;Standard' E9 compensators?

Roger Rettig · From: Naples, FL

What is the 'standard' (if there is one)?

My LeGrande is pretty well in-tune regardless of string/pedal combinations, although the 7th can be slightly at odds with its neighbors with pedals-down.

I'm getting a new guitar and I'd like to be ahead of the curve and order said compensators before delivery, not after.

Am I right in assuming they should be on both F# strings and activated simultaneously with the A pedal?
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Peter Freiberger · From: California, USA

Compensating the 7th down a bit with the A pedal is common. Some people compensate the 1st down with the A pedal, some compensate 1 with the B pedal. Tom Brumley used the B pedal for string 1. Compensating 7 with the C pedal makes sense, but I don’t since I never seem to use that combination and I comp 1 with the B pedal, which I use in combination with C almost always.

Similarly compensating the C6 D on string 1 is something to consider. I do that with P6.

Roger Rettig · From: Naples, FL

Thanks, Peter: I think that the 7th 'lower' is the important one. I was just checking.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Fred Treece · From: California, USA

An old but in depth discussion on the topic here with insightful commentary from Tom Bradshaw
https://bb.steelguitarforum.com/viewtopic.php?t=25593

My Carter S12 seems to have the need for a string 7 comp, but the Williams 700 is a galaxy class cruiser.

Another new guitar, Roger? Are you sure she didn’t say “get a new car”….?

Roger Rettig · From: Naples, FL

Fred:

If I had known this JCH was in my future, I may well not have ordered the Rittenberry. But: who knows? Maybe the Prestige will exceed the JCH for tone: it will be new and rodded just as I want it.

Something will have to go. I can't afford to have three, not in my retired capacity!

Smile

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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Tucker Jackson · From: Portland, Oregon, USA

Roger, I think the answer of which pedal to add the compensator comes down to your style of play. How do you usually use the 7th string in combination with the 5th with A-pedal down? You might have to mess around for a while on your steel to figure that out.

I attach the 7th string compensator to the B-pedal. There are two reasons:

In my style of playing, any time I'm hitting the 7th string along with the 5A, I'm almost always in a pedals-down type of situation. Like A6 chord, F#m or DMaj7. Or licks built around those positions.

Bottom line, the B-pedal is usually already down when I hit that 5A. So, there's no reason the compensator can't be connected to the B.

But still, why not just connect it to the A-pedal since that's the actual note that's in conflict with string 7? Answer: If it's on B-pedal, it works in both the AB world and the BC world. That swings the decision back to compensating string 7 on the B-pedal.

+++
Not that you asked.... but the 1st string compensator is a different animal -- that one I put on the A-pedal. Again, it goes to style of play. I'm often doing single note runs or double-stops where strings 1 and 5A are ringing together, but the B-pedal may or may not be down. Therefore, I NEED that compensation on 1 to happen when the A-pedal by itself is down.

As for the the 1st string not being compensated when used with the C-pedal, it's a non-issue for me. I rarely hit 5C against string 1 (that same note is on 4C, but it's already in tune). I do use the unison of 4C against stg 1 and it's out, but that's fine: in rockin' unison licks the small outage is a feature, not a bug.

Roger Rettig · From: Naples, FL

Thanks, Tucker. That's a logical approach.

I use the 7th many ways: with the B pedal for a minor scale on the low strings is just one.

I will have to examine my most oft-used combinations and determine which option bes5 serves me.

I lower 10 to A on LKV and, of course, 9 on RKR. I used to have these both on RR but my latest guitar wouldn't permit that and I have discovered that the two pulls are even better when split.

I spend a lot of time on the E9 low strings: evaluation is required before I choose a comp option.

C pedal and 1st string? Almost never, but I am enjoying raising the 8th on my C pedal. That's new for me.

Thanks for your clearly expressed response.
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Roger Rettig · From: Naples, FL

It's one thing to get things 'in tune', but quite another to take that to the bandstand.

That cursed A/F lever combo: mine us tolerable if I fret the chord just a tad north. We can do a lot with our left hand when tackling E9's pitch disparities.

In other situations, dissonance is our friend. As you say, it's about one's style of play.

I find myself working out a new combo, then seeing what tuning anomalies it brings to the surface. What do I sacrifice in its favor?

So much to learn!!!
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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Lee Baucum · From: McAllen, Texas (Extreme South) The Final Frontier

Everything affects everything!

~Lee

Ken Metcalf · From: San Antonio Texas USA

I compensate the 6th string with the F lever for the A\F combination plus both F#s
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MSA 12 String E9th/B6th Universal.
Little Walter PF-89.
Bunch of stomp boxes

Ian Rae · From: Redditch, England

I compensate 7 only on A and C. Since making that decision I never think about it (unless someone posts about it) so I guess it works.
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Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs

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