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Topic: Lower 6 On Raise 1&2 Knee Lever? |
Bob Snelgrove
From:
san jose, ca
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Posted 8 Jul 2004 5:43 am |
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I think I've seen on more than one copedant this being done? Drawbacks?
thx
bob |
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Larry Bell
From:
Englewood, Florida
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Posted 8 Jul 2004 5:59 am
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A more common change is 1 up a whole tone (F# to G#) and 6 down a whole tone (G# to F#). You don't usually use both at the same time so it kinda does 'double duty'.
Adding D# to E on the 2nd wouldn't get in the way much either. Go for it. Only drawback would be if you need the 6th to be G# when you raise 1 and 2 (or vice versa). I haven't run into many cases where that's a problem.
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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
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Bob Snelgrove
From:
san jose, ca
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Posted 8 Jul 2004 6:11 am
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Thanks, Larry
I did mean lower 6 G# to F#.
thx
bob |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 8 Jul 2004 6:17 am
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I have those changes on a knee-lever and I have run across two draw-backs. Every now and then it would be handy to be able to hit the sixth string G# and be able to pull the first string up to G# right after that. Also, there is a pretty Maj7 chord available in the "pedals down" position, if you don't lower the sixth string.
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Lee, from South Texas
Down On The Rio Grande
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C Dixon
From:
Duluth, GA USA
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Posted 8 Jul 2004 6:46 am
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Many years ago, my dearest friend Mac Atcheson was playing, and I noticed he was making use of the octaves on string 1 and 6 with other voicings. Then I commented on the loss of his former raising 1 a half a tone with lowering 6 a whole tone on his RKL.
He said, "it messes up the chords if you add anything to the lowering of 6 a whole tone." He further added, "This is why I added a second LKL and raise both 1 and 7 a half a tone, so I don't have to mess up those chords on RKL".
Of course when Mac did anything, many of us admirers (he was truly one of the greatest players I ever heard play the PSG) always followed suit. So naturally, I went home and did it. And sure enough I had to agree.
Then when Paul Franklin came out with his raising 1 and 7 a whole tone and raising 2 a half a tone, "ya jes' gotta have at least some of it  ".
So as others are doing, I added the changes on string 1 and 2 to RKL (still lowers 6 a whole tone). But again, Mac is correct, it often messes up the chords when I lower 6 a whole tone. So I have been thinking about something.
If I could get used to it, (not sure) I may figure a way to allow the two F#'s to arrive at a G note (on LKL2) at the precise moment the D# is just ready to pull to E*. This would be like having two knee levers in one, IF I can "feel" the D# to E begin to move. I may have to jury rig a spring somewhere to make this work.
IE, G's on 1 and 7; AND G#'s on 1 and 7 along with an E on 2.
If I can make it work, (not sure I can), then a player would have the best of all worlds. There is no question in my mind that RKL needs NOTHING with the lowering of 6 a whole tone. At least the way Mac and I and some others play.
Wish me luck,
carl
*Note: there IS a possible problem with using the "above" half-stop. And that is, If you are wanting a smooth minor third to major third resolve on strings 1 and 2, this would not be possible with my idea. At present I do not use this resolve. But if I did and wanted to use it often, then it would NOT be a good idea to use the 2nd string as a half-stop for strings 1 and 7.
Time will tell  |
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Larry Bell
From:
Englewood, Florida
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Posted 8 Jul 2004 7:02 am
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As always the venerable Mr. Dixon is correct.
However, on a push-pull this isn't a problem. You can raise with A+B, raise 1 with the knee lever and the 6th string raise dominates, so the pedals down Ma7 chord is still there.
It's ALWAYS best to separate like changes whenever possible (i.e., put 1 and 7 -- and maybe 2 on the same lever and lower 6 on another one), but sometimes logistics dictate otherwise.
My push-pull only has 6 levers, so there's really not room unless I add another lever (which I prefer not to do). On my Fessy, I have 8 levers and it's much more feasible to split 'em up.
That's my take on it.
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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
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