C6 right foot question

Michael Haselman · From: St. Paul

Going through Buddy's Basic C6 book. Lots of great info in that little book! So, did Buddy always use right foot foot on pedals 7 and 8? Going through Right Or Wrong and there's one lick that uses 5 and 7, so you obviously need both feet. He doesn't address that in the book.
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Mullen RP D10, Peavey NV112, Hilton volume. Hound Dog reso. Piles of other stuff.

scott murray · From: Asheville, NC

it sure seems that way in the videos I'm looking at. Buddy had no problem taking his foot off the volume pedal for extended periods.

Little Darlin

King of the Road

B. Bowman Hop
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1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster

Ron Hogan · From: Nashville, TN, usa

In my years of playing, I got into that habit of using that technique. Now I do it without even thinking. It comes naturally. Jimmy Day did the same thing. I use it just for pedals 7&8.

Michael Haselman · From: St. Paul

Thanks! And thanks for those links, a reminder of the greatness that we lost. May have to get some pointier toed shoes!😀
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Mullen RP D10, Peavey NV112, Hilton volume. Hound Dog reso. Piles of other stuff.

Ron Hogan · From: Nashville, TN, usa

Look at time code 25:12
You’ll see a young Emmons with both feet.

https://youtu.be/MH3-nWbE_WU

Nathan Golub · From: Durham, NC

Do you use your right foot exclusively for pedals 7 & 8? Or sometimes use your left foot to hit one or both of the pedals furthest to the right? Assuming it's not a combination like 5 & 7. It sort of looks like Buddy keeps his right foot over 7 & 8 and his left over 5 & 6, which seems like it'd make things easier to keep track of.

scott murray · From: Asheville, NC

I've got 10 pedals, that's 7 on C6, and it just depends. sometimes I keep my right foot on the volume and use the left foot exclusively on the pedals. but most often I've got the volume set where I want it and use my right foot on 10, 9, and sometimes 8 (which I still think of as 8,7,6)

but depending on the combination of pedals, my right foot will go all the way over to pedal 6 (4) when my left foot is working 4&5 together
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1965 Emmons S-10, 3x5 • Emmons LLIII D-10, 10x12 • JCH D-10, 10x12 • Beard MA-8 • Oahu Tonemaster

Michael Haselman · From: St. Paul

Actually in the first few lessons I used my left foot for 7 and 8. Then when he introduced the 7-5 combo in Sentimental Journey, well, you have to use both feet. So now I'm going to start with right foot always on 7 and 8.
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Mullen RP D10, Peavey NV112, Hilton volume. Hound Dog reso. Piles of other stuff.

Joe A. Roberts · From: Seoul, South Korea

Pedal 5 and 7 give the Noel Boggs non-pedal E13th tuning on strings 2-10 (but a step lower in D).

To avoid two footing that change there have been a few solutions:

1. Some put P7 on a knee lever, which can then be played w/ P5 at the same time. This is maybe the worst option.

2. Others put P6 on a lever, so the gap is bridged with P5 and P7.

3. Others still put P5 on a lever. With this you could not only play P5 and P7 at the same time, but P5,P6, and P7 which Buddy and others sometimes do.

4. On Maurice Anderson's universal Bb6th tuning he has a half-stop on the left-knee-going-right that lowers (in terms of C6th) the G string to F# and then F.
Lowering the G to F is a popular change you see on peoples C6th copedent, but having a half-stop there also gives it the dual use of being like P5 w/o the bottom 2 strings.
Johnny Cox had that half-stop change on his C6th CKL before he developed and switched over to his universal tuning.

If I had a C6th with 5 levers, I would have Buddy's 4 levers, but with the Bb on a left knee vertical, and then on the CKL I would try that half stop change, perhaps also raising 10 to D on it.

Ron Hogan · From: Nashville, TN, usa

David Wren · From: Placerville, California, USA

So, I just updated my suggested copedent for a new Williams U12. I put pedals 5 and 6 on opposing knee levers (middle LKR for 5, RKL for 6).

I'll let folks know how this works out.
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Dave Wren
'96 Carter U12,7X7; 1936 7 string National; Line 6 HX Stomp; Quilter TT-15/TB202; Quilter "Steelaire"; DV Mark "GH 250"with 15" 1501 BW; Boss "Katana" 100 Head w/Line 6 Cab; Telonics VP.

Ian Rae · From: Redditch, England

I do as some others do and put P6 on a lever so that 5&7 are together. I also have just one component of P8, namely the 7th string raise to C#, on the centre vertical. Thus I have eliminated two-footing and 578 is very easy.
I have a full P8 also but I could live without it.
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Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

Donny Hinson · From: Glen Burnie, Md. U.S.A.

I started out with P5 on a knee lever (a trick I got from Stu Basore back in 1966), and I wouldn't be without it as it eliminates 90% of the two-footing required on C6th. The C6th styles I like most are from Chalker and Murphy, but I'll admit my real epiphany on understanding C6th was Buddy's "Steel Guitar Jazz" album. That showed me how much could really be played using a simple 5+1 setup. The 10-string C6th is really an amazing tuning. Very Happy

This cut by "Murph" is also fantastic:

https://www.youtube.com/watch?v=Ce9w39u4KkQ

Joe A. Roberts · From: Seoul, South Korea

Some more just awesome Big Jim Murphy on C6th (backing singers)... you can really hear the Chalker influence:
Carl Smith - Red Door (1971)
https://www.youtube.com/watch?v=S3VE07q4yq0
Josie Brown - Crazy
https://www.youtube.com/watch?v=jdUww0Wi2YA

Roger Rettig · From: Naples, FL

I'll toss my hat in the ring:

I have found it easier to right-foot P8. I can 'find' 5,6,7 easily with my left foot.

I put P4 (As to Bs) on my MKV; much of what is achieved with 5 and 7 can be accessed with P5 and my MKV; it gives to the 5-13th chord (G13 at the 5th fret) resolving to the root chord.

My P4 raises 10 and 6 to D and F respectively.

And yes: stylistically, C6 is less dependent upon constant manipulation of the volume pedal.

PS: Treat my thoughts for what they're worth - I'm several leagues behind the really good players on C6th - but I'm still striving!
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Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Joe A. Roberts · From: Seoul, South Korea

Roger, that is indeed another valid, interesting option that I didn't think of for my list above... with a D on string 1, having P4 on a lever basically gets you to the 5+7 combo, but with the benefit of also being able to include P6.
Oh the option anxiety! Whoa!

Roger Rettig · From: Naples, FL

Exactly, Joe.
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Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Ricky Davis · From: Bertram, Texas USA

This is how Big Jim Murphy likes all his pedal steels set up; as I did that for him his last years here in Texas before he passed.
BRILLIANT PLAYABLE MURPH SET-UP
(look right at ped4 ; pedal 5...yeehaa)

Ricky
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Ricky Davis
Email Ricky: sshawaiian2362@gmail.com

Ian Rae · From: Redditch, England

Joe speaks of option anxiety - it's like buyer's remorse ahead of time. I thought an extra pair of headphones might be handy, but I gave up looking because there's too much choice...
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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

Steve Mueller · From: Cincinnati, Ohio, USA

i started out playing C6 with both feet as there was really very little in the way of instruction on what you "should" do at that time. Eventually, I figured out how to use the 3rd string lower to B(RKL) with pedal 5 and 1st string D for that. I still slip back and use both feet occasionally.
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2016 Williams D12 8 x 8, 2015 Williams D12 8 x 8, 2023 Williams S12 4 x 5, Milkman Amps, 1974 Gibson Byrdland

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