8 string W/ 6 pedals C6th. Pedal set up?

Jonas Hodges · From: Texas, USA

I have an 8 string steel with 6 pedals that I would like to set up with a C6th tuning. Currently only 3 pedals are working but I think I can see how to fix the others. Which strings should each pedal pull on? I'm thinking of going with the GACEGACE tuning.

John Poston · From: Albuquerque, NM, USA

If it were me I'd lean towards FACEGACE to have the the IV as a root in the low end, though when I first learned C6 on 8 string I had ACEGACED.

I'd also just do the typical Emmons C6 changes. 3 pedals I'd start with P5-P7.

Other changes I would add based on personal priority are
As to Bb
Cs to C# (some may want only low C to C# to recreate P Cool

high A to Ab
high C to B
Everyone will have a different order for these based on personal style.

Andrew Frost · From: Toronto, Ontario

I'm not a hardcore C6 wizard but I agree with John about the F on the bottom.
It will open up a ton more combinations and chord voicings.

If you go that route, and adapt some standard pedal changes like P5/6/7, one trick you can do is drop that F string down to low D on pedal 5.
Typically that pedal (on 10 string tunings) raises low C up to D and lowers the middle G a half step to F#. This creates a D9 chord. Because you have 8 strings, and no low C, if you go with F on string 8, you can still get that low D root on that pedal by dropping it a minor 3rd.
Typically that pedal will be beside P6 which drops the lower E to Eb and the higher E to F for an F9 chord. You'll have the root of that chord on string 8 if you go with the F. Pedal 5&6 together make a diminished chord and also a D7#9 in the upper register. That F-D drop creates a boo-wah effect similar to what P8 typically does.
Studying the Copedents here in the " links " is a good idea. Maybe you're already doing that. Good luck with it!

Jonas Hodges · From: Texas, USA

Thanks for the advice! Going to try and set it up today.

J D Sauser · From: Wellington, Florida

With FACEGACE (low to high), you can put on all the BE standard changes. There is no reason not to.
"P8" would not have the bottom "bhoo-whah" 3 half step drop... but it's still A7#9th and you will want that.
Also keep in mind that just like CMajor6th has a relative minor (Am7th), FMajor also has a relative minor, Dm11th, F being the minro 3rd. even when there's no root. So consider dropping your G a whole step.
IF you don't mind dropping the old A's-to B 1st pedal ("P4" on a traditional BE D10 setup), you might consider raising both C's o C# on the pedal to the left of "P5" (aka. "The Two Below Pedal"), as played together they change Am7 to A7th and then (adding "P5") A6th. That may seem almost redundant, but they it goes way beyond that moving up and down the neck as it allow you to play 4 chord scales on the same chord grips... almost like E9th is so well know for.

I urge anybody who doesn't even ask to move "P6" on a knee lever opposite to the C-to-B drop lever and also opposite to the A-to-G# drop lever, as it brings pedals "P5" and "P7" together for playing them together and also the ability to play the "P6th" change with BOTH of them.

So:
C#, P5, P7, P8

("P7" and "P8" should be next to each others as they play together too. Moving "P8" over to the left to "P5" as Jeff Newman suggested some time, is -sorry Jeff- not a good idea in my opinion).

I would have 4 or 5 levers instead of too many pedals.
Lowering top C to B is essential
Raising the A's is good.
Lowering the A's is better
Dropping G to F is great
Dropping E to D is interesting and opens quartal voicings with "P7" & "P8" engaged. It's also great with the C-to-C# & "P5" engaged and get's you into the "modern" sounds of upper structures in all sorts of chord qualities.
Again, moving "P6" on a lever has been a game changer to me.

... J-D.
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