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Topic: Need advice on what do do with C6 pedal 4 |
Quentin Hickey
From:
Nova Scotia, Canada
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Posted 29 Jan 2017 10:31 am |
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OK guys. I am digging in to the C neck and I am finding that the pro C6 players usually have alot going on with they're pedal 4. Alot more than my As to Bs on strings 4 and 8. I see guys like Doug and Buck have the b flat change and I've already ran jato a case where I really need that change to get out of a corner. I found that it will give you a 4 Dom7 chord using string 8 as a bass note and your major 7/9 is right there under neath it. It's finally starting to make sende.
What are some other good changes to compliment that particular one. Thanks guys!! |
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Quentin Hickey
From:
Nova Scotia, Canada
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Posted 29 Jan 2017 10:41 am
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| I will add that I am installing two knee lever kits and the Lkr will raise sting 4 to b flat. That being said I have two pulls on level 4 that I can experiment with. |
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Gary Lee Gimble
From:
Fredericksburg, VA.
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Lane Gray
From:
Topeka, KS
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Posted 29 Jan 2017 1:02 pm
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I ditched my standard P4 to reassign it to the E9th neck.
A f w months later, I heard one of Tom Morrell's last records on pedal steel (before he went back to the non-pedal), and then some other old western swing players using it, and I IMMEDIATELY regretted losing it. Especially the 8th string pull. Such a sweet sentimental pull, even if it never does anything but pull a 6 to a Maj7. And it has other uses.
In fact, I ordered the parts from Bruce, and that pedal now does double duty
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Herb Steiner
From:
Spicewood TX 78669
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Posted 29 Jan 2017 1:37 pm
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Years ago, I posted on a thread about this topic, with reasons why I've kept the original A-B change on pedal 4.
Anyway, I use the whole tone raise on s.4 both as a melodic and a chordal pedal; IOW, both arpeggiated and block gripped chords, just like pedals A and B on E9.
It's not redundant with the s.3 lower C-B, because the sound of the 1/2 tone lower on s.3 is completely unlike the sound of the raise on s.4. No comparison.
And raising s.4 against a lowered s.3 gives a very E9th-y squeeze into a unison.
Also, it's only place to get a 1/2 tone interval between two string on C6, s.4 raised to B adjacent to a C on s.3.
The raise will also allow a 1/2 tone raise with a half-pedal squeeze either up or down.
I use it quite a bit, it's an important part of my copedent.
_________________
My rig: Infinity and Telonics.
Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg? |
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John Swain
From:
Winchester, Va
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Posted 29 Jan 2017 2:53 pm
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| I'm using Buck Reid's fourth pedal. Reverse of pedal 6 with whole step raise on 10. Gives you 2m, 4 7th and passing melody notes. |
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Roger Rettig
From:
Naples, FL
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Posted 29 Jan 2017 4:40 pm
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John - I have Buck's 4th pedal pulls on a k/l.
Herb: I won't soon forget thinking I'd invented the wheel when I reassigned the standard 4/8 whole-step raise on pedal 4 to something else (I've forgotten now what it was).
Then I was lucky enough to sit for a couple of hours with Denny Mathis at his house. He played so much using that change, two frets below zero. I said to him: "That's great! Why did I change it???"
"I don't know...", he said. I changed it back as soon as I could. I had simply lacked the vision to fully exploit it.
_________________
Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Lane Gray
From:
Topeka, KS
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Posted 29 Jan 2017 6:04 pm
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So was he combining it with P5?
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Roger Rettig
From:
Naples, FL
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Posted 29 Jan 2017 6:06 pm
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No, just the fluid blues runs he got with pedal four two-below-zero. It was a music lesson for me.
_________________
Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Quentin Hickey
From:
Nova Scotia, Canada
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Posted 29 Jan 2017 6:11 pm
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| OK- I think you guys have convinced me to leave pedal 4 alone. I need to spend more time with it and explore the possibilities. Roger and Herb. Thanks for the tip on its uses. Lane. I just played around with pedal 4 in conjunction with pedal 5 and there are no wrong notes that I hear there. I remember Tommy combining pedal 4 with one of the other pedals on the end credit video of his DVD playing his Emmons. I'll have to go back watch that one again!! |
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Roger Rettig
From:
Naples, FL
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Posted 29 Jan 2017 6:15 pm
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Quentin - we can all learn a lot by watching Tommy's outro on that video. He says he hates it but he's the only one who does. It's a master class.
_________________
Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Christopher Woitach
From:
Portland, Oregon, USA
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Posted 29 Jan 2017 6:16 pm
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I'm 100% with Herb on this - I love the standard P4, both melodically and chordally. You mention the A to Bb raise, which is a change I wouldn't live without, but I have it where Reece ended up putting it, on P7, to make, with P6, a beautiful min11 at the open position, which also makes a great dominant 11th chord with my 11th (your 9th) string as the root. In my case it raises both my lower G's (your A's).
There are so many ways to set up the 6th neck to suit your playing, a truly wonderful tuning
_________________
Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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Quentin Hickey
From:
Nova Scotia, Canada
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Posted 29 Jan 2017 6:44 pm
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Roger- I agree 100% with that.
Chris. Thank you I haven't discovered that combo. That will be a double footer for us C6 players but a one footer for you. I can see why Reece put that pedal where he did it's a wonderful chord! Great!! |
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John Swain
From:
Winchester, Va
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Posted 29 Jan 2017 7:50 pm
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Quentin, I don't think TW had As to B on his fourth pedal. I think It's been verified he dropped fifth string a whole step.
Last edited by John Swain on 30 Jan 2017 11:26 am; edited 2 times in total |
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Roger Rettig
From:
Naples, FL
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Posted 29 Jan 2017 8:21 pm
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John:
I meant that TW apparently hates his playing on that DVD outro, not the 4th pedal!
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Brad Higgins
From:
New York, USA
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Posted 30 Jan 2017 6:02 am
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Goodbye!
Last edited by Brad Higgins on 30 Jan 2017 12:30 pm; edited 1 time in total |
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Christopher Woitach
From:
Portland, Oregon, USA
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Posted 30 Jan 2017 10:39 am
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Quentin -
That change can easily go on a knee lever, which would free up your pedals for whatever you like
_________________
Christopher Woitach
cw@affmusic.com
www.affmusic.com |
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