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Topic: Franklin 4th pedal ? |
Guest
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Posted 26 Nov 2003 10:09 pm |
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Can anyone tell me what this pedal is used for.Do you use it in a single note fashion or a chord? Maybe someone can give me a lick
using the pedal to show how its used.
Thanks.  |
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Ricky Davis
From:
Bertram, Texas USA
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Tony Prior
From:
Charlotte NC
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Posted 27 Nov 2003 3:20 am
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Just add it..you won't be sorry..
T[This message was edited by Tony Prior on 07 December 2003 at 06:55 AM.] |
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Franklin
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Posted 27 Nov 2003 4:55 am
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Various chord groups open up with this change. It is important to note that Tommy White and I split the change. Its sort of like the Day/Buddy thing. I have always raised the seventh a whole tone to achieve the split fourth pedal affect. I do believe Tommy uses the best option by splitting that change into two pedals.
Paul
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Johan Jansen
From:
Europe
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Posted 27 Nov 2003 5:09 am
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Paul, please can you explain how you split it, and which string on on what pedal/knee etc?
Thanks, Johan |
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Tony Dingus
From:
Kingsport, Tennessee, USA
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Posted 27 Nov 2003 9:32 am
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Here's one I heard Mike Johnson use.
1st string raises a whole tone.(another PF change)
1_____8R--8____________________
2___________________________
3__8_________________________
4____________8--------------8
5______________8--8L-------8
6____________________8L--8
Tony
[This message was edited by Tony Dingus on 27 November 2003 at 09:33 AM.] [This message was edited by Tony Dingus on 27 November 2003 at 09:34 AM.] |
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Bobby Boggs
From:
Upstate SC.
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Posted 27 Nov 2003 7:12 pm
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Johan: Paul wrote:
| Quote: |
| I have always raised the seventh a whole tone to achieve the split fourth pedal affect. |
See this link for his copendent. http://b0b.com/tunings/franklin.htm
I'm thinking he has deleted the 6th string G# to F# lower on the 4th pedal on most or some of his guitars.I say this because he lowers the middle G# to E.(LKV)This change requires a lower return compensator.And since a Franklin only has double lower changer.Well, you run out of holes on the changer.Just my take on this.Maybe it's good for a bump anyway??  ...................bb [This message was edited by Bobby Boggs on 27 November 2003 at 07:18 PM.] |
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Guest
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Posted 28 Nov 2003 5:56 pm
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Thanks guys for all the reply's.Sure gives me something to work with.
Thanks. |
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Al Marcus
From:
Cedar Springs,MI USA (deceased)
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Posted 29 Nov 2003 12:08 pm
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I split that G# to F# and B to A on two opposite knee levers on my E6-E9-E13 "Real Universal" it then works with P5, P6 also when I am playing E6 stuff. I wouldn't know what to do without them on my old standards......al
------------------
My Website..... www.cmedic.net/~almarcus/
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Jerry Brightman
From:
Ohio
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Posted 29 Nov 2003 12:43 pm
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Hi,
I use this change a little different:
I lower 5 and 10 a whole step on the first floor pedal, and then moved 2,3,and 4, over one place to the right using the Emmons set-up. I then lower the 6th string a whole tone on my right knee, left. This allows me to use the splits as Paul meantioned that Tommy uses, but I also use it for some speed licks which seems to allow me a little more control as opposed to using a knee lever...
Here's my chart for anyone interested...BTW, Hi Paul! Sorry we keep missing each other on the phone...
http://slidestation.com/Endorsements/jerrys_Pedal%20Set-up.htm
Jerry
http://www.slidestation.com
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Franklin
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Posted 2 Dec 2003 6:32 am
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Bobby,
I did not do away with the G# lower on the fourth pedal. I also lower it to E.
I skip the 6th string and raise the 7th a whole tone when I desire the split fourth pedal sound.
KEY of "F" slide whole phrase
4---8------6-------6(K-lower)---
5---8(P4)--6-------6------------
6-------------------------------
7---8(KW)--6(KW)---6------------
K-Lower = lowers 1/2 tone
KW = Whole tone raise
P4 = is pedal that drops 5,6, and 10 a whole tone.
Paul |
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Earnest Bovine
From:
Los Angeles CA USA
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Posted 2 Dec 2003 9:59 am
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Cool. The notes are
C Bb A
F F F
E D C
On Tommy White's setup
4(E) 8 6 6-
5(B) 8-- 6 6
6(G#) 8 6 6--
or
2(D#) 8+ 6+ 6
5(B) 8-- 6 6
6(G#) 8 6 6--
or 3 options on my setup
5(B) 10+++ 9++ 8++
6(G#) 10- 9 8+
7(F#) 10 9- 8--
or
5(B) 10+++ 8+++ 8++
6(G#) 10- 8+ 8+
7(F#) 10 8 8--
or
4(E) 6++ 6 4+
5(B) 6 6 4++
6(G#) 6++ 6 4
It sounds nice with the C,Bb,A an octave lower, leaving the common tone F on top:
F F F
E D C
C Bb A
6(G#) 10- 8+ 8+
7(F#) 10 8 8--
9(D) 10 8 8-
and also nice to include the passing tones
F F F F F
E D# D Db C
C B Bb Bb A
6(G#) 10- 9 8+ 8+ 8+
7(F#) 10 9 8 8- 8--
9(D) 10 9 8 8 8-
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Franklin
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Posted 2 Dec 2003 10:14 am
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Ernest,
I really like the sound of common tone options over most chord passages. I call the use of such common tones "pivoting" and had fun teaching it on the new video. The study of harmony is endless. Piano knowledge is a plus for studying harmonic rules because everything is right there in plain sight.....Bill Evans is one of my main inspirations....Paul
[This message was edited by Franklin on 02 December 2003 at 10:19 AM.] |
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Brandon Housewright
From:
Statesboro, Georgia, USA
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Posted 2 Dec 2003 10:29 am
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Paul,
If you like Bill Evans as I do, may I suggest the albums "Undercurrent" and "Intermodulation" that he did with the guitarist Jim Hall. Just Bill and Jim as a duo. Haunting beautiful music! Essential for Bill Evans fan IMHO (or just plain MUSIC fan) . |
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Franklin
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Posted 3 Dec 2003 1:47 pm
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| Brandon....Going to Tower...................Thanks, Paul [This message was edited by Franklin on 03 December 2003 at 02:00 PM.] |
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Brandon Housewright
From:
Statesboro, Georgia, USA
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Posted 4 Dec 2003 1:26 pm
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| No problem. Always glad to help folks who like the same music I do . |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 5 Dec 2003 3:09 am
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Yes those are both fantastic albums, from fantastic players.
I can hear Paul absorbing Jim Hall licks in my head already!
I like this pedal a lot too.[This message was edited by David L. Donald on 05 December 2003 at 03:10 AM.] |
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