Question about RKR and what chords it makes

Brandon Wright · From: Austin, Texas, USA

alright I'm not sure if this is a weird set up or not but its the way it came. Not only does my RKR lower my 2nd string Eb to D.

It raises my 7th string F# to G or G#. I guess whatever i tune it to. I have it tuned to G#.

It also lowers my 9th string D to C#.

Is that weird? Cause i can't find any copedents that have it set up like that.

Can ya'll tell me what chords that'll give me? Or what combination of pedals can be used with with my RKR being set up the way it is?

I play a Mullen that i bought off the forum and it was set up by Mickey Adams. So i guess this is the way that the previous owner wanted it to be set up.

Also

what other ways could i set up the RKR. I mean by switching rods to other strings. Cause on Herb Steiner's website he has

2nd string Eb to D

and 6th string G# to F#

thanks

Peter Freiberger · From: California, USA

I believe Tommy White lowers his 2nd string to D where it picks up the 9th string lower and takes them both to C#, while raising the 7th to G.

You could have all three 1/2 tone changes happen simultaneously or try backing off the 9th string adjuster and setting your 2nd string to go all the way to C#. Then set the 9th string to pick up when the 2nd string hits D, giving you a "feel stop" for the D on string 2 (this may require some finagling with the rod positions on the bellcranks to work best). I don't know if Tommy has his also pick up the 7th string at the 1/2 stop or if it raises through the whole lever movement. You may be able to get the 7th string to go all the way up to G# with a half stop at G where the 9th string picks up with enough finagling.

The 7th string raise to G is very useful. It gives you a minor third with no pedals, and a b7 with A&B, but that's only the beginning. You'll find out that every change on the instrument gives you something different at every position you move through up and down the neck. If you also take it to G# you more or less have the same change as lowering 6 but in reverse.

I should add that I've tried moving strings 2, 7, and 9 with the same lever and found it a bit too stiff for me, so I lower strings 2 and 9 with one lever, with the "feel stop", and raise string 7 to G and G# picking up string 1 and raising it to G for the "feel stop". Some people raise strings 1 and 7 both to G# and get a feel stop by picking up string 2 and raising it to E.

David Beckner · From: Kentucky, USA

Brandon,,Do yourself a favor and contact Patricia Warnock here on the forum and get a copy of her chord chart-- don't know what I'd do without it.
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Jim Eaton · From: Santa Susana, Ca

Sounds like the "z" lever that Bobbie Seymoure was touting a few years ago.

Barry Hyman · From: upstate New York, USA

One way to look at it is that each pull could be used separately. The D# to D on the second string turns your E chord into an E7th, and it turns your B chord (open position) into a Bm. Plus it is essential in many melodic licks.

The F# to G raise is more useful than an F# to G# raise, in my opinion, because you already have two G# strings; you don't need another. It gives you an E minor chord; with the D an Em7. With the D on the second string and the B on the fifth string you would have a G chord. The G note can also turn your A chord into an A7, and then the D note adds your sus4.

The D to C# lower is great in E blues licks, it helps you get a C# minor (or major) chord, and an E major/C# minor pentatonic scale. It also can be part of an A chord, plus much more. Don't change anything (except maybe tune the F# raise so it raises just one fret, to G) and learn to use what you've got. There is much more you can do with each of these pulls than I can explain now, but have faith -- Mickey set it up like that for a reason. Each of those pulls is useful... They are there for a reason. My general advice to players who are new, or relatively new to psg, is, "Don't change it -- learn what it is good for." Don't take offence -- this may not be true of you personally at all, but in general I have found that people are too eager to dismantle what they don't understand.
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Stan Paxton · Posted 22 Apr 2010 7:20 pm

Brandon, my Mullen was set up that way from the factory many years ago. I don't know all the uses of each of those pulls, but as Barry said, think of using each different string pull separately, rather than trying to get a chord from all 3 at once. I jusst don't know any better. Cool

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Joseph Barcus · From: Volga West Virginia

I would take the 7th off that needs to be on a separate knee, with the 7th & 1st string 1/2 raise to G makes a nice 7th move for you. and the 1/2 lower on the second string is also a 7th move. listen to buck owens sams place for what that would sound like. the 9th string with out any movement is also a 7th position and when you lower it to the C# is very nice in the pedals a&b closed position then picking sting 9 then lower it. now if you wanted to leave that 7th raise on it make it go to a G 1/2 raise instead. with pedals down you can plays riffs like truck driving man. waylons only daddy that will walk the line. stuff like that
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Mickey Adams · From: Bandera Texas

I think all of this is good advice. I use this same copedent. Try using the RKR with straight major chords open and AB pedals, and use string 7 whole tone pull for unison and major 7s...Maybe a Youtube video is in order?...At any rate, if any of these changes are not needed, just back the hex nut off until it no longer affects the string you wish to neutralize..
AS for the Whole tone pull on 7, it can easily be "half pedaled" for the Dom 7...same goes for the RKL on string 1..The whole tone pull gives you more options there..
I find this setup VERY useable...At any rate, I am ALWAYS here to offer my opinions, and guidance when its asked for...Brandon you got this from AK in Atlanta?..its the faded blue D10 right??
Brandon if you would like to change anything on that GREAT Mullen you bought, you give me a call at 214-334-3582, and I will be happy to set it up for you, or talk you through the changes..
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Brandon Wright · From: Austin, Texas, USA

i will take heed to the advice. I went down to the Broken Spoke last night and got some good advice from Nate Fleming the pedal steel player that plays for Jesse Dayton too.

