| Author |
Topic: Combining D & G lever on RKL? |
Andrew Frost
From:
Toronto, Ontario
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Posted 3 Mar 2022 8:11 am |
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I'm considering making a change.
What are your thoughts?
This is my current set up on the right hand side:
| Tab: |
RKL RKR
F# (++G#)
D# ( -D )
G#
E
B
G#
F#
E
B (+++D)
G#
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For a bit of context, its E9/B6 and the usual D on string 9 is on RKL.
This is what mechanical limitations on my guitar allowed when I started using this tuning and I've gotten used to it.
I rarely use 2 and 9 simultaneously. So, this works fine for me, although ideally, both Ds would be on the same lever.
The string 1 raise to G# and the D on string 9 are pretty firmly established in muscle memory. I like where they are and use them frequently.
That said, I'm setting up another guitar and have moved that string 2 lower over to the other side, for now.
So it looks like this:
| Tab: |
RKL
F# (++G#)
D# ( -D )
G#
E
B
G#
F#
E
B (+++D)
G#
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Advantages are that the Ds live on the same lever.
It frees up RKR for other uses.
Also, using string 1 and 9 remains intuitive and familiar.
I can get used to the selective picking required with some phrasing and voicings.
It does move a little differently but I can get used to it.
What I do miss primarily is the independent movement of string 1 & 2. Raising 1 to G# above Eb on 2, and, more significantly, having F# on string 1, untouched, when string 2 lowers to D.
Thanks,
Andy |
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Tom Gorr
From:
Three Hills, Alberta
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Posted 4 Mar 2022 2:52 pm
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No, imo - because it will interfere with s2 D#-D scale / chromatic runs at the pedals down position. or V chord open.
If pressed for levers I'd drop the F#++ and get used to "behind the bar bends" from F# to G when needed. F# to G# is mostly a lick lever than anything because you have those scale tones. You might try figuring out if you can use P3 and sliding to mimick the sound of s1 F#-G#.
A Uni needs at least 6 levers imo... |
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Andrew Frost
From:
Toronto, Ontario
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Posted 5 Mar 2022 10:09 am
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I agree Tom.
Having the Ds and that G# all on one lever does work, with some selective picking, and makes for some interesting counterpoint.
Its not completely impossible to deal with at all.
But, what I do miss is the D#/F# interval on 1 & 2, shifting into D/F#. All the contexts that subtle change is handy for... I find it useful when root is on string 5 for example. Bmaj/min type voicings and the logical harmony on those 2 strings up top.
I learned recently that Dickey Overbey had the top 2 strings move like this on one lever:
F# to G then G#, while D# simultaneously dropped to D then C#, parallel. I understand this is not exactly the same scenario but interesting that he sacrificed that D & F# note combo.... |
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Tom Gorr
From:
Three Hills, Alberta
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Posted 5 Mar 2022 10:47 am
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Newman put his D#-D-C# on his E lowers lever probably with a feel stop when the E-Eb began engaging.
If your Es are on opposite sides from the s1 raise you might get your counterpoint that way but sacrifice your s2 / s4 unison. |
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Andrew Frost
From:
Toronto, Ontario
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Posted 5 Mar 2022 5:42 pm
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Ya I see what you're saying.
Could keep the G# raise on top of the Ds, and also lower 2 to C# on the E lever, catching the D natural just before the root strings lower.
I've seen that on Uni set ups. I guess the C# on 2 and F# on 1 in B6 mode enables the equivalent of having either D or G as a top string option on C6 ( B6 ).
I do like that Eb unison on E9 w/ string 2 and 4. I could live without it though... |
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John McClung
From:
Olympia WA, USA
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Posted 5 Mar 2022 6:57 pm
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I wouldn't do that. I use string 1 open with string 2 open, and also down a half for licks and scales and for me would be a conflict. But if it suits your playing, go for it. There's no right or wrong for personal copedents, Andrew, just what suits YOU.
_________________
E9 INSTRUCTION
▪️ If you want to have an ongoing discussion, please email me, don't use the Forum messaging which I detest! steelguitarlessons@earthlink.net |
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Andrew Frost
From:
Toronto, Ontario
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Posted 18 Mar 2022 8:40 am
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Thanks for the input here, all.
So, regarding string 2 and 9, I've set up the guitar with both those D pulls on the same lever.
Its been a couple weeks of daily playing. Having those two notes on the same side makes things way more musically intuitive although muscle memory is taking a bit of time to adapt.
The uni style string 9, B-D pull is in the same familiar place. I use it a lot, so its grounding having it there still. RKL.
Lowering string 2 to D natural on that same lever is taking time to adapt to, but its worth the transition period to have that octave so handy in single note stuff and chord voicings.
Alas, I've sacrificed that beautiful F# to G# on string one.
Although I could develop 'work-arounds', I find having the independent movement of string 2 to be of more value.
For now anyway!
I will probably put it back on somewhere, once the dust settles on these other changes.
I do like that change, and use it a lot for extra chord tone colour when B pedal is down.... Amaj7, B13 etc.
And as far as the unison licks go, the absence of that change is indeed pushing me to get those sounds other ways. |
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