Lower 2nd to C# on X Lever

b0b · From: Cloverdale, CA, USA

Does anyone here have an E9th lever or pedal that does this?

Bob Kagy · From: Lafayette, CO USA

Interesting.

I frequently engage my knee lever that lowers both the 2nd and 9th strings to C# when lowering both B's to A#.

It's tricky - left knee up, right knee right, but it's worth it. If I put that all on one knee it'd
be a lot of pulls.

It makes a fine, full 10 string 9th chord with the flatted 7th 2 frets down from the root position.

Leon Roberts · From: Tallahassee,FL USA

b0b, having both of the changes on the same knee lever would screw up the counter point lick of raising the 5th to C# and lowering the 2nd to the unison tone and letting them resolve to their original notes. I don't lower my 5th or 10th anyway.
Leon

b0b · From: Cloverdale, CA, USA

I'm not saying get rid of your standard 2nd string lower. It just seems that whenever I lower my B string to A#, I really need that C# note somewhere. Why not add the C# to that lever?

FWIW, I don't lower the 10th string because I like the Bmaj7 with the E's lowered.
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Dennis Detweiler · From: Solon, Iowa, US

I play U-12. I tune my 2nd to C# and raise it to D# (LKL) along with the 9th string B to D. Maybe this would eliminate the need to have B to A and D# to C# on the same knee? And still keep the counterpoint option?
The "raise to unison" Franklin sound: With my 2nd tuned to C#,
(1)Pull unison with A pedal.
(2)Play B pedal and Eb lever combo (7th chord), add the A pedal to it (9th chord) and unison to the 2nd string again. Or, pull the 2nd string up to D# and unison with the 4th string.
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Scott Swartz · From: St. Louis, MO

Raising 6 to A# and 5 to C# is a somewhat well known change, this would be similar I guess.

Earnest Bovine and Jerry Hayes could speak to this perhaps, which way might be preferable.
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Dave Mudgett · From: Central Pennsylvania and Gallatin, Tennessee

Yup - I have messed with it some. For me, the issue was that I was never happy with the Eb => D => C# feel stop on string 2, and wanted to have them on separate levers without adding anything to the guitar. So I tried it on all the other levers - E => Eb, G# => F#, and so on. I found that, for me, it interfered less on the B => Bb change than anywhere else, and in fact sounded good on some of the B => Bb changes. I think it's worth a try - it's easy to do and undo.

Even on a gig - it's easy to engage it by tuning it up when needed, or to disengage it by backing off the hex-nut when you want to get rid of it. I've done that between tunes during a live set.

Bengt Erlandsen · From: Brekstad, NORWAY

I have that change as a combination on my S12extE9 7+7
RKL lowers string 2&9 to C# and the pedal furthest to the right P7 lowers string 5 from B to A#.
P6 raise str6 G#-A# & str5 B-C#.
One easy way to see those changes is as A&Bpedals working the opposite way (same notes 2 frets down from A+B position) although I sometimes use the changes differently. I might use the C# on 2nd string as the root note and combine w Apedal or lowering on the 5th string to get Root,7th b7th or 6th on the 5th string (with/without E's to F at the same time)

If I had two extra pedals to the right on my S10 I would have had the same (P6, P7) changes there.

Lowering both the 5str to A# and 2str to C# is a nice move but I prefer to have those changes as a combination instead of having them on the same pedal/lever.

Michael Barone · From: Downingtown, Pennsylvania

About 2 years ago I tried that for a while, on an experimental 4th pedal. I now lower both Bs on that pedal. (I raise strings 1 & 7 to G on LKV, and use it frequently, so I don’t like the standard B to A# on LKV). Of course, I don’t have the 5th string split for a half-step raise, but I practice half-pedaling to accomplish that. I use 4-string grips often, and like the sound of a ninth chord with the fifth on top when the melody or situation calls for it. I agree that lowering string 2 to C# is very useful with the 5th string lowered, but I like to include string group 2,6,8,10 also. To achieve the same voicing as discussed here, I usually get it two ways:

1. Slide back one fret, use the B pedal, F lever, and 2nd string lower to D (LKL half-stop) to get the same chord structure on strings 2,6,8,10, and 2,3,4,5.

2. Use my 4th pedal (both Bs to A#) with LKL (string 2 to C#). I found that it is actually not that difficult to use pedal 4 with LKL, (Bud Carter did a fantastic job setting my LKL at an angle, just like Sho-Buds!)

b0b, that major 7th with Es lowered is cool, I agree, and that interval opens more options for other dissonant, useful chords. I just have different objectives.

Mike

b0b · From: Cloverdale, CA, USA

Jerry Hayes · From: Virginia Beach, Va.

I also tune my 2nd string to C# and use it together with the 5th string lowered to A#.

On uptempo things I like to do the following fingering, strings 5 2 4 1 3 1 4 2 5.....

Take the key of G for instance and just do that fingering quickly. Then go up three frets and lower the 5th string a half, lower the 2nd string a whole tone (unless it's already tuned to C# like mine) and add the 4th string raised a half. With the fingering mentioned it's a cool sounding lick.

In the open G at the 3rd fret just lower your 2nd string to C# and play the same fingering again and see how nice it sounds.

Go to the 8th fret with strings 4 & 8 lowered a half and the 2nd lowered a whole tone (you're still in G) and try the same fingering again.

You can use the fingering with a lot of different string changes such as with your 2nd string lowered a half and both the A & B pedals down.....JH in Va.
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Fred Glave · From: McHenry, Illinois, USA

bOb; Now that you have the Fender, you can try this one out in a jiffy. I kind of like the idea, because I had my Fender set up to drop 2nd string to C# with a homemade 1/2 stop at D. Lowering the Bs a 1/2 step is a very handy move too. I think it's worth trying out.

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