Vertical knee lever that raises F# string up a 1/2 step?
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I saw the same thing somewhere, on something on eBay (an album or a book or something) that appeared to come out some time in proximity to the Black Album. I had thought of putting those changes together just on my own for some weird reason, and that sealed the deal for me. It was a great combo for a lot of things, and it seems especially useful on a p/p or a pull/release where raises predominate (then you can add the 1st string up to the dom 7th without losing the root from the 6th string B pedal)...Lane Gray wrote:Funny. I've seen that pair of changes on every Buddy Emmons instructional material for the E9th neck.
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Is that the course that has all the Ray Price songs, like Touch My Heart, Crazy Arms, I Just Destroyed the World I'm Living In? My course is buried in a box of records, but I don't remember it having that change. I do have all the tab in front of me.Lane Gray wrote:It was on the 12 Shuffles course.
I've had both push-pull/pull-release and all-pull guitars. I liked both systems and can work either. I prefer the all-pull dropping the A to G.
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I have all the tab in a filing cabinet but the record and box is probably in one of my boxes of vinyl. Now I'm really curios about the copedent on the record cover. He seems to use 1, 2, 3 as designations for pedal and A, B, C, etc for knee levers, and place them under the tab as opposed to next to the fret number (and uses t, a, b for what finger to use next to the fret number. But all I ever see used in the songs are pedals 1 & 2 and a knee lever he designates as 'B' and one other.
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On my Emmons D-10 I have my LKL2 raising 1,2 and 7 to G#, E, G# respectively. This has a variety of applications but one that I use perhaps more than any other is half-pedaling that 'knee' to give me a G note on the 1st or 7th. I find it easy to be accurate with that half-stop even though I have no device on there that signals the half-raise.
(I prefer this method to lowering the 6th a step and raising it with the B pedal for that pedals-down 7th chord.)
On my Zum Encore (3 + 5; far less 'loaded' than my Emmons) I have those pulls on the LKV. I hate using the vertical in the normal way - it's unnatural to me - but half-pedaling that LKV is very easy.
Engaging this change fully along with both A and B pedals gives me a lovely dissonant major 7th across the top eight strings. The juxtaposition of the G# and the A on strings 7 and 6 is particularly nice.
(I prefer this method to lowering the 6th a step and raising it with the B pedal for that pedals-down 7th chord.)
On my Zum Encore (3 + 5; far less 'loaded' than my Emmons) I have those pulls on the LKV. I hate using the vertical in the normal way - it's unnatural to me - but half-pedaling that LKV is very easy.
Engaging this change fully along with both A and B pedals gives me a lovely dissonant major 7th across the top eight strings. The juxtaposition of the G# and the A on strings 7 and 6 is particularly nice.
Roger Rettig - Emmons D10
(8+9: 'Day' pedals) Williams SD-12 (D13th: 8+6), Quilter TT-12, B-bender Teles and several old Martins.
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(8+9: 'Day' pedals) Williams SD-12 (D13th: 8+6), Quilter TT-12, B-bender Teles and several old Martins.
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According to a post currently running here on the forum, Lloyd raises only his first string to G and has never, to knowledge, lowered his 6th string.Gary Arnold wrote:Lloyd Green has it on his PSG's.
Lloyd's copedent:
https://bb.steelguitarforum.com/viewtopic.php?t=344709
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It gets worse
Take my word for this, It gets worse with age!Dave Stroud wrote:Oh, goodness.... how did I miss that 7th chord?? Sometimes I think I just overcomplicate things when I sit down at my steel thanks B0b!
And I thought I was the only one over complicating things?
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2017 Mullen SD-10, G2 5&5 Polished Aluminum covering. Custom Build for me. Great Steel.
Clinesmith Joaquin Murphy style Aluminum 8 String Lap Steel Short A6th.
Magnatone Jeweltone Series Lap Steel, Circa 1950? 6 String with F#minor7th Tuning.
1956 Dewey Kendrick D-8 4&3, Restoration Project.
1973 Sho~Bud Green SD-10 4&5 PSG, Restoration Project.
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