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Topic: Two Necks: What 2 Tunings to Make the Most Out of...? |
Mark Helm
From:
Tennessee, USA
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Posted 29 Sep 2019 6:14 pm |
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...Well, 2 necks.
Hey, Guys!
Well... you convinced me that it was pointless having C6 and A6 both, because I can just retune my A6--only 4 strings by a half tone: The F#s up to G and the C#s down to C to make C6.
So what about the other neck? I was thinking the Leon E13 (H to L):
E
C#
B
G#
F#
D
G#
E
Don't know if there will be much tab for this (but I could be wrong).
So, I wonder what you guys think should be on the other neck and why?
_________________
Remington Steelmaster S8 w/ custom Steeltronics pickup. Vox MV-50 amplifier + an 1940's Oahu cab w/ 8" American Vintage speaker. J. Mascis Fender Squire Jazzmaster, Hofner Club bass, Ibanez AVN4-VMS Artwood Vintage Series Concert Size Acoustic Guitar. 1920s/30s Supertone Hawaiian-themed parlor guitar. Silvertone parlor guitar. |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 30 Sep 2019 3:46 pm
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Depends on the music you play. My second neck tends to be B11 (C13 main). When I play a single neck I can retune from C13 (no string change necessary) but it is just a hassle as it retunes I think 5 of 8 strings. So for a gig I'd rather have the doubleneck just to keep things moving.
An E13 is a fine choice for a second neck. I have it as the third neck on my Stringmaster, but I'm not any good in that tuning, whatsoever (it sure makes for exotic strummy chord intros though). But in my experience the strings are clustered a bit different than the C6/A6/B11 family of tunings so using a different string set may be warranted (depends what E13 of course).
_________________
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Bill McCloskey
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Posted 30 Sep 2019 5:04 pm
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| On my Remington Steelmaster d-8 I have C13 and B11 |
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Levi Gemmell
From:
New Zealand
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Posted 30 Sep 2019 9:48 pm
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On my Stringmaster, I use C6th and variants (C6/A7, C13, and C6 with F on the bottom) on the closest neck. On the second neck I use F13th, which is just the McAuliffe E13th tuned up half a step: F D C A G Eb A F. This is inspired by Kayton Roberts and Chris Scruggs but is not the same. Kayton used F D A F G Eb C F. It correlates better with C6: F and G chords at the 12th and 14th frets for chord solos. For Hawaiian tunes, I can get the C#m flavours on that neck, except it's a bit more intuitive, and for Western Swing, playing Boot Heel Drag for instance comes out in Bb rather than A - but it swings alright! I enjoy being able to use two necks in the same song (not just for different songs) and this is the easiest way I've found yet.
_________________
Commodore S-8
John Allison S-8
JB Frypan S-8
Sho~Bud LDG SD-10
1966 Fender Super Reverb |
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Tim Whitlock
From:
Colorado, USA
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Posted 1 Oct 2019 11:19 am
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For my second neck I like E13 with a 3rd on top. Hi - low:
G#
E
C#
B
G#
F#
D
B
Using the same intervals as C6on the top strings keeps things manageable for my poor brain and you have that nice big jazzy 8 string E13 chord for solos, strumming or bar crashing. Nice to be able to get at that high Don Helms stuff, too. |
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David Ball
From:
North Carolina High Country
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Posted 1 Oct 2019 2:05 pm
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I'm using C6 on the outside neck and Curly Chalker's F13 on the inside neck of my D8 RAM Speakeasy. The higher pitched F13 kind of grew on me--gives a lot of potential for bottleneck sounding blues in addition to the big cool jazz chords.
Curly's F13:
F
D
C
A
G
Eb
A
F |
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