| Author |
Topic: D lever with split knee Es.. pros / cons ? |
Tom Gorr
From:
Three Hills, Alberta
|
Posted 27 Dec 2018 12:32 am |
|
I have been a Uni player for the majority of my playing time but started getting into D10s a few years ago due to increased C6 coped needs.
My D10 E9 neck came with Es on opposite knees which I prefer - except that the D to C# lever is on the same side as the E lower (both RK).
What I do not like about that is I often wish I could get the low to high B C# D# F# G# B pentatonic scale from s10 to s5 by engaging both the E lower and D to C# lower.. impossible when they are on the same knee.
Obviously the easy solution is to change my s1 F#++ lever (also has s5 G#-- currently unhooked...) that is on the left knee and interchange it with the D lowers and hopefully will gain more than lose.
Another solution however may be to tune S9 to C# and simply raise it to D when needed on the current RK lever. Do not see much use in lowering Es and raising C# to D although in the right modal situation clearly a semitone interval has its uses..
I am actually somewhat surprised and wish to know why c# on s9 isn't standard protocol as it would help beginners work from a more coherant open tuning rather than understanding the D string from the pedals down position.
I am catching onto some nice uses of the D string although have to say the Uni experience forced work arounds based on the E string and the D string is only showing itself as marginally beneficial and mostly as convenience... except for the nice pentatonic scale it lays out and completes as described above.
Anyway.. hoping to hear a bit of a discussion on best placement of D- lever when Es are on opposite knees and the pitfalls and rationale as to why s9 should stay as a D rather than a c#.
Last edited by Tom Gorr on 27 Dec 2018 8:04 am; edited 1 time in total |
|
|
 |
mtulbert
From:
Plano, Texas 75023
|
Posted 27 Dec 2018 4:55 am
|
|
Tom,
Am a real amateur at this but my steel is set up similarly to yours in regards to the knee levers.
My question to you is this: Why couldn't you just engage the a pedal to get the c# on the 10th string? You would be bypassing the ninth string to play the run you described.
I can see that you would like to hit each note on a separate string and if that is the challenge I understand it. But wouldn't the result be the same doing what I described? I am just curious why the scale would need to be played on individual strings. Again not here to criticize and I am always ready to learn something new.
Happy Holidays.
_________________
Mark T
Infinity D-10 Justice SD-10 Judge Revelation Octal Preamp, Fractal AXE III, Fender FRFR 12 |
|
|
|
Tom Gorr
From:
Three Hills, Alberta
|
Posted 27 Dec 2018 8:00 am
|
|
| Sure.. thst what I had to do on my Uni... (a further example of why the D is mostly redundant except in unique circumstances), but if you want to blast through that run.. its more complex that necessary for the effect I am after when starting on the open B. . Tune the D to c# and see how you can run the scale lick in 32nd notes using crosspicking. |
|
|
|
Mike Flick
From:
California, USA
|
Posted 27 Dec 2018 3:08 pm
|
|
| You could add an additional rod to your E to D# knee lever to also lower string 9 to C#. |
|
|
|
Mike Holder
From:
Alabama! Home of the great “Don Helms” & his singer “Hank Williams”!
|
Posted 27 Dec 2018 3:16 pm
|
|
Hi Tom; Jimmie Crawford used a D on the 2nd string but lowered & raised it elsewhere in his famous cluster guitars. With split E levers I would want the 2 & 9 to lower on the opposite leg of Eb, then raise 1,2,&7 on the other lever, just an opinion. Hope you’re well!
_________________
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! ) |
|
|
|
b0b
From:
Cloverdale, CA, USA
|
|
|
|
Bobby D. Jones
From:
West Virginia, USA
|
Posted 27 Dec 2018 5:38 pm D lever with split knee Es.. pros / cons ?
|
|
You may have to add something or move something to get your set up to work. B0B's suggestion may work for you, Adding a 0 pedal or 4th pedal. On Jeff Newman's U12 copendent the 2nd string is on the D knee lever, May work for you. It brings string 2 to C#, String 4 and 8 to D# on the D knee lever. Or change the present knee lever pulls, Change the knee lever pulls so the C# pull is on the other knee, So you can move both knees and get the notes you want.
A Steel Guitar is not a Piano, No set tuning. You may want to check with any local steelers in your area, That way if discussing a move you will be on the same page (Pedals and Knee Levers).
Good Luck on this project and back Happy Steelin. |
|
|
|
Tom Gorr
From:
Three Hills, Alberta
|
Posted 27 Dec 2018 5:57 pm
|
|
Thanks for the input thus far... some interesting suggestions. 
Any feedback on the option to tune S9 to C# and either raise it or lower the E to D ? |
|
|
|
John McClung
From:
Olympia WA, USA
|
Posted 31 Dec 2018 4:01 pm
|
|
Tom, I lower string 9 to C# with my E lever to get that scale and eliminate that string 9 "clam." Very little disadvantage to that setup. Another option is to have your E's lowering on RKL, E's raising on RKR, and the D lever on LKL. That's my setup. Then you can indepedently lower string 9 when you want.
_________________
E9 INSTRUCTION
▪️ If you want to have an ongoing discussion, please email me, don't use the Forum messaging which I detest! steelguitarlessons@earthlink.net |
|
|
|
Tom Gorr
From:
Three Hills, Alberta
|
Posted 3 Jan 2019 9:14 pm
|
|
Just for kicks I tuned string 9 to C sharp and switched the prior D-C# lower to a C#-D raise.. took 3 minutes.. ( not a push pull  )
It works very acceptably to tune this way when Ds are on the same knee as E lowers.
I find it a bit of a mind twister to lower s2 while raising s9.. seems the mind is trained for these to move in one direction. But it wouldnt take much to twist the brain into yet another PSG contortion. |
|
|
|
