C6 p4 A to B change options

Ian Sutherland · From: Stoney Creek, Ontario, Canada

I have a ShoBud D10, 8+6. I never use the P4 A to B change on C6. I'm thinking about adding string 3 and 7 raise C to C# on P4 instead. It's a nice change similar to the E to F on the E9 tuning.
Anyone tried this?

Joe A. Roberts · From: Seoul, South Korea

Here's a thread from a few years back about that very topic with lots of good perspectives:
https://bb.steelguitarforum.com/viewtopic.php?t=329085

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

I believe the C to C# change, at least string 3, should be on a knee lever and not a pedal. I raise string 3 on RKR. String 7 is already raised on pedal 8, which I have on my C6 LKL. The third string C# gets combined with the 6th pedal to augment the F chord in the high register. It combines with pedal 8 and also P5.

I put the "reverse pedal 6" change on P4. That lowers string 2 to D# and raises string 6 to F. Most players that have that change have it on a knee lever. It combines with P5 similar to P5 & P6.
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Tyler Hall · From: Mt. Juliet, TN

There’s no right or wrong but I personally consider C6 incomplete without A’s to B. So much so, I prefer it on a lever.

Raise 10, lower 5 whole tones is a nice change. And would work ok on P4. Nice minor 9 or maj 7 voicings.
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scott murray · From: Asheville, NC

I can’t live without raising my E’s to F on pedal 4, or try the “reverse pedal 6” Richard mentioned above. you might also consider raising 10 a whole step as well. raising 6 and 10 together gives you a great minor chord option, basically a “minor pedal 5”
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Roger Rettig · From: Naples, FL

My P4 raises 10 to D and 6 to F.

Buck Reid suggested also lowering the 2nd (reverse P6) to P4 and I did so; I found it hurt more than helped, but that's because my C6th brain is several generations behind Buck's, and I've failed to comprehend its potential..... so far! It's 'wound off' for now.

As far as the 'old P4' change is concerned, I do miss it, so I raise the 4th (A to B) on MKV. It's an instant 13th with P5. I have also added raising the middle C to D on that vertical; Okay, but I may restore the A to B on string 8.
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Jack Stoner · From: Kansas City, MO

I thought I didn't use P4 so I made some changes. First night out with a band I found out I did use it and returned it to the A to B change.

Jerry Overstreet · From: Louisville Ky

I have it on a dedicated CLKL raising 4 A to B with a half stop @ Bb. Having the A to B raise on this lever lets you use it with all the other pedals. I'm not going to try and write the combinations here, but it's very useful with all of them.

I have it detuned for the 8th string as I like to still have an open A in some changes, but it's still rodded up if I want it.

On my Fender Artist, I don't yet have an additional lever so I put it on my RKL.

A longer vertical lever reachable in C6 has raising 6 a half tone.

Bill C. Buntin · From: Cleburne TX

Years ago I gave up pedal 4 and moved it over to the E neck for a Franklin pedal. I haven’t missed it ever. Mainly when I learned I used the Emmons basic which doesn’t teach p4 really. As far as the maj7 I get that with pedal 7. And have the c-c# on RKR.

Ricky Davis · From: Bertram, Texas USA

Back when I did play C6 on my Old Pro~II Sho-bud; I always made my 4th pedal Raise string 1 from G to G# and string 4 A to Bb.
Makes a nice high augmented Chord and many other things you can have with those changes.
Ricky
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Ian Sutherland · From: Stoney Creek, Ontario, Canada

thanks for all your comments guys, there are many wonderful ideas here to consider. Is'nt PSG a great instrument?

J D Sauser · From: Wellington, Florida

GaryL · From: Medina, OH USA

On the 4th pedal (C6th neck) I use a 1/2 pedal raise to Bb. Nice Maj7 sound for oldie rock songs. I put this change on a center knee lever on the guitar that I just ordered. I'll keep the "original" p4 change on the guitar. Someone much smarter than me thought it up.
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Dan Beller-McKenna · From: Durham, New Hampshire, USA

I second JD's comments. To me, raising C-C# on pedal 4 when combined with pedal 5 creates a similar (though not identical) move to the A+B pedals on E9. Here you get an alternate fret location for your root chord (up three frets) by mashing the first two pedals on the neck, which provides all sorts of options for moving up or down the fretboard.

Andrew Frost · From: Toronto, Ontario

Hey Ian- I don't play a standard C6 set up, but for what its worth, on my back neck tuning, the 4th pedal operates like the C# raise you speak of.
C6-wise, having it beside P5 is really useful, as you then have most of the chord types all in the Pedal 4 / 5 position..
Furthermore, if you have string 4 A to Bb on a lever somewhere, your C# P4 and A-Bb lever combined give you a very broad diminished voicing so you don't have to fast foot back to P 5/6. Having the root raise a semitone ( C# ) on a lever would be more versatile for use with other pedals, but there is still good reason I feel to set it up on P4. Good luck with it!
Andy

Brett Lanier · From: Hermitage, TN

I raise 3&7 to C# on LKL, which in my head is the same as E9. There are times where I think it might be better to leave 7 out of it for more chord types, but having that F lever type change on C6 is really handy for me when I'm following a melody and harmonizing on the fly.

I like pedal 4 btw. I could see maybe dropping it if I played with two feet a lot, but I don't.

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