In Praise of D13

Bill McCloskey · Posted 20 Jul 2024 8:33 am

It took me two shots at D13 before I finally got it. I did have a Williams s12 set up in D13 and didn't take to it at all and eventually sold it. My problem: it was not the copedence that J Cox recommends and it was in Emmons rather than Day setup.

Since getting The Rose, with Cox's final D13 Copedence, my entire world has changed. After a long journey of trying all tunings: E9th, C6th, various forms of universal, the D13 is simply the best tuning I've tried, by far.

In the past, I'd always recommend sticking with the tried and true when learning pedal steel simply because of the instructional material out there. But I always struggled with splitting my attention from E9 to C6. Playing one for awhile was at the expense of what I learned on the other neck and progress was slow with my bifurcated attention.

I will no longer say that. I can now pick up any instructional material, E9th or C6th, and easily translate it to D13 tuning. C6th instruction: same thing. one neck and all the instruction works: Translating from E9: move up two frets and skip a string. Translating from C6, move down 2 frets and skip a string. and unlike universal tunings, which still force me to think in E9th or B6 (Bb6), with my root positions on different frets, I only have to think in one tuning; D13. Your root position playing C is on the 10th fret regardless if you are playing E9th mode or C6th mode. And unlike typical universal, you don't need a knee lock. Knee levers are only required for the lowest C6 voicings and it doesn't switch the root fret. Still on the 10th fret.

So it all becomes one truly unified tuning.

Day setup has been life changing. I highly recommend day set up for those of you with bad ankles. MUCH easier to rock from left to right than right to left if you have bad feet, knees and ankles.

And then there are the opportunities in the D13 tuning itself for voicings and cadences that simply aren't available in either E9th or c6th. Plus I love having the pitch and timbre of the guitar centered on D. E9th can seem to whiny and high and too locked into a specific genre of music. C6 can seem too low and also too cliched into a particular genre.

Something about the D root that gives it more a unique, less genre specific sound. Like a piano.

It won't be me: but someone is going to pick up this tuning and change the musical landscape with it.

But here is the negative side: I have no interest in E9 or C6th instruments anymore. I'll be selling off the two remaining D10's and D12's I own and I will be playing D13 from now on. The chances of picking up another 12 string 8x6 with D13 tuning in the classifies is almost nil. So, my GAS days might be over. And that is sad: nothing like waiting on a new instrument to arrive. Smile

Anyway: I'll continue to document my progress in the ongoing thread I started on D13 grips in hopes that future players will find it and have a starting point for practice and exploration.

Mike DiAlesandro · From: Kent, Ohio

Bill,

Happy to hear that you have found a tuning that really excites you, and is very intuitive for your thought process.

I just wonder if it "easily" permits an average player, to emulate the classic and modern styles required to play in a say, country cover band that does classics from Hank Williams on up to say the the mid 90's Alan Jackson/ Garth era?

I guess I would think that it makes more sense to learn these parts on the same tuning as they were basically played. Obviously there are endless amounts of different copedents based off E9th and C6th, but the core tuning remains consistent throughout them.

I do see the tuning D13th as a viable option for a beginner to learn. But most old dogs like me don't really want a challenge to relearn grips and so on and so forth.

I admire your enthusiasm and desire to share your "epiphany" with us other steel players.

Mike D

Bill McCloskey · Posted 20 Jul 2024 1:18 pm

Bill McCloskey · Posted 20 Jul 2024 3:28 pm

Mike out of curiosity: do you feel the same about any universal or any extended 12 string tuning?

Mike DiAlesandro · From: Kent, Ohio

Bill McCloskey · Posted 21 Jul 2024 5:29 pm

It has the standard top two strings. A, B, and C pedals . It has an E lower and and E raise. there is nothing you can play on E9th that can't be played on D13. You can play any intro and fill on D13 that you can play on E9th. I find it actually easier than E9th and a lot more versatile. Feel free to check out my ongoing thread on every D13 grip.

https://bb.steelguitarforum.com/viewtopic.php?t=401803&highlight=

BTW, I just took a look at Mickey Adams version of Highway 40 blues and started working on the intro: no problem playing it on the D13 at all .

