Raising F#s...

Andrew Frost · From: Toronto, Ontario

Wondering if folks have had success with 'feel stops' on 1 & 7, ( E9 ) at G natural, "on route" to G#.
I currently have the whole tone raise on string one, F# to G#, and have been developing the muscle memory to hit the the G when desired. Its a relatively new change- I had the G natural for years.
The G natural is great in many ways, but I absolutely love the whole tone.
On my guitar its RKL.
I've been considering options for a future set up. Having the whole tone on string 1 and maybe 7 too, would be great. The 'half lever' approach is fine but it would be a touch more reliable with a feel stop I'd imagine...

Marc Jenkins · From: Victoria, British Columbia, Canada

I installed a feel/half-stop (from psgparts.com) on my Show Pro for this very reason. Wouldnâ€™t do without it.

Steve Leal · From: Orange CA, USA

I have tried it both with a spring loaded stop and without. I chose to not use the spring stop and just time the where when G note is reached, the D# starts raising to E. Gives me just enough of a feel bump without disrupting the F# to G# smooth climb.

Jack Hanson · From: San Luis Valley, USA

For raising the first string F# to G, it's quick and easy to pull the string up a half-step behind the bar with your third and/or fourth finger. Same deal with the G#. If you have the F# to G pull on a knee lever (mine are on the RKL), simply engage the lever and pull the top string behind the bar. It doesn't work particularly well below the third fret or so, but it's not tremendously difficult to master from the third fret on up the 'board.

Marc Jenkins · From: Victoria, British Columbia, Canada

I should add that I have been able to adjust my fell stop such that I can fit the G note on the way up from F# AND the way down from G#. Cool possibilities with unison and dissonance with the G# strings.

Mike Holder · Posted 2 Sep 2021 1:10 pm **Half Stop**

I would do what Steve Leal suggested or in time just get used to where it lies naturally.
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I thought Nashville was the roughest, but I know I’ve said the same about them all.
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Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

For most of my career, I have had both F#s to G on my vertical. Also have had the 6th lower from G# to F# for almost as long on my RKR. This year I removed the F# to G changes to give the B to Bb change another try on my vertical. Not a big fan of the B to Bb change, so today I switched the vertical back to F# to G. I tried a half stop on my RKR which raises 1 & 2 and lowers 6 as well as 1 change on C6. The half stop was hard to detect (and I have a firm spring on it which made the full travel a little harder), and guessing at stopping half way on string 1 was iffy at best. Also missed the F# to G change on string 7. I use both of the F# to G changes quite a bit, and was not happy with not having them.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Mike Holder · Posted 2 Sep 2021 1:40 pm **Half Stop**

Andrew Frost; being located in Toronto I would assume youâ€™re familiar with Burke Carroll, if not look him up through the 12th Fret music store.. he can put you on track pedal steel wise in any capacity be it musically or copedant wise.
_________________
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! )

Andrew Frost · From: Toronto, Ontario

Jerry Overstreet · From: Louisville Ky

FWIW, I have the F# to G# raise on RKR along with the 2nd string drop, D#/D/C# and the 9th string D/C# drop.

As stated earlier, there are bumps as both 2 & 9 that will let you set your middle G feel stop with a little tweaking. If you play D10s, you might also have a change on the same lever which could figure in.

I don't use the companion raise on the 1st string that way.

I can sometimes pull it up to G with a finger if needed, but generally I use a whole tone raise along with he 2nd string half tone raise on RKL.

People say the F# to G# raise on 7 is redundant, but it's really not. There are so many things to do with both the half and whole note raises against other notes.

F.I., the maj7 is a very pretty, melodic and musical sound that you will find yourself using a lot.

Since I have the 9th string involved, string selection is important to dodge dissonant tones, but with a little practice I found it pretty easy to use it there as I really have no other option except for a foot pedal and half stops just don't work there.

Lane Gray · From: Topeka, KS

I put my whole tone raise on a zero pedal, along with the half tone raise of 2.
My half tone raise, along with a whole tone drop of 6, is on my RKL
That allows me to hit the 1&2 raise, then pull the 2 down to D with the whole tone drop.
See my video at https://m.youtube.com/watch?v=XUykptG6DBQ
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
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Ron Pruter · From: Arizona, USA

Lane, welcome back buddy. Hope all is well. Andrew. I love my half stop on 1 and 7. I have them perfectly timed. I also use the 1st string, reach up and pull. Mainly for a little bluesy thing. I recommend the stop. You may have to make it pretty stiff at first. I got mine from PSG parts. It's a Sho-Bud style. RP
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