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Topic: E9 copedant question |
James Wolf
From: Georgia
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Posted 11 Mar 2013 1:26 pm
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My guitar came with right knee left lowering the b strings. To be honest I've never really used it. I noticed that Other players prefer to raise F#'s to G's. What do you guys prefer? |
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Roger Rettig
From: Naples, FL
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Posted 11 Mar 2013 1:47 pm
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It depends on what your musical priorities are. I have that pull in the same place and I wouldn't be without it.
F# to G? I don't see that as a vital change but others will disagree. I do like F# to G#, however, but not in preference to lowering the Bs. _________________ Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Greg Cutshaw
From: Corry, PA, USA
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Posted 11 Mar 2013 4:15 pm
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Both F#'s to G# has a ton of uses as does the B to Bb if you use it for split tuning with the A pedal. Check out some of the tabs on my web site or some recent posts on this subject for lots of these ideas.
Greg |
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James Wolf
From: Georgia
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Posted 12 Mar 2013 4:58 am
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Thanks |
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b0b
From: Cloverdale, CA, USA
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Posted 12 Mar 2013 7:45 am
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We had a survey a while back. The most common 4th knee lever today does this:
1st string F# to G#
2nd string D# to E
6th string G# to F#
A tunable split gives you a G note on the 6th string when combined with the 2nd pedal (G# to A).
I'm sort of old school on this. I raise the 1st string to G and lower the 6th string to F#. I'm in the minority, though.
The B to Bb is usually on the vertical lever LKV. _________________ -𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
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Roger Rettig
From: Naples, FL
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Posted 12 Mar 2013 10:12 am
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It's true that the B-Bb is often on a vertical but, because it's such an important pull for me, I have it on RKL. I have my least-used changes on the LKV as I don't care for that upward movement.
Rather than lowering the 6th a step I favour raising the 7th a step. It's easy to half-pedal my LKV and it gives me a flat-seventh on that string with pedals down. _________________ Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Larry Bressington
From: Nebraska
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Posted 12 Mar 2013 10:25 am
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I'm in Roger's camp on the thinking...I do franklin on lever 1 and 2. For simplicity reasons, i don't raise string 7, or lower 9 or 6
I have never tried the B's drop as i have all four used up. I can slide back and raise E's for the Dim chord and i can slide up one fret and lower E's for the minor. _________________ A.K.A Chappy. |
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Brint Hannay
From: Maryland, USA
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Posted 12 Mar 2013 10:32 am
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Naturally, it all depends on what particular things you want to play, which may in turn come from what you've found and gotten used to with what you have.
For example,
b0b wrote: |
We had a survey a while back. The most common 4th knee lever today does this:
1st string F# to G#
2nd string D# to E
6th string G# to F#
A tunable split gives you a G note on the 6th string when combined with the 2nd pedal (G# to A).
I'm sort of old school on this. I raise the 1st string to G and lower the 6th string to F#. I'm in the minority, though. |
Personally, I have problems with both those concepts. I have the 6th string F# lower and use it a lot. If I had a raise to G and/or G# on the 1st string, I'd want to be able to use it with the pedals-down A chord including the bottom root on the 6th string, so I couldn't combine it with the 6th string F# lower.
(Except on a push-pull!) |
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Roger Rettig
From: Naples, FL
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Posted 12 Mar 2013 10:42 am
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My LKV raises 1,2 and 7 (to G#, E and G# respectively). I can keep the root note on string 6 (with pedals down) and get the major 7th on string seven and one!
I really like that option. And, as I said earlier, half-raising LKV with pedals down gives me the flat seventh note on string 7. It's easy to engage and I'm getting a nice tight A7th chord comprising 5, b7 and 1 on strings 8,7 and 6.
If I had to lower the 6th to get that b7 then I'd lose the root note (on 6 with the B pedal pushed).
As I also said earlier, one's preferences are so often schooled by what it is one wants to play. _________________ Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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