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Topic: Emmons E9 Peterson Sweetner and history of this tuning |
Dan Neave
From:
Queensland, Australia
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Posted 19 Aug 2024 5:38 pm |
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Hi fellow players,
Dan here from down under (Australia), hope you are all well.
I am a 40-year-old pedal steel player playing on a SD10 Show Pro and my rig consists of 2 Goodrich volume pedals, a Hilton low profile, TT15 quilter and a fender twin, plus a few different delay pedals.
Anyhow I would love if anyone can share the HISTORY of the Emmons E9 sweetener offset that Peterson use for their tuners and why you feel this was used over say other sweeteners/offsets.
What I have noted for this tuning is:
F# + 4
D# - 10
G# - 11
E + 0
B + 0
G# - 11
F# - 15
E + 0
D + 0
B + 0
A - 7
A# - 10
C# - 17
D - 20
F - 26
F# + 4 / - 22 / -26
G - 15
For myself I typically tune my guitar using harmonics working off Es tuned at 440 (pedals down), and I recently have experimented with the Jeff Newman SE9/SP9 442 sweetener which's does sounds nice to my ears for my guitar and also works in band situations.
The notable differences that got me intrigued with the Emmons E9 tuning was no offset for the notes B, E, D and quite a drop in cents for the open F# 7th string compared to other sweeteners I have looked at. I started to think maybe offsetting open B and E is not as important as I once thought?
I would appreciate some direct comments regarding this specific Emmons E9 tuning.
Have a great day,
Dan |
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John Lacey
From:
Black Diamond, Alberta, Canada
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Posted 21 Aug 2024 6:39 am
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| I hadn’t noticed that the lower f# was as low as -15. That’s quite interesting, but how does that happen as the tuning doesn’t differentiate one f# from another? |
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Nick Krol
From:
Rhode Island, USA
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Posted 21 Aug 2024 7:17 am
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Looks like the same offsets as this chart
http://www.buddyemmons.com/ttchart.htm
Probably something Buddy developed along the way? I know he advocated equal temperament for the second half of his career so not sure about the chart. He was also using a Legrande III with 0 cabinet drop while tuning ET so that is something else to consider
A lot of the early tempered steel tunings started at a baseline of E is 0 cents and made everything flat from there. Which leads to very flat F on the E raise lever. This is usually adjusted for with the bar but can make using that F as anything other than a third sound bad.
I’ve recently switched from the Peterson tuning to using this chart
https://b0b.com/wp/2018/08/quick-and-easy-e9th-tempered-tuning/
It puts A at exactly 440, makes the E slightly sharp and then matches everything to that. Still working out the exact cents for everything but it sounds more centered to my ear, don’t have to put the bar in front of the fret as much.
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The sticker makes it sound better |
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