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Topic: Pros and Cons of two 8 string C6 Tunings |
Jana Lockaby
From:
Kaufman, TX
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Posted 26 Dec 2019 11:22 am |
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I’m sure this has been discussed numerous times, but, it never hurts to revisit the topic, get new opinions, and ideas. So, tell me, considering these two, 8 string, C6 tunings, why one over the other? What are the pros, and cons, of each? Which one do you prefer, and why?
Tuning #1, low to high, which I will refer to as the Cindy Cashdollar tuning: A, C, E, G, A, C, E, G.
Tuning #2, low to high, which I’ll refer to as the Jerry Byrd tuning, even if that may be incorrect: G, A, C, E, G, A, C, E.
I know this is, mostly, personal preference. I am curious about the choices of those of you who play these tunings. Thanks. |
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Erv Niehaus
From:
Litchfield, MN, USA
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Posted 26 Dec 2019 11:51 am
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With C6th, non pedal, I prefer the one with E as the top string. 
Erv |
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Jana Lockaby
From:
Kaufman, TX
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Posted 26 Dec 2019 12:54 pm
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| Erv Niehaus wrote: |
With C6th, non pedal, I prefer the one with E as the top string.
Erv |
Hi. Erv. Why? 😀 |
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Brad Davis
From:
Texas, USA
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Jana Lockaby
From:
Kaufman, TX
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Posted 26 Dec 2019 1:43 pm
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No worries. This was exactly what I was looking for. Thank you for the link. This is very, helpful. |
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Erv Niehaus
From:
Litchfield, MN, USA
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Posted 26 Dec 2019 2:02 pm
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Jana,
I guess I cut my teeth on C6th with the old Jerry Byrd book, so that's why the E is on top.
On the C6th pedal setup I have a G on top.
Erv |
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Bill McCloskey
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Posted 26 Dec 2019 2:35 pm
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Just to add to that discussion, since no one else is taking up the cause, I'll make a pitch for the High C tuning.
I like playing big fat four note chords and use 4 picks. I love having the relative minor root in the bass and I use it all the time.I also play Reeces' 12 string C6 which has the same intervals in the middle of the tuning so anything learned on the 8 string is instantly available on the 12 string.
For me, it isn't what is on the top, it is what is on the bottom. |
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Nic Neufeld
From:
Kansas City, Missouri
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Posted 26 Dec 2019 2:44 pm
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Style figures into it a bit. Those playing Hawaiian will often play the low E version. It was just more common and there's lots of reasons for preferring both. If I really wanted the "fifth on top" I'd probably end up playing A6 though as I just like the deeper, fuller sound with the heavier, lower pitched strings. A6 is also the frequent choice of western swing players.
The other thing...comparing those two specific versions...your high E C6 is less useful as an 8 string tuning because, when I played a similar tuning, the low G and A added very little that was useful. So you're not getting a lot of use of those strings (tuned that way) so might as well have extra top end range for melody (high G). (Note, others may find a low 5th / 6th more useful than me, doesn't mean it isn't useful, just not my preference.) Now, you could improve both of those tunings by swapping the low A for a Bb (or at least being able to change back and forth between A and Bb depending if you want that 7th chord sound) and then replacing the low G on the high E C6 with a .068, .070 string tuned to low C. Run that through a good amp and it speaks with authority for really big chordal sounds!
_________________
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me |
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Daniel McKee
From:
Corinth Mississippi
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Posted 26 Dec 2019 3:34 pm
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| I've spent so much time with a tuning that had a high E, I just feel more comfortable with that. Its good to have other variations though to experiment with. |
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Jim Fogarty
From:
Phila, Pa, USA
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Posted 26 Dec 2019 3:37 pm
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I prefer the added range of high G tuning. One, because it gives you the same intervals on the top 3 strings as dobro tuning (which I'm comfortable with).......two, because it cuts down on the slants a bit......three, I find onstage, the higher area is where the steel is heard best and expected to sit, generally.
If I were interested in playing more chord melody or block chord arrangements, I might prefer the lower tunings, though. Also, 95% of C6 tabs and books are written for 6 string C6 with the E on top, which is a little easier to translate quickly.
YMMV |
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Jana Lockaby
From:
Kaufman, TX
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Posted 26 Dec 2019 4:49 pm
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Ah, this is perfect! Thank you everyone! This is, exactly, the thing I was looking for!
I am hoping to get back to work on my Fender D-8. I’m trying to decide what I want to do, and which tuning to put on which neck. I’m going to continue with the high G, Cindy Cashdollar tuning, on the bottom neck, as that is the instructional material I have on hand. I prefer the A6 sound to thE C6, so can tune to the A6 later, when I’m back on track, with that high G tuning.
