C6 tuning advice

Willie Sims · From: PADUCAH, KY, USA

I read a post a bout the Franklin steel guitar, one of the people was talking a bout the new exel guitar he just received. he said something a bout the seventh pedal timing adjustment, on the c6 tuning I have never heard anything about this. Could someone explain what this actually accomplish, and how it is set up.

Willie Sims · From: PADUCAH, KY, USA

It appears no one can answer my question, a bout the half stEP set up fOR pedal seven on the C6. I was referring to the post bY Tom Quinn a bout why the Franklin steel sound so great. Glen DEMICHELE,S post reply is where I read about his set up on his new EXEL guitar he just received. I know that a SEVENTH CHORD can be made by raising the fourth strING a halftone. ANY THING ELSE POSSIBLE.

scott murray · From: Asheville, NC

I'm not much help here, other than to say I've never heard of a half-stop on pedal 7 and general consensus seems to be that putting a half-stop on any pedal is not really recommended.

raising string 4 a half-step is a common change in itself and has many applications. a few examples would be an augmented (#5) chord with pedal 5 (II), a sus4 or 9,11 chord with pedal 6 (IV), and a 7b9 with pedal 8 (VI).
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1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster

Ian Rae · From: Redditch, England

My Excel came correctly timed, in that the 3rd and 4th strings arrive at their raised notes together.

The half-step raise on 4 is on a lever, which has always been normal. At one point Jimmy Day had a lever which raised 4 to Bb and 3 to D - I've tried it but it's of limited use. But then I'm not Jimmy Day
Smile

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Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

scott murray · From: Asheville, NC

I raise 3 a whole tone with LKR and 4 a half tone with LKV, and use them together quite a bit. it's very similar to A and B pedals on E9 if you also raise 2 and 6, Es to F... which I do on pedal 4. so those 3 changes all work well together.

I didn't know Jimmy Day had that change on C6 but it's certainly useful and I highly recommend having it, though better to separate the 2 raises in my opinion
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1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster

Glenn Demichele · From: (20mi N of) Chicago Illinois, USA

I have no left knees on my C6. RKR raises string 4 by 1/2 step for a dom7 like "normal". My P7 raises 3 & 4 a whole step when fully depressed, but I have the pulls timed so 3 raises a 1/2 step first, and then there's a "feel stop" from hitting the string 4 pull just before string 4 starts to raise. I love it, and can turn the P8 #9 into a full dom7 chord (with 1 foot), and I also can go 3 frets up from the root to play a major chord there like I do on E9 with Apedal, Flever.
I half-pedal my A pedal a lot, and I understand why feel stops on pedals aren't recommended. The "feel stop" feature on my P7 is convenient, but the main reason I did it this way is to move string 3 without moving 4. I rarely am inclined to slowly squeeze P7 to get 3 & 4 to move up a whole step together.
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Franklin D10 8&5, Excel D10 8&5. Both amazing guitars! Homemade buffer/overdrive with adjustable 700Hz "Fender" scoop., Moyo pedal, GT-001 effects, 2x TDA7294 80W class AB amps, or 2x BAM200 for stereo. TT12 and BW1501 each in its own closed back wedge. Also NV400 etc. etc...

Willie Sims · From: PADUCAH, KY, USA

THE OLD SAYING YOU NEVER GET TOO OLD TO LEARN,MUST BE ABOUT ME.I JUST TURNED 94 JULY 2 ,EIGHTY OF THOSE YEARS TRYING TO LEARN HOW TO PLAY,STEEL GUITAR.
THANK;S FOR YOUR REPLY;S

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