6th. string split

Joseph V. Sapp · From: eastern shore, Md.

I play a Derby SD-10 4x5 and while in bristol, Skip was telling me of lowering the 6th string a whole tone with your RKL, which I do,,,but then add in the "B" pedal and raise it a half step. Which is from what I understand, a fairly standard split. I have the whole tone lower but cant seem to bring it up the half tone with the "B". any help would be greatly appreciated. I dont have much more hair to pull out. God Bless

Joe

Derby SD-10 4x5, Nashville 400, Fender blackface twin, Lexicon MPX 100, Profex ll

C Dixon · From: Duluth, GA USA

Joseph,

All PSG's which "split" on those two strings as you suggest end up with the G note too sharp. IE, grossly out of tune for most any taste. Incidently, there are splits which come close if not dead on. The subject split is not one of them which I will explain later.

Because that split (and others) end up sharp, manufacturer's and others have come up with a way to "tune" the split. There are two ways this can be done that I know of"

1. The Allen screw type split.

2. The second raise rod split.

In essence, both of these methods allow 3 adjustments:

1. The raise

2. The split

3. The lower

Details of how to do it has been covered in a number of threads. You may wish to perform a search if you are interested in how to adjust them.

Your guitar may need one or the other or neither. You may already be set up for a tunable "split". A call to the manufacturer would probably veryify that. Plus, what to do about it.

Now to explain why some splits always come up sharp (without the split feature) and others may be close.

The secret lies in whether or not both notes are normally tuned to straight 440 (ref) or very close to it. In almost all cases the A note and the F# note on the subject split is almost always tuned 440.

Because of the logarithymic nature of the 12 note semitone system of music, those two changes added together end up quite sharp. They would end up dead on IF our form of music was linear.

So an A note and an F# note (where both are tuned 440) added together will end up sharp.

The following is an example of a split that might just be close if not dead on in tune.

1. The A pedal

2. The lowering of string 5 a half a tone.

The reason this split may need NO splitting tuner, is because most players tune the 5th string whole tone raise to JI (Just Intonation) instead of dead on 440. Therefore the split might be very close to and in tune scenario.

This would never be true if the B to C# pull was 440 such as the 7th pedal on a universal.

Hope the above helps,

carl

Joseph V. Sapp · From: eastern shore, Md.

Thanks Carl:
your info was quite helpfull, I have a medical appointment this week, and I think it best to Call Charlie Stepp, (who builds the Derby), and find out exactly whats going on. My changer has the allan screws, and I also have some extra rods and bell cranks. I guess if all else fails, its a trip to Va. to Doctor Billy Cooper. I'm sure its nothing major, but I'd just like to have that change or split. Thank you again. God Bless

Joe

Larry Bell · From: Englewood, Florida

If your Derby has the extra row of setscrews, all you gotta remember is to tune the
RAISE at the nylon nut (G# to A), the
SPLIT at the nylon nut (G# to G), and
remember to tune the LOWER (G# to F#) at the setscrew.

Should work like a champ.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

Paddy Long · From: Christchurch, New Zealand

Carters website has a little video clip on how to achieve this split -- very informative and you will be able to see what bits you need !!!

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