Bill McCloskey · Posted 21 Jul 2024 5:37 pm

Here is a quick comparison (things are just moved 2 frets)

E9 D13 (two frets up)

F# F#
Eb Eb
G# G#
E E
X C#
B B
G# G#
F# F#
E E
D D
B B
X E

As you can see, it is almost identical.

Bill McCloskey · Posted 21 Jul 2024 5:57 pm

Here is how it lines up with the C6 neck. You engage RR for just the bottom strings.

C6 D13 (down 2 frets)
D D
X B
E E
C C
A A
G G
E E
X D
C C
A A (RR engaged)
F F (RR engaged)
C C

Roger Rettig · From: Naples, FL

Mike

There's certainly nothing to inhibit classic sounds like the one you quote (Highway Forty Blues): You'd only 'jump' the 5th string but play it as you would on E9.

Johnny has it figured out. Bill is working hard at it.

I had my own brush with D13th last year. I wasn't very fond of the guitar I had and struggled with getting a good tone but, if I'm completely honest, 50% of the blame is on me. I found it hard to gain any fluency with the relearned grips (and the 12 strings under my right hand).

At 80 (that was then, and after returning to my D10, the enthusiasm waned and I capitulated. I've been playing for fifty years on PSG, so things are ingrained.

Bill is a newcomer to pedal-steel - he's the ideal candidate to run with Johnny's comprehensive and well-conceived idea.
_________________
Roger Rettig: Emmons D10, Quilter TT-12 & TT-15, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Kyle Van Koevering · From: Michigan, USA

Whether or not it’s a smart endeavor, I’m a new player and started out on D13 because it logically made sense to me while I was shopping for my first steel. I can easily translate E9 to D13. I haven’t attempted translating any C6 since I’m still relatively new, but I’m looking forward to it!

Roger - I believe I actually have your Williams that I purchased from Bud. Small world.

Roger Rettig · From: Naples, FL

Aha! A small world indeed!

No doubt you're managing just fine with it. It is a beautifully made instrument.
_________________
Roger Rettig: Emmons D10, Quilter TT-12 & TT-15, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Mike DiAlesandro · From: Kent, Ohio

Johnny Cox · Posted 22 Jul 2024 3:59 pm

Bill McCloskey · Posted 24 Jul 2024 11:16 am

Here is how committed I am to the D13 tuning: I just placed my order for a new MSA legend XL s12 8x6.

Now the wait begins.

Roger Rettig · From: Naples, FL

Congratulations, Bill! How long are they saying it'll take?

What colour? It'll be a nice few bucks, but it's only money!
_________________
Roger Rettig: Emmons D10, Quilter TT-12 & TT-15, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Bill McCloskey · Posted 24 Jul 2024 11:51 am

Roger, I was quoted 18-24 months, but because it is a 12 string that time might go down. They are dedicating someone to just 12 strings. So I'm hoping for the best. I plan on paying for it from sales of my inventory. Just sold a superslide and that will pay for the down payment. I have a bunch of lapsteels, some amps. If/when I sell the Williams, that will pay the bulk and I'll be selling the crossover, which is a special one of kind guitar commissioned by our own b0b Lee. My goal is to finance the whole thing with steels that are just sitting around unplayed

In the meantime, I'm loving the Rose

Mike DiAlesandro · From: Kent, Ohio

Roger Rettig · From: Naples, FL

The 5th string (6th tone) is what, along with RKR, permits all the C6th (D6th) options in the top end of the tuning..

It has to be avoided (for the most part) when covering classic E9th stuff, although I found it useful for arpeggios as an open string and easier that lowering 2 and reaching for it.
_________________
Roger Rettig: Emmons D10, Quilter TT-12 & TT-15, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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