Split the C-pedalâ€™s 4th & 5th strings, F# / C# pull?

Mark Hepler · From: Virginia, USA

Has anyone (besides Mooney) made the â€œCâ€ pedal raise only the 4th (E) string to F#, splitting the F# and C# pulls?

You wouldnâ€™t have parallel 5ths, but it would be cool to isolate the E to F# change: lots of twang potential.

There must be a reason no one does it . . . just wondered.

Fred Treece · From: California, USA

I would miss the amusement of those two strings twanging together, plus a chordal thing or two it makes possible. You can’t do A+C without double footing, and if you wanted B in there too....

My guitar had E>F# on the vertical when I bought it. The friend who owned it previously valued that change very highly. I messed with it and could see some use, but an F#>G raise was more important to me, so that’s what the vertical is now and for the foreseeable future.

Tucker Jackson · From: Portland, Oregon, USA

Mark, it's easy to try out to test the possibilities. Just grab your tuning wrench and unscrew the tension off of the 5th string's C-pedal nut.

Let us know if you find some cool options.

Mark Hepler · From: Virginia, USA

Charley Bond · From: Inola, OK, USA

Right now, I'm using C Pedal to lower my Bs, but may change that to the 4th pedal... don't know yet.

My Left Vertical Knee Lever is super quick & easy to pull/push
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Eric Dahlhoff · From: Point Arena, California

I'm pretty sure that Tom Brumley had a knee lever for #4 E-F# so he could use the A pedal with it.
I had a ZB that came with a 2nd LKL with that change.
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Chris Reesor · From: British Columbia, Canada

Mark, I'm guessing Al Perkins' first Fender was likely an 8 string, as Mooney's almost certainly was.

You Mooney guys out there, did he use Pedal C as we know it today?

If you have 8 strings with the highest two at E and G# and no chromatic strings, like Mooney in his early days, then having that high E-F# change over on the right on a pedal for two footing makes a lot of sense, especially if you want to bounce it quick.

That second LKL would be useful too, though not as quick as a pedal.

In any case there are lots of good reasons not to ditch the C pedal.
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Georg Sørtun · From: Mandal, Agder, Norway

E to F# on a lever is "standard" in my setups, but I leave the C pedal as is.

K Maul · From: Hadley, NY/Hobe Sound, FL

Jack Goodson · From: new brockton,alabama (deceased)

i had a friend that played a emmons pp for years, bobby seymour set it up with a half stop on the fourth string. it raised the fourth a whole tone and the 8th a half tone.. he had the c
pedal also....thanks jack

Pete Burak · From: Portland, OR USA

J R Rose · From: Keota, Oklahoma, USA

In my early days of learning I had 4th string E, RKR to F# and 2nd string D# on RKL to D as did my mentor and friend Jim Florance had. He used it all the time. He played Mooney as well as anyone could. But not me! When I brought my first new Carter John Fabian & Bud Carter convinced me to give up the E to F# and learn how to use pedal C. I did that for several years but when I got my first guitar that had both Es raise on LKL I quickly found that I could just retune the pull on the 4th string to F# and that's what I do now. I never could find how to use just to F. I never was a great picker and never could hear how to make certain moves so I just did what I could and so I like the E to F# knee lever. But, I still have it on pedal C. Thanks, J.R. Rose
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b0b · From: Cloverdale, CA, USA

I always had the high E to F# on the vertical lever of my E9th gigging guitar. Sometimes I had a C pedal, sometimes not. In recent years it's been D to E as I've switched to a D6th tuning, but it's the same change.

You lose the ability to "bounce" on it with a knee lever, though. Ralph Mooney licks really do require it on a pedal. On the D6th, I can still bounce that change on what would be C6th pedal 7. Mr. Green

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Larry Allen · From: Kapaa, Kauai,Hawaii

I added a B-C# raise on the low B..standard upper raises..nice fat chord C pedal Shocked

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Pat Chong · From: New Mexico, USA

I too, am like George and Pete, having an E to F# on string 4, but also on 8, on a pedal, I need the bounce. My C pedal remains, though. The E-F# raise comes in handy, and from past posts, may be more popular than thought.......Pat.

Larry Bressington · From: Nebraska

So it that with an extra E-F# lever such as a staggered? do you still have the E-F lever or do you split it?

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Georg Sørtun · From: Mandal, Agder, Norway

I have two different solutions.

I prefer the mechanically a little complex solution I made on my old Dekley, with a linear-moving LKV to unlock LKL and LKR from half-tone raise/lower to full-tone raise/lower of all 3 E strings – extended tuning.
In effect I get two extra changes by lifting a tailored, gravity-loaded (no real resistance), LKV ever so slightly.

On another PSG, a GFI, I use the original LKV directly to raise both E strings a full-tone, with the pretty standard half-tone raise on LKL and half-tone lower on LKR.
Simple to arrange and play with, but I miss the full-tone lower I have on the old Dekley.

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