I have a Bennett D10 8+6 which now sounds better than ever following overhaul & new revised copedent below. I'm using Lehle volume pedal into my JBL U/L Fender Twin Reverb & Peavey Session 500 in stereo. I haven't seen exactly my new copedent (although it's based on so many like Buddy Emmons, Paul Franklin, Tommy White (who posted that his listed copedent has a minor error & RKL lowers both Bs to A) etc.
This gave me the idea to put a similar B to A change on mine except using LKV/X, extending the existing 5 & 10 B to -A# lowers on down to --A. So far this works great for me even combining vertical lever with B pedal together with E or F levers all on left leg! I can find almost no examples of this. Why isn't this popular?
It's still possible to get the A# in the middle, (although it takes more practice) but going down to A seems to add so much in new voicings & low root open A chords! You can also get A5/6/b7 boogie riffs using 10 with 8/7/6 strings! I know it doubles one of the open A notes already on B pedal but also facilitates more unison/contrary motion bends, Franklin pedal licks & useful chord voicings just with a tuning adjustment to the B lowers.
I also put 6 G# to F# on RKR/D which also splits to G with B pedal for open E to Em, A to A7 etc. although I realise there are nice ways to get those moving down 2 frets too. I put this 6 lower together with the 2&9 lowers to C# on RKR/D for split Franklin pedal sound. They seem to work together in a complementary way so far (without adding even more pedal/levers/complexity)... I think I've found the ultimate copedent (until somebody puts me straight) haha!
Is this a good idea or have I missed something to explain why almost nobody seems to do this? Thanks for any input.
Trev
