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Topic: U 12 With D# G# F# as strings 1,2 and 3 |
George Geisser
From:
Branson, Missouri, USA
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Posted 8 Jun 2011 9:34 am |
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| Sorry if this has been covered in the past but I was wondering how many Uni players strung their steels (top to bottom)D# G# F# E B etc?. I did this when I knuckled down to learn the B6 side but figured theirs "nothing new under the sun" and if I thought of it, it had already been done. |
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Tom Campbell
From:
Houston, Texas, USA
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Posted 8 Jun 2011 9:59 am
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George,
I tune my 12 string Sierra like you mentioned,but with the exception of the 1st string.
My top five strings (high to low) C#,G#,F#,E,B. I raise my 1st from C# to D to D#. I've been playing this setup for a number of years...considered changing it a few times but never found anything better...so it's a "keeper". |
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George Geisser
From:
Branson, Missouri, USA
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Posted 8 Jun 2011 10:56 am
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| Thanks Tom for the reply! I'm again in search of the best copedant but have "knee tied" myself in some respects. I used to drop my D# to the C# on my E>D# knee but have seen the need for either or both on the E9 side. I tried (in the past) tuning down to C# and can see that I should revisit that move! but then I'm not sure what pedals I'll need to be able to use with same. I do my own setup work but don't enjoy having to change things because I did'nt consider all the posibilities or recognize them. I may have some Questions about your setup in the near future like what other knee levers do you use while appling the C# changes? thanks |
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Pete Burak
From:
Portland, OR USA
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Posted 8 Jun 2011 12:28 pm
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My thoughts on this topic apply mainly to S12U's (but could be used on any steel)...
I've been doing this on all my steels for a long time.
This keeps the D# string tucked nicely out of the way on string one, and the "Meat" of the tuning on the next 8 strings becomes two identicle stacks of [G#, F# E, B][G#, F#, E, B].
The learning curve is cut in half.
I think this setup would make it super easy for basic newbies to get up to speed, because the upper and lower registers are in the same string order, as opposed to the standard [F#, D#, G#, E, B] over [G#, F#, E, B].
I have a LOK that allows me to tune string 1 to C# when I lock into B6th (it's just a knob that locks the D# to C#, it's not attached to a lever or pedal).
Yes I have two lever locks on my main axe. The other one locks E's to Eb. |
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George Macdonald
From:
Vancouver Island BC Canada
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Posted 8 Jun 2011 2:12 pm U12
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| George, I have been tuning my first 3 strings that way since 1974. However, my 4th and 8th strings are tuned to Eb, making it a B6th tuning. My RR knee lever raises 4 and 8 to E putting me in E9th. My RL knee lever lowers 4 and 8 to D giving me the "missing" 9th string note. In 1974 I don't think there were any triple raise changers so having the F# "inside" made it easier to get the C pedal sound without the C pedal. Since I bought a Carter in 2004 I have had a C pedal. George |
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Glenn Uhler
From:
Trenton, New Jersey, USA
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Posted 8 Jun 2011 2:42 pm Tuning comparison
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Fellows,
Compare this tuning to the one Zane King is using. He's got some information and some videos posted in another Forum topic. I would add the reference, but I don't know how. We are getting closer and closer to the first five strings of the Eharp system from the 50's. I'm leaning that way again myself.
_________________
1974 Marlen S-12 1968 Tele 1969 Martin D-35H |
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George Geisser
From:
Branson, Missouri, USA
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Posted 8 Jun 2011 5:40 pm
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| Thanks for the Imput Guy's! To Pete, what you said is exactly what I thought for the same reasons. To George, sounds like yours defaults to B6, great insight to getting around older changers. To Glenn, it's funny you should mention Zane King as I had just read the most recent post and then spent an hour on YouTube checking it out. WOW great player and I even went in and tried the low G#(A Pedal)to a G change. I changed it back but think I'll hang that G# lower on a knee somewhere. And I guess I need to check out the Eharp if I can find it. |
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bob drawbaugh
From:
scottsboro, al. usa
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Glenn Uhler
From:
Trenton, New Jersey, USA
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Posted 8 Jun 2011 6:38 pm Eharp system
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Don't think there is too much on the Eharp system on the Forum, but it was a tuning system (and a teaching system) invented by Eddie Alkire in the 50's. Ten strings with no pedals tuned (from high to low) E, C#, B, A, G#, G, F#, F, E, C#. The middle 6 chromatic strings made an interesting selection of chords. Mr. Alkire also taught playing chords with four picks.