That guy is nasty on the steel. He is seriously incredible. I'm pretty excited. He told me he'll give me some lessons. He was real cool to me.

Thanks Mickey. I'll probably leave it the way it is. I was just unsure what the purpose of it being set up like that was. However i do want to hook up LKL and LKR for the C6th neck so i can get my Bb's and Ab going on. I'll just have to ad a couple rods and bell cranks and I'll be ready to rock and roll. But I'm just a South Austin po boy right now. I'll have to wait till i get some money to invest. But Mickey i will give you a hollar when I'm ready to do that and i appreciate everything you do brother.

Also Joe Barcus. I wanna say thanks to you too for your advice and videos on youtube. Both you and Mickey help me out tremendously. I would not be as good as i am without this forum and you guys. I'm not very good. But I'm improving every day.

I'm trying to learn one of my friends songs and he's using a capo on the 4th fret and I'm playing the chords that he gave me and it just doesn't sound right.

So i figured i'd try different ways to get chords with RKR or the VKL and maybe i could find the correct voicing. This is reason behind my post.

It seems that I get something that sounds good using the relative minor of each chord he's playing instead of actually playing the exact chord of the song since he's using a capo.

I figured this out after the fact i made this post. But hey....i learned some new stuff...haha

Thanks to everybody

and to David Becker.

I did get the E9th chord chart from Patrica Warnock a few weeks ago. And boy i tell you what....It did a world of good for me....I sucked REEAL bad...before i got ahold of that thing...But it doesn't have RKR or VKL on there

so thanks to her too and everybody on here. Ya'll are awesome

Also....what about chords using the VKL. What can that ole mean eye'd swamp honky give me?

Brandon Wright · From: Austin, Texas, USA

Mickey's talking about. hahah

Boy I'm proud of this steel like I am to be from this Great State

Brett Lanier · From: Madison, TN

If you're going to start using the LVL it really helps to have the split tuned. That means that (if it lowers 10 and 5 a 1/2 step) when you engage the lever, you will be in tune whether or not the A pedal is depressed.

Just tune using the final stop screws that hit the fingers for strings 10 & 5 with just the LVL. Then use the nylon hex to tune the LVL when you have the A pedal down.

It's the same thing with the lever that lowers 6 a whole step. Use the screw to tune the lever, then the nylon to tune the lever with pedal B. It gives you an Em at fret zero that you can tune.

Unfortunately, you can't hook up the E9 left knee levers to the C6 neck. Your feet will be too far left to work the pedals. Unless you have extra KL's under there, it is a bigger task than you'd think. You have to take a lot apart to get the extra cross shafts in.

There are a bunch of threads on here about uses for the vertical lever, but try playing 2 frets back (A7 on third fret). Also, press A,B and LVKL two frets up for A7 on the 7th fret (lower second string halfstep too). You can use it to play a minor chord with pedals down too (Am on 12th fret). I find that useful for minor passing chords especially moving up, rather than using the Eb lever. That's a matter of preference i suppose, but get the split tuned and it will make the new chords you learn sound more dead on.

Ray Minich · From: Bradford, Pa. Frozen Tundra

It's been a long learning curve coordinating my right foot, right knee, and the volume pedal so that actuating the RKR doesn't slam the pedal full on... May yours be shorter Smile

Mickey Adams · From: Bandera Texas

Brandon, if you want to bring it up here to Dallas, Ill add the rods for you free of charge..Just let me know when you get the opportunity....
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Anderson, Buscarino, Fender, Roman Guitars, Sarno Octal, Revelation Preamps, BJS BARS, Lots of Blackface Fenders!

Patricia Warnock · From: Houston, Texas

Thanks, David...I am always happy to share the chart. I appreciate that it is such a useful tool for other players. It is still posted to the wall opposite my steel. And, I'm still learning all the information too - trying to commit it to memory.

Brandon, Mickey's great. He'll help you in any way he can. Did I send you a copy of the chart? If you'd like it I'd be happy to share it with you.

Mickey, maybe I'll get a chance to see you when I'm in the DFW area in May.

Take care, all
Patricia

Brandon Wright · From: Austin, Texas, USA

you did send me a copy. I appreciate it

Thanks Mickey

I'll give you a ring in the first or second week of May. If you don't have anything going on. I'll come out

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