| Where's your 2nd string? |
| 2nd string at D |
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3% |
[ 3 ] |
| 2nd string at D# |
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92% |
[ 78 ] |
| 2nd string at C# |
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3% |
[ 3 ] |
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| Total Votes : 84 |
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| Author |
Topic: Where's your 2nd string? |
Tim Herman
From:
Alberta, Canada
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Posted 6 Apr 2018 10:15 am |
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I suppose I'm asking for grief, but why not? Does anyone still tune their 2nd string to D? I'm just curious, because I've decided to solder down my setup. Not willing to try to retrain my synaptics at this point in my life. Just curious to know if I have a tribe or not...
Last edited by Tim Herman on 6 Apr 2018 2:44 pm; edited 1 time in total |
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Ian Rae
From:
Redditch, England
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Posted 6 Apr 2018 11:46 am
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C#
_________________
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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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 6 Apr 2018 12:39 pm
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D#
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 55 years and still counting. |
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Jeffrey McFadden
From:
Missouri, USA
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Posted 6 Apr 2018 1:21 pm
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Between the first and third...
_________________
Well up into mediocrity
I don't play what I'm supposed to.
Home made guitars |
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Brett Lanier
From:
Hermitage, TN
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Posted 7 Apr 2018 10:51 am
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| I went to tuning my second string to D when I realized it would take about 1/4 of the amount of hardware to raise it to D# rather than lower it when I was adding knee levers to my Marlen. One of these days I'll find someone willing to help me out with overhauling the undercarriage and I'll probably go back to tuning it to D#. |
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Dan Robinson
From:
Colorado, USA
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Posted 7 Apr 2018 12:43 pm
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D#
My first steel (rack & barrel Sho-Bud S10) had just two knees. They lowered and raised my Es. I tuned string #2 to either D or D# depending on the song.
D# makes sense with the 1+2 raise (I have it on a knee lever) .
The tune-able feel-stop on the Carter makes for a more friendly use of the #2 half-, then full-lower. The extra rod at the lower left corner of the end-plate tunes the half stop. It's a convenient feature, compared to some implementations that require reaching under the guitar to adjust some gizmo. I'll admit, the feel-stop is not ideal. It takes time to get used to it, but on balance I'm OK with that. YMMV.
Everything is a tradeoff on these contraptions. |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 7 Apr 2018 12:58 pm
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| Dan Robinson wrote: |
D#
My first steel (rack & barrel Sho-Bud S10) had just two knees. They lowered and raised my Es. I tuned string #2 to either D or D# depending on the song.
D# makes sense with the 1+2 raise (I have it on a knee lever) .
The tune-able feel-stop on the Carter makes for a more friendly use of the #2 half-, then full-lower. The extra rod at the lower left corner of the end-plate tunes the half stop. It's a convenient feature, compared to some implementations that require reaching under the guitar to adjust some gizmo. I'll admit, the feel-stop is not ideal. It takes time to get used to it, but on balance I'm OK with that. YMMV.
Everything is a tradeoff on these contraptions. |
Try cutting one loop off the half stop tuning finger spring. This will add a little more resistance when string 2 reaches the D note.
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 55 years and still counting. |
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Herb Steiner
From:
Briarcliff TX 78669, pop. 2,064
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Posted 7 Apr 2018 1:34 pm
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I tune D#
Right now I'm woodshedding tunes for a Loretta Lynn tribute show, so I have to grok quite a few of Hal Rugg's solos and intros. Hal tuned his s.2 to D, and raised it to D# with a lever. I have it at D# and lower it to D with a lever. I'm trying to figure out if there's anything I can't get with my setup that Ruggsy got with his.
He couldn't have much of a mystery E9 because he was playing a S~B Permanent on most of LL's material, basically a very simple guitar. But Hal had a wonderful right hand. He was a good pal, I miss him at the steel shows.
_________________
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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Larry Bressington
From:
Nebraska
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Posted 7 Apr 2018 2:35 pm
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Another great thread. I maybe Missing something, but I’ve tried all the examples over the years and found no advantage with other options over the D#. At the end of the day we are still going to need a minimum of three moves on that string, and now with the addition of the Franklin lever D# to E that makes it four, we gain nothing by tuning D or C# because we still need 4 moves 4 individual functions? I’m a Dee Sharper also.
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A.K.A Chappy. |
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Mike Holder
From:
Alabama! Home of the great “Don Helms” & his singer “Hank Williams”!
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Posted 7 Apr 2018 4:48 pm
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I think Hal Rugg, Jimmie Crawford & Weldon All tuned down and had some great ideas. As long as your string gets that note it's all good!
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I thought Nashville was the roughest, but I know I’ve said the same about them all.
I received my education, drivin through the Nation listenin to Paul!.. ( Franklin that is! ) |
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Mike Perlowin
From:
Los Angeles CA
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Posted 8 Apr 2018 9:42 am
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I tune mine to C#, and raise it to D and D# on 2 different levers. The lever that raises it to D also drops my 8th string to the same note.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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b0b
From:
Cloverdale, CA, USA
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Posted 8 Apr 2018 10:32 am Option added
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I added C# to the poll because a lot of people use that.
I tuned it to D for many years. Then one day I sat down and did an analysis of D vs D# as scale tones in the 7 common chord positions. D# is a scale note in 5 of them, D in only 2 (the A+B pedals down I and V chords). That cinched it for me. I switched.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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Tim Herman
From:
Alberta, Canada
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Posted 8 Apr 2018 1:40 pm
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| Thanks for all responses! I was just curious. As far as single note scales and such, I have paths created that work for me. I have the 2nd at D, lowering to C# RKR. My RKL raises it to D# on the half stop, then to E all the way. Works for me. Here is an example of what can be done this way. https://www.youtube.com/watch?v=m-0sP2ouUkA. Hope to meet some of you folks someday. Gonna try to get to Dallas next year. Thank you for adding the C# Bob! |
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Dan Robinson
From:
Colorado, USA
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Posted 8 Apr 2018 2:55 pm
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Richard. "I feel ya." THAT is helpful. Thanks!
| Richard Sinkler wrote: |
Try cutting one loop off the half stop tuning finger spring. This will add a little more resistance when string 2 reaches the D note. |
Now it does resist with more authority upon reaching D. Got a feeling (no pun intended) I'll be using it more often. |
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Ian Rae
From:
Redditch, England
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Posted 9 Apr 2018 12:43 am
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I have voted C# now that I can. I admit that I play a U12 where it's maybe more appropriate, but for E9 playing it's nice to be able to squeeze up to the D# so it sounds similar to the A pedal.
_________________
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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John Goux
From:
California, USA
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Posted 10 Apr 2018 2:03 am
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It seems odd that we have 2 D strings in E9h, one is D# and the other at D nat(string 9).
I have a Str 9 raise to D# on a pedal on I’ve been using it lately.
Has anyone considered putting the Str 9 raise on the same lever with the 2nd string?
Seems like going to D# on string 9 at the same time Str 2 raises to E would be good.
The low end of the tuning would be diatonic like the high end. They would not necessarily get used together, but it makes some sense.
John |
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Tim Herman
From:
Alberta, Canada
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 10 Apr 2018 10:02 am
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Eb 😊
_________________
Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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