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Topic: E9/B6 Uni 2nd string feel 1/2 stop |
Jim Pitman
From:
Waterbury Ctr. VT 05677 USA
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Posted 2 Mar 2014 9:59 am |
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Any of my fellow E9/B6 guys use a feel stop on the 2nd string to get a half /whole step change and are you happy with it?
My guitar has a great mechanism with a 13th finger and adjustable tension for accomplishing a feel stop but I still don't think it's worth it.
Since I'm also pulling my 9th string up to a D, a step and a half, with the same lever, as is required to get that 7th on the bottom in E9 mode, I find I have to pick a fulcrum point on the 9th string puller that allows a ton of travel, ie down low. It seems I have to handicap that step and half change on string 9 with a ton of travel to make the D# to D change engage before the 9th string begins to change pitch. If I don't set it up that way string 9 is at some in between note when the 2nd string is at D - yuch.
It just isn't worth it. I'd rather have a short travel on the string 9 change and keep the 2nd string D change in sync with it. I currently use that synced up D change on 2 and 9 often, and speculate I wouldn't use the D# to C# much at all... so !@#$ it!
I would think you would want to give the 2nd string it's own mechanisms (yet another lever or pedal) like the 10 string E9 guys do.
Your thoughts? |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 2 Mar 2014 11:22 am
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Jim
I agree that lever that raises 9 B -> +++D is a poor choice for half stop on lowering string 2. The second half of knee lever travel would have to pull string 9 about 3 times as far as string 2. It probably couldn't be made to work at all, and would be uncomfortable to use even if it did work.
It sounds like you have both of those changes on the same lever now, without the half stop.
Here is an idea: put the half stop on string 9. When string 9 is raised from B to C natural (or maybe C#), you would feel the stop as string 2 begins to pull.
Or, better, here is another approach that worked well for me when I played U-12:
| Tab: |
LKL LKV LKR 1 2 3 4 5 6 RKL RKR
1 F#
2 D# -D,--C#
3 G#
4 E +F -D# (E),+F
5 B
6 G#
7 F#
8 E +F -D# (E),--D
9 B
10 G#
11 E +F
12 B
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The difference is that I got the middle D note by lowering string 8 rather than your method of raising string 9. This way you don't need it on a pedal.
Notice that the same RKL raises string 4, which is probably what that pedal did (4 goes back up to E if you are holding LKR in, or up to F otherwise, which can be useful in a couple if different ways such as open E13-9, or open Bb7+9, or smooth move between D# and E#.)
The raise on string 4 provides some welcome additional resistance for the half stop.
It was easy to set up RKL with no extra hardware.
All that said, I prefer having a D string, and no low B string anyway! |
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Mike Perlowin
From:
Los Angeles CA
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Posted 2 Mar 2014 11:39 am
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I also lower string 8 rather than raise string 9.But I also tune my 2nd string to C# and raise it instead of true usual way it's done.
More to the point, I raise it to D on one knee lever and D# on another, without any half stops. Granted, I had to have an extra lever to cover this, but all the notes on the 2nd string are in tune.
As I said before, one size does not fit all. This setup works for me.
_________________
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin |
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mike nolan
From:
Forest Hills, NY USA
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Posted 2 Mar 2014 1:25 pm
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I had the same issue with the mushy/non existent half stop on 2. I raise B to D on 9, and I prefer that. I played around with a bunch of options to keep it that way, but nothing really worked. I finally just bit the bullet and added a 6th lever on LKL inside. Now I have the 2 and 9 go to D on one lever, and 2 to C# and 10 to B on another. They are on opposite knees. The 10 to B plus the 9 to D combined gives you the E9 bottom 4 strings in order. 2 to C# gives you the "D on top of C6" and the usual E9 change. I am still waffling between D-10 and the Uni, but this arrangement seems to be tilting me toward going all in with the Uni.
PS, I am a fan of the "one big tuning" concept, so I don't think in terms of E9 or B6 modes on the uni.... but I did miss the lower end string order on E9 in some instances, this helped that problem as well as the 2nd string lower issue.
Last edited by mike nolan on 2 Mar 2014 7:15 pm; edited 1 time in total |
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Dustin Rigsby
From:
Parts Unknown, Ohio
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Posted 2 Mar 2014 6:41 pm Carter/Newman copedant
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That's what's so good about the carter/Newman copedant, the 2nd string changes are on two separate knees. If I were to play a uni, that setup seems fairly logical.
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D.S. Rigsby |
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Jim Pitman
From:
Waterbury Ctr. VT 05677 USA
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Posted 3 Mar 2014 2:38 am
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| Great, well written posts folks TX. I see I'm not the only one having trouble with it. |
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