Low E on string 10

Andrew Frost · From: Toronto, Ontario

I put a low E on string 10 (E9) in March or April.
It has become very familiar and I use it alot.

String 9 became B. String 8-1 are more or less standard.
The A pedal raises that B to C# along with string 5.
The C pedal raises Low E up to F#.

I was living without a D for a while but recently put B-D on a lever and the whole set up feels pretty complete.
I was hesitant to put the D raise on 9th string B because it seemed rather extreme, but it is working really well. Anyone else have a similar set up on a single 10?

Tucker Jackson · From: Portland, Oregon, USA

Not that you were headed there, but you're on your way to becoming comfortable on a Universal 12-string tuning like E9/B6.

For a lot of people who are transitioning from 10 to 12U, not having that D string is a major obstacle, but it wouldn't be for you since you already voluntarily moved it to a lever and prefer it there.

Something to consider for down the road when you're ready to buy another steel, since you're looking for lower-voiced strings and are willing to sacrifice the D. You might be a 12-string guy. Here's Jeff Newman's version of a Universal 12 tuning:
https://b0b.com/wp/copedents/jeff-newman-tuning-charts/#e9b6

Benjamin Davidson · Posted 13 Jul 2020 5:16 pm

I started getting into the univeral string setup pretty early in my owning my Pro Lite. I didnt put the low E on the bottom, but instead use a G# as you would with a Uni. I do have the G# lowering to E on a lever. I went the G# route to make transitioning to a 12 string easier down the road.

My D replacements are on either my RKL on thring 8 (works in lue of P6 on C6th), and a second RKR for string 9 - that has been a learning curve with a second staggard lever over there.

The B to D isnt too exterme I have a few such minor third changes on my setup. Interesting counterpoints and solo notes there. The B to D is most used for me at the moment, as a 9th string D when needing the E do either shift up or down a 1/2 step.
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Justice Pro-Lite (9p9k) 10 String D13th Universal Tuning

Dean Parks · From: Sherman Oaks, California, USA

I've done that on a 10, and there's a lot of good there.

However, try raising the low E with the B pedal. It works great. Pedals down is an F# minor 7th chord, with lots of melodic movement with A and B pedals.
Also, then, you have the option of tuning the 10th to G#, which is also a great tuning; you would tune the low G# to move to A, just like the 6th string.

For example, with A and B pedal down, you'd have a low A root. E9 is really a pedals-down A6 tuning, where most of the action happens on E9 anyway, except with your rig, it would be strummable (no D string in the way}. And your D-on-a-lever gives you an Asus chord.

Also, think of moving back and forth thru your pedals-down strummable A6, to a pedals up, E's lowered B6, and you get a lot of C6 action trading between those 2.

By the way, now I play a 12, but with the low sting removed. My low string(11) is an E, and 10th is the G#.

What you now have that I don't, is an F# minor7 chord with pedals down (or minor 6th, if you lower the Es with pedals down}.

Andrew Frost · From: Toronto, Ontario

Some great perspectives here, thanks for the input. Putting that string 10 raise on the B pedal is an interesting idea. Makes total sense as a G#-A and the B6 w Es lowered would fit right into that approach, having the Maj6 on the bottom. On my set up alot of the low E to F# action is combined with the B pedal anyway. Putting that change on B pedal would free up the C pedal to do other separate stuff as well. Something to think about.. I do like having AB pedal activity resolving over that low E though.
I can see the advantages of having both G# and the E.

Benjamin- The string 8 lower to D ala C6 pedal 6 is indeed nice. For a time I was experimenting with 4&8 being tuned down to D#, and the E levers brought in the resulting Ds which created some really rich harmonic options. The B-D on 9 is proving to be really cool too.

Ya, the 12 string route is something I'm thinking about more often these days. The universal approach is very appealing. I'll take a look at that Newnan link. Apparently he was adamant about keeping the B6 and E9 playing seperate on the neck. This seems like an overly organized approach though...Surely some great things can happen by using the two copedants together. Maybe for his teaching purposes he simplified things that way.

Ian Rae · From: Redditch, England

I also have the B6 and E9 parts separate, but there is no barbed wire and I do mix and match.

Day setup is good as the A pedal is next to P5 and is useful in the B6 tuning. I find uses for P7 when I'm thinking E9, and so on.
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