C6 - knee-lever choice?

Roger Rettig · From: Naples, FL

I have here an Emmons SKH. It's a fabulous-sounding guitar and the only downside is that it's an 8+4.

Only the right KLs work on C6. I have already 'Day-efied' the E9 and my dilemma is what to do with those two C6 knees.

Lowering the 3rd is a no brainer for me (and that's how one KL is set).

My first instinct was to use the other to raise the C to C#. It's currently raising the 4th A to A#); I also love that pull along with P6 for that F7th sus.

What's the better option in your opinion? If I want the D on top (it currently has the G!!), raising the C with P5 up three frets is another no-brainer.

I'd be interested to hear what others think: raise and lower the C or lower the C and raise the A?
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Steve Hitsman · From: Waterloo, IL

I'd add two more levers.

Roger Rettig · From: Naples, FL

Steve:

Normally, so would I, but this may or may not be a 'keeper'.

It should be: I'd heard a lot about how SKH guitars sound but it's no myth. In my (admittedly humble) opinion, my one sounds quite a lot like a P/P; more so than my LeGrande 111 (currently out-of-service). This old SKH has tone for days!!!

Adding KLs is expensive. I'm looking for the best options with what I have.

I think I've answered my own question; with a D 1st string, it makes no sense not to raise the C to C#.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I would have the 3rd string lower and a raise to C#. I use it more the A to Bb.
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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.

Jerry Overstreet · From: Louisville Ky

3 raise and lower are common changes on the tuning.

Something else to consider is raising 4 a whole tone with a half stop at Bb. I find I use that whole tone a lot which gets a beautiful maj7 and you can also use it with all your C6 pedals. If you don't like half stops, a whole tone raise to B works. Yes, I know you're lowering 3rd string to B already, but the effect of raising the A to B is a different animal and they can be used together at times for unison stuff.

The other option I would consider is the reverse of pedal 6 working on strings 2 and 6.

Roger Rettig · From: Naples, FL

Thanks for the replies: I went with raise-and-lower the C (given the D on top).

I have NO spares for this guitar so, Jerry, your excellent suggestion (reverse P6) is beyond me.

Right now, P4 is standard (As to B); while it's a nice change, I will see how easy it is to half-pedal for the A#. That partially takes away the need for at least one KL (I have 5 KLs on C6 on my main guitar).

This stripped-down setup is good for me, though. Nine KLs can make one lazy. I wish you guys could hear this guitar! It's got real punch!
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Greg Cutshaw · From: Corry, PA, USA

Also add the D to D# change on pedal 8 if you go with the D string on top. It adds a lot and doesn't interfere with any other uses of pedal 8.

Roger Rettig · From: Naples, FL

Yes, D on top, Greg.

My LeGrande has the D to D# but this guitar is plumb out of rods and bell-cranks!
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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