RKL question

Jim Sliff · From: Lawndale California, USA

Most of the information I've seen shows the RKL as pulling the 1st string and 7th string F# to G.

Mine is set up to pull the 1st string to G, but the 6th string is hooked up to it but not working - the sleeve or whatever it's called that the adjusting nut moves is all the way in and not budging. Under the guitar, I can see the plate is pushed out and the spring extended as well.

Two questions:

1. What's the "normal" tuning for this lever?

2. How can I free up the the 6th string adjustment a few light pushes had no effect?

Also, the RKR seems to have and indistinct pause somewhere in the middle around C# (but not consistently) and then pulls to D. Is there some sort of "half stop" that's just not working cleanly on this guitar?

Well, at least I got the ABC pedals and Left knee levers working!

[This message was edited by Jim Sliff on 07 July 2005 at 10:06 PM.]

Stephen Gambrell · From: Over there

Jim, if the 6th string is hooked to RKL, then it is (or should be) set up to lower the 6th string by a whole step, while raising the 1st string 1/2, or even a whole step. RKR should, indeed, have a half-stop, with a distinct "stop" feel at the half-step lower on the second string. At this point, most folks begin to lower the 9th string 1/2 step. The tension of the 9th string should create the "stop" feel.
I think I got it right!

Tony Prior · From: Charlotte NC

and more..
RKL is used as Stephen states but also another common pull is the 2nd string up 1/2 tone.. Raising 1 a whole tone and 2 a half tone are two tones that are self evident together..

Raising 2 a half tone also gives the guitar 4 notes on the 2nd string. Raise, natural, 1/2 lower, full lower.. 4 scale notes on 1 string..in one position..pretty powerfull stuff..

Also..many choose to Raise 7 a whole tone rather than lower 6 a whole tone with this lever..

Raising 7 brings that string to the same unison tone as the 6 string natural..Lowering 6 a whole tone brings that string to the same unison tone as the 7 th string natural.

What this does is allow the player to "lower" to the phrase or "raise" to the same phrasing.

the 7th raise kinda equates to bending a sring on the 6 string guitar up to a phrase..Lowering the 6th would be kinda the reverse, the phrase with the bend going back to the natural without the bend.

Of course many here will prefer to see chord uses for these levers, I prefer to look at these changes as notes in a scale..how they are applied is really up to the individual.

Clearly this Instrument allows us to step out of the box....

good luck

t

ps..Hi Stephen...

[This message was edited by Tony Prior on 08 July 2005 at 04:11 AM.]

Jim Sliff · From: Lawndale California, USA

Thanks guys -

A continuation to the question - will having it set up on the 7th instead of 6th string conflict with instructional materials? I seem to recall most instruction stuff only dealing with the "E" raises/lowers, which are covered by the left levers.

What's the scoop as far as books, tab, etc? Will it mess me up?

Tony Prior · From: Charlotte NC

Jim, thats actually a very good point.

the answer is NO..

I think that most TAB material uses the E raise, E lower and some 2 nd string lowers..

I doubt that there are many Tabs out there that even talk about the 6th or 7th string levers. And to take it a bit further, not much is ever mentioned about the 9th string or the Bb lever ( usually LKV) lowering 5 and 10 either..

The point is it does not matter what lever the TAB discusses as long as you, the player, recognize which raise or lower the TAB is referring to..which lever it is on the guitar is secondary.

The music is the same, where we all decide to play it from may be a bit different...

good luck
t

[This message was edited by Tony Prior on 08 July 2005 at 08:44 AM.]

Bobby Lee · From: Cloverdale, California, USA

The F# to G# changes, whether on the 1st, 6th or 7th string, aren't mentioned in any beginners instruction that I'm aware of. They are fairly modern changes used mostly on top 40 country records.

Personally, I find the F# to G more useful than F# to G#. The full step change provides no additional chord voicing or harmony, and I've never been able to get much beyond a "country sound effect" out of it.

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Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
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Jim Sliff · From: Lawndale California, USA

I'm having trouble getting it to reach that G# anyway - so G it is for now!

Thanks Bobby. And Bob Carlucci is going to "talk me through" the 6th string changer problem this weekend.

Then I'll be set.

Except for the C6 neck..Oh, lordy!

;-)

[This message was edited by Jim Sliff on 08 July 2005 at 12:25 PM.]

Willis Vanderberg · From: Petoskey Mi

I put the B's lower on my RKL and it works very well there for me. I Put the old RKL changes on the Vertical.

Bud

Jim Sliff · From: Lawndale California, USA

That wouldn't apply for me - no vertical levers.

John Bechtel · From: Nashville, Tennessee, R.I.P.

My RKL Raises #1-(1-tone), #2-(½-tone) and Lowers #6-(1-tone). Then my LKL Raises #8-(1-tone) w/half-stop and #4-(½-tone). I never had occassion to need an (F) on #4 & #8 at the same time! It's also another version of P.F.’s (C)-pedal when used with the regular (C)-pedal! (C)-Pedal + LKL = B–D–[F#]–F#–G#–[C#]–[F#]–G#–D#–F# This was an accidental discovery for me! I never knew about the P.F.-(C)-Pedal. If you also Lower #6, you’ll have (3)-F#’s together, if you wish! “Chorus~Effect¡ Ha~Ha!”

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“Big John” Bechtel
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