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1974 Marlen S-12 1968 Tele 1969 Martin D-35H |
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Jerry Hayes
From:
Virginia Beach, Va.
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Posted 9 Jun 2011 6:54 am
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Maurice Anderson's Bb6th tuning if transposed to a B6th tuning would be like this (high to low) C# G# F# D# B and so on. His RKR raised the 4th and 8th strings to E along with raising his 1st string C# to D# so he basically had the same thing George is talking about. Back in the late 70's I was playing full time and tried it out for a couple of weeks but went back to the standard E9/B6. Sometimes I wish I'd kept the F# string "in line" but I didn't. I do still have my 2nd string tuned to C# though and I really like that..........JH in Va.
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Don't matter who's in Austin (or anywhere else) Ralph Mooney is still the king!!! |
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Pete Burak
From:
Portland, OR USA
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Posted 9 Jun 2011 7:39 am
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| George Geisser wrote: |
| Thanks for the Imput Guy's! To Pete, what you said is exactly what I thought for the same reasons... |
The other thing about this string order is that when you go to B6, its truely a beautiful thing.
A full blown 12 string 6th tuning that lays out perfectly. |
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John Polstra
From:
Lopez Island, WA, USA
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Posted 9 Jun 2011 1:18 pm
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Pete, for your lock that changes the D# string to C# did you fabricate something yourself, or use Sierra's locking hardware?
John |
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Pete Burak
From:
Portland, OR USA
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Posted 9 Jun 2011 2:36 pm
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| It is a Sierra lever lock. |
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John Polstra
From:
Lopez Island, WA, USA
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Posted 9 Jun 2011 3:30 pm
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That's interesting, Pete. Do you have an extra cross shaft and bell crank just for that lock? I.e., basically the entire mechanism except for the actual knee lever or pedal?
Thanks,
John |
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Pete Burak
From:
Portland, OR USA
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Posted 10 Jun 2011 9:03 am
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| John Polstra wrote: |
That's interesting, Pete. Do you have an extra cross shaft and bell crank just for that lock? I.e., basically the entire mechanism except for the actual knee lever or pedal?
Thanks,
John |
Yes, that is exactly it. A Cross-shaft mounted in the far left position with a Bell Crank on it that is actuated by the lever lock only.
Lowering D#>C# is too long a throw to tie to the E>Eb lowers. I still wanted to easily/quickly lower string 2, so I went with a second Lock.
On my other steels I just tune the string down to C# manually when go to 6th. |
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George Geisser
From:
Branson, Missouri, USA
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Posted 13 Jun 2011 2:02 pm
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| To Pete, It's like having a extended C6 and E9. Nice not having to jump up to get those high notes! Thanks again Guy's |
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George Geisser
From:
Branson, Missouri, USA
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Posted 14 Jun 2011 9:28 am
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To the C# open string guys, I think your right in raising to D and D# with another Knee Lever. It separates it from the E's, making for an easier E pull plus the "either or both" choice. I believe putting it (RKR inner) with (RKR outer, E's to D#) will work  welcome any imput Thanks |
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Tom Campbell
From:
Houston, Texas, USA
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Posted 14 Jun 2011 5:04 pm
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George,
I raise my 1st string C# to a D with the same knee lever I use to get my other D on string 8(RKL).
Raising the 1st string C# to D# I use my LKV lever. My LKV also raises my F#'s to G. Sounds crazy but it works. Open strings 1,2,4,5 result in Emaj7 (notice I don't use string 3. Using open strings 1,3,5 results in an Gaug. |
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Pete Burak
From:
Portland, OR USA
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Posted 16 Jun 2011 8:56 am
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Hey Guys I was just playing my Sierra and recalled that, when I lock into B6th with the first string tuned to C#, I Raise that C# to D on my Pedal-6.
This gives you the high 7th note on string 1 that is nice for any kind of Choo-Choo Cha Boogie, Rt.66 type if jams, or Stormy Monday or Mellisa type [I > ii > iii > ii > I] type runs. |
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