| Author |
Topic: Considering adding a raise to second string. |
Cody Stewart
From:
Traverse City Michigan, USA
|
Posted 24 Apr 2018 6:07 am |
|
Hello Everyone,
I currently have a late model Sho~Bud LDG with the super pro changer. My LKR currently raises my 1st string a whole tone to G# and my 7th string a half tone to G. I'm considering adding a raise to the second string off of the same lever to raise is a half tone from D# to E. Do a lot of you guys run this? was wondering if there is a good advantage to it?
I greatly appreciate any and all insight and advice
Respectfully,
Cody Stewart |
|
|
 |
Bobby Hearn
From:
Henrietta, Tx
|
Posted 24 Apr 2018 6:32 am
|
|
| I have that change and really like it for some cool unison stuff with string 4 without having to slant bar, and it also sounds good played with string 1. |
|
|
|
Greg Cutshaw
From:
Corry, PA, USA
|
|
|
|
Kyle Everson
From:
Nashville, Tennessee
|
Posted 24 Apr 2018 7:31 am
|
|
| Consider bringing the 7th string up to F# as well. The 1,2,7 raises work as a team for major7 licks and completing the harmonized scale, among other functions (such as a passing 6 tone in the E lowers position). You can always "half-pedal" it for the G raise. |
|
|
|
John Swain
From:
Winchester, Va
|
Posted 24 Apr 2018 9:14 am
|
|
| A nice change to have, and by timing 2nd string to start late you have a usable half stop for the G on 1+7. It's also neat that very often you can just add another pull rod to the same bell crank that pulls string1! |
|
|
|
Greg Gefell
From:
Upstate NY
|
Posted 25 Apr 2018 4:57 am
|
|
+1 to what Kyle said! I recently moved my 1,2,7 raises to LKV and it works well alone or with AB + BC combos. I also find it easier to come up to the G half step with it on the vertical. I could never do that on RKL where I had it before.
_________________
https://www.facebook.com/ggefell/ |
|
|
|
John Goux
From:
California, USA
|
Posted 25 Apr 2018 10:37 pm
|
|
Greg, you find it easier to hit the half stop on the vertical than LKL?
I would think it’s easier to do on a knee. I am curious if this half stop works on a vertical.
I use this change often, the 1/2/7 raise. Having the E on string 2 gives you 4 half steps when combined with the Str 2 lowers.
It is not just a lick change. Having those notes on string 2 is an effective melody and counterpoint tool.
John |
|
|
|
Greg Gefell
From:
Upstate NY
|
Posted 26 Apr 2018 4:03 am
|
|
I don’t have the half stop bump from 2 engaging. Mine are timed so all 3 notes start and stop smoothly together which sounds better when using the whole step raises on 1 and 7. I just find that with my AB down and lifting my heel, I can get a more controllable leverage to ease into that G note 7th when needed. If I needed to consistently hit G without the squeeze up from F#, I would need a half stop. I lower both G# to G on another lever for that use.
_________________
https://www.facebook.com/ggefell/ |
|
|
|
Cody Stewart
From:
Traverse City Michigan, USA
|
Posted 26 Apr 2018 9:42 am
|
|
Everyone,
I greatly appreciate all the insight. There is much to consider. However, after examining my undercarriage, I've discovered that the bracket holding my half-stop assembly for lowering the second string is directly in the way of adding a pull rod to raise it... Just to be clear, I want to add my second string raise to the lKR, I lower the second string on my RKR. This a factory Sho~Bud set-up. Have any of you other sho~bud guys run into this exact issue? Is there an easy solution?
Thanks,
Cody Stewart |
|
|
|
