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Topic: Zane King's C Pedal |
Rich Peterson
From:
Moorhead, MN
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Posted 1 Sep 2019 1:01 pm |
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| Zane King puts the G# to A pulls with the E to F# on his C pedal, rather than pairing the E to F# with the B to C#. What might be gained or lost by this? |
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Ian Worley
From:
Sacramento, CA
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Posted 1 Sep 2019 3:22 pm
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I did an experiment with that recently but only for a short while. I put it on the other side of the A pedal, the zero pedal for me. When paired with the A pedal it functions pretty much the same as a normal C pedal for your typical B-C licks and changes, but it's an asymmetrical change (changes from a major to minor 3rd on strings 3&4), which provides some cool options for harmony and licks with that pedal alone that don't exist with the parallel 4ths on the C pedal alone, particularly with minor chords and pentatonic licks.
I opted to go back to something I find a lot more useful on the zero pedal (raise 6 a whole tone). I have the 4th string F# raise on a knee so I can get all the same stuff without that hybrid C pedal by just using the lever and B pedal together, and can still have a normal C pedal (which I don't use all that much). |
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Johnie King
From:
Tennessee, USA
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Posted 2 Sep 2019 5:30 am
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Rich Zane’s pedals are set up Day copeadent.
This tuning is a cool way too go if you’re a beginner or new student of pedal steel.
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Rich Peterson
From:
Moorhead, MN
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Posted 2 Sep 2019 8:31 am
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| Johnie King wrote: |
| Rich Zane’s pedals are set up Day copeadent. |
Yes, that is why I described the pulls rather than "A" and "B." Applied to an Emmons setup, it would be CAB.
One plus I see is half pedaling the A pedal. |
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Ian Worley
From:
Sacramento, CA
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Posted 2 Sep 2019 12:03 pm
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| Rich Peterson wrote: |
| ...One plus I see is half pedaling the A pedal. |
Half-pedaling the A ped along with the hybrid C ped gives you basically the same thing you get one fret up with the F lever alone, a Dom7 or half-diminished, depending on which strings you play.
There are some cool minor/pentatonic licks to be had when holding the hybrid C ped and rocking on the A ped a minor 3rd up from the A-B pedals down inversion.
Works a bit like a backwards A-B, but with a flat 3rd. The same things are there if you have the F# raise on a knee.
I see that Zane's string 4 (string 2 on a conventional E9 setup) is tuned to C# instead of D#, and he includes the D change on his A pedal. That's interesting, going to have to ponder that a little |
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Roger Rettig
From:
Naples, FL
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Posted 2 Sep 2019 2:29 pm
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Ian:
I'm about to put that pull you have (6th up a whole-step) back on my guitar.
I've missed it!
_________________
Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Ian Worley
From:
Sacramento, CA
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Posted 2 Sep 2019 4:02 pm
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| It's a really useful pull Roger. Do you put it on your 4th pedal, next to your A pedal? |
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Roger Rettig
From:
Naples, FL
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Posted 2 Sep 2019 7:41 pm
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No - it's going on my otherwise-redundant LKV.
I did used to have that change but I swapped it out for something (I've now forgotten what).
I was working up a Bacharach tune and couldn't find a nice 'm7b5' in the position I wanted it. I set about analysing and dissecting and - Hey Presto - that whole-tone raise hit me in the eye! Clearly I reached the same conclusion years ago and I must have arrived at it in the same way.
It has other uses, of course.
I am guilty of having a 'lick pedal' on my guitar (raising 1 & 2 to match 3 & 4) but I'm happier when 'chord pedals' present themselves - or pulls that open a door for me. I think this is one such change.
_________________
Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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