seat time as you so correctly stated it.
At this point I think I'm just going to go with Buddy's published copedant on the other page and then figure out where to place the change that functions opposite of the 6th pedal. I really like that voicing.
If it were you where would you put it Tony?
_________________
RETIRED
"Technique is really the elimination of the unnecessary..it is a constant effort to avoid any personal impediment or obstacle to achieve the smooth flow of energy and intent" Yehudi Menuhin |
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Tony Prior
From:
Charlotte NC
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Posted 22 Sep 2016 1:06 am
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| Marty Broussard wrote: |
At this point I think I'm just going to go with Buddy's published copedant on the other page and then figure out where to place the change that functions opposite of the 6th pedal. I really like that voicing.
If it were you where would you put it Tony? |
Personally I don't change copedants, I just sit and learn how to play with whats in front of me ! My C6th is a stock factory setup , I guess it's a Buddy setup.
I'm not sure if I understand what the question is regarding "opposite the 6th pedal".
_________________
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website |
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Ian Rae
From:
Redditch, England
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Posted 22 Sep 2016 5:25 am
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My understanding of an "opposite P6" is a lever (usually) which instead of lowering 6 and raising 2, does the opposite, i.e. raises 6 to F and lowers 2 to Eb, thereby furnishing an alternate F7 chord the voicing of which is attractive in some circumstances. I don't know what those circumstances are, as I don't have this change myself, but it appears to be not uncommon.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 22 Sep 2016 7:40 am
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| Ian Rae wrote: |
| My understanding of an "opposite P6" is a lever (usually) which instead of lowering 6 and raising 2, does the opposite, i.e. raises 6 to F and lowers 2 to Eb, |
I set up my knee levers like this:
| Tab: |
LKL LKV LKR RKL RKR
G
E -Eb +F
D
C -B
A -Ab +Bb,++B
G
E +F -Eb
D
C
A
F
C
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Brint Hannay
From:
Maryland, USA
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Posted 22 Sep 2016 1:21 pm
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| Of course, as listed in the Copedents links at the top of the page, Earnest's copedent differs from the "standard" in that the "P6" function is only on the knee lever. Also, there's no "P7", and "P5" is in the P7 position. |
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Tony Prior
From:
Charlotte NC
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Posted 23 Sep 2016 5:29 am
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ok , opposite P6, got it. Yep, P6 lowers 6 and raise 2. I don't have a lever that does the opposite anymore.
I did when I owned the 9+8 Carter. Each of my current D10's only have 2 C6th levers, lower 3 and raise 4.
_________________
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website |
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Tyler Hall
From:
Mt. Juliet, TN
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Posted 23 Sep 2016 9:40 am
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I moved P8 to P4 and have my A's to B's on my LKL. Not only is having P4 and P5 next to each other a great idea but I'm a firm believer in having P4 on a knee. It lends itself to so many other changes and doesn't require two feet. Just my $0.02.
_________________
www.joshturner.com
www.ghsstrings.com |
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Rick Schmidt
From:
Prescott AZ, USA
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Posted 27 Sep 2016 3:14 pm
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| I agree with Tyler. If there's any way you can figure out how to create an A-Bb-B half-stop on a knee lever, I highly recommend it. I had to experiment with string gauges, but eventually got it to work once I got use to it. Now it's as important as any change I have on my C6 neck! Ask Sez Adamson, he'll tell you the same thing. |
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Tyler Hall
From:
Mt. Juliet, TN
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Posted 27 Sep 2016 6:02 pm
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I like that idea, Rick. That would also free up one lever for another change. Very interesting stuff...
_________________
www.joshturner.com
www.ghsstrings.com |
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Rick Schmidt
From:
Prescott AZ, USA
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Posted 28 Sep 2016 7:36 am
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| Tyler... notice that Earnest has that on one string on his RKR. He's the one who gave me the idea, but dope that I am, I just HAD to have it on both strings. It wasn't easy to get it all balanced and tunable at first, but now it works great. In my case I had to use a dedicated mechanical half stop, and a .046W on the 8th string. |
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Sez Adamson
From:
South Africa
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Posted 3 Oct 2016 12:10 pm
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I followed Rick's advice and do the A/Bb/B on both strings 4 & 8. I have it on rkl. I saw a post earlier that mentioned he liked C to B on rkr as it was an outward moving lever and it only had to cope with a half tone. Rkl, moving inwards, can more easily cope with a full tone move. I use rkl far more often than rkr, and this is easier for me from an ergonomic point of view. But we are all built different, and others might make more use of the C to B lower.
By incorporating pedal 4 (A to B) with rkl (A to Bb), I was able to free up two pedals for other changes. Pedal 4 and my pedal 6a... Don't ask. It's a long story. |
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