Thoughts on tuning the F# on an E9

Alex Cattaneo · From: Quebec, Canada

So I'm now tuning my steel by ear, tuning out the beats as they say. Works quite well, but I'm not sure how to go about the string 7 and 1 F#.

Thing is, let's say I tune my E straight up with the pedals engaged. Because of cabinet drop, it will be sharp in the open position. Then, I'll tune my B notes to the sharp E. Since B is the 5th, it will have to be a little sharp to sound in tune. So the E is a bit sharp because of the cabinet drop, the B is a bit sharp to the E, time to tune the F# to that open B. And F# is the 5th of B, so to get a nice open B chord, that F# will have to be sharp. F# is sharp to the B which is sharp to the E which is sharp from cabinet drop... (and the E would be even sharper if we tune the A rather then the E to 440). If you're still reading, well that F# is now pretty dang sharp isn't it?

So, I guess I'm curious about how pros treat their F#. Tune it to the open B? Tune it to the C# with the pedal engaged? Do you tune strings 1 and 7 the same?

I don't know how relevant this is, but I play a lot of minor chords with this current songwriter I'm backing up, so having perfect major triads is not enough. One the voicings I really like to use is string 7-6-5 with pedals A and B. Because string 7 is tuned higher than tempered, I simply slant the bar a bit and it sounds pretty good. I suppose that's part of the learning process, deciding what you need and figuring out a way to make it work.

Lane Gray · From: Topeka, KS

I tune them if I'm recording, to the use I'll use it most.
For live playing, I'll tune 7 to have a sweet minor third with 6B and I tune 1 in a way that sounds more complicated than it is, once you get used to it: C pedal F# is first a minor third off 3B, the C# goes to a perfect fourth from that. 1st string goes to perfect fifth from B. Then I move 1 and 4C to the middle between them: I have a couple of bluesy licks that NEED the unison, and the western ear is used to tense intervals, but a tense unison? NEVAHH.
Such annoying compromises have got me seriously toying with back to Bach.
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2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Jerry Overstreet · From: Louisville Ky

I'm not a pro but I can tell you what I do. Pretty much everything you said starting with the pedals down E note.

I, and several others, use compensator rods on the 7th string to true the F# note with pedals down. Some also do the same with the 1st string.

That's the easiest way to deal with it. It just takes an extra pull train.

Many players are content to just split the difference.

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