I’m thinking, however, I will tune the top neck to the C6, high E, Jerry Byrd, tuning, just to see if I like it. Transposing one C6 to the other isn’t that difficult. I’m familiar with the doboro open G, and open D, or E, and a little out of practice with E9. Slants do not scare me. Since i don’t know where, exactly, I’m headig with the Fender yet, other than my own enjoyment, I can, sort of, play around with the best of both worlds, for now? I can always change one neck, or the othr to an A7 later, with whichever, tuning I like best. Right?
Well, this will keep me busy, and out of trouble, for a while. Thanks you guys. Lots of good info here, and I will be keeping it in mind. Have a happy New Year! |
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Jim Fogarty
From:
Phila, Pa, USA
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Posted 26 Dec 2019 4:53 pm
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| Jana Lockaby wrote: |
I’m thinking, however, I will tune the top neck to the C6, high E, Jerry Byrd, tuning, just to see if I like it. |
From that tuning you can easily, with the same string set, also tune to A6, B11 and a few others I'm blanking on, so that's a good idea, too.
Have fun. Just got my D-8 and I'm using High G C6 and E13 (Leon McAuliffe).
http://www.lapsteelin.com/2017/10/17/c6-tuning-is-perfect-for-breadboarding/ |
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Jana Lockaby
From:
Kaufman, TX
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Posted 26 Dec 2019 5:01 pm
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| Jim Fogarty wrote: |
| Jana Lockaby wrote: |
I’m thinking, however, I will tune the top neck to the C6, high E, Jerry Byrd, tuning, just to see if I like it. |
From that tuning you can easily, with the same string set, also tune to A6, B11 and a few others I'm blanking on, so that's a good idea, too.
Have fun. Just got my D-8 and I'm using High G C6 and E13 (Leon McAuliffe).
http://www.lapsteelin.com/2017/10/17/c6-tuning-is-perfect-for-breadboarding/ |
I thought about the E13 - cool sound, but with playing dobro, open G, lap steel, open E, and now the D-8 C6, I was afraid my head would explode! Ha! Thanks. |
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Raymond Craig
From:
Texas, USA
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Posted 1 Jan 2020 3:48 pm
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| I started out on high c6th tuning and like it, then I got a 12 string sunny Jenkins in the reece tuning and fine for me with the middle of the tuning the same all I have to learn is the 1&2 and the11&12 I also love the chordal possibilities |
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Bill McCloskey
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Posted 1 Jan 2020 4:39 pm
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| I have been rediscovering Reeces 12 string tuning again. Agree, great tuning |
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Dave Mudgett
From:
Central Pennsylvania and Gallatin, Tennessee
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Posted 1 Jan 2020 10:32 pm
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I thought about the general issue of how to set up the two tunings on a D8 a while back, for what I need, which is mostly classic country, Western swing, and rockabilly. After thinking for a while and also reading what other people were doing (there are a lot of good forum threads on this), I came up with these charts for 22.5" and 24.5" scale length steels, which I posted here a while back: https://bb.steelguitarforum.com/viewtopic.php?p=2871086
My meat and potatoes tunings are:
Low tuning: A6 with the 5 on top, which is easily retuned to C6 with 3 on top;
High tuning: E6 tuning with 3 on top, which is easily retuned, using a similar procedure in reverse, to C6 with 5 on top.
Tonally, I'd say I usually prefer the low tunings for most of what I do without pedals. So on a single neck, that's what I usually use. But for the same reasons I like E9 on pedal steel, I really want the high G or G# for some things, especially classic country. So if I have two necks, I tune the second neck thusly.
Looking at the charts, it's clear that a bunch of other common tunings can be readily obtained without changing string gauges. You may think your head will explode at first glance looking at these charts. But they're actually very simple if you just think about it in terms of the interval-from-tuning-root numbers. |
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Rich Sullivan
From:
Nelson, NH 03457
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Posted 3 Jan 2020 12:15 pm
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| In line with what most everyone mentions, there are tradeoffs, both advantages and disadvantages to having either the 3 or the 5 on top. One advantage to the 3 on top that is seldom mentioned, is that playing harmonized sixth scales has more possibilities, and just seems to lie on the neck in an easier way (at least it seems that way to me.) |
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Twayn Williams
From:
Portland, OR
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Posted 10 Jan 2020 10:52 am
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I use the 5th on top, though lowered a 1/2 to B6. Doc Stein recommended it to me as a useful swing tuning and I find it to be true. I like having that minor 3rd on top. I also like having the higher pitch as well. As a treble junkie, I tend to play in the higher registers of all my guitars anyway..
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Primitive Utility Steel |
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David Ellison
From:
California, USA
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Posted 13 Jan 2020 3:27 pm
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I used to play a Stringmaster in several bands, playing mainly vintage (1950s) country. I used the C6 tuning with the 5th on top because I like playing more in the middle-to-upper range. It fit the music better and sounded good in a band setting.
For example, I would use some variation of the Hank Thompson descending chord lick frequently when going from a I 6th chord to a 7th, prior to going to the IV chord: Dat Dah Dahhhhh. Can't do that without the 5th on top. |
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