Raising 6th string G# to Bb

[Dean Holman]

I know Paul Franklin used to raise G# to B, but I’ve actually found some neat things by just raising to Bb. It works good on the vertical lever. Does anyone else make this change?

[Greg Milton]

I've got it on pedal 0. I love it and use it all the time

[Pat Chong]

Hi Dean,
How is it used? In C6 or E9? Sounds like an interesting pull....

...Pat

[Dean Holman]

Hi Dean,
How is it used? In C6 or E9? Sounds like an interesting pull....

...Pat

on the E9th tuning.

[Andrew Frost]

Beautiful change that doesn't seem to be that common.
Works particularly well with Es lowered.
Gives you a maj7 on B6, min9 on G#min.
Also great for #11 chords.
Works great in combination with 5th string B-C# as well.
Opens up the F# maj sounds by bringing in the Maj 3.
So having it on zero makes perfect sense to me as Greg
described.
One thing you can try if you want to get a feel for it, is rejigging your C pedal to raise strngs 5&6 a whole tone. (Instead of 4&5)
You get B to C# and G# to A# on one pedal.
Its the same thing harmonically as pedal 7 on C6 when your Es are lowered but as I mentioned it works really well in the open standard E9 positions.

[Bengt Erlandsen]

G# to Bb or A# on the 6th string is one really useful pull that can be used together with almost all the other pedals/levers.

With 10string as root you get access to a maj7th note
Think Bmaj7 to B6 to Bm7 to Bm6 all at same fret



With 9th string as root you get access to a #5 note
Think Dmaj7#5 strings 9 7 6 5 when used with Apedal


With 7th string as root you get the maj3rd while your Estrings will have control over the 6 b7 7 if you use levers that lower/raise the E strings at the same time.

With 6th string as Root (A+Bpedals) you can raise Root up a halfstep for a diminished sound.

With 9th string lowered a halfstep as root and E's to F you get access to the 6th

If used on P0 to the left of A B C pedals I prefer the 6th G#-A# only
If used on P4 to the right of A B C pedal I prefer 6th G#-A# and 5th B-C#
If used on vertical I prefer 6th string G#-A# with a short action so I dont have to raise knee very much.

I like this change a lot but it may take a little exploring before you unlock all the nice stuffs you can do with that pull G#-A#.

B.Erlandsen
Zumsteel S12extE9 7+7

[Dean Holman]

I had never really thought about it all that much because most guys usually use the vertical to lower something. But I’m planning on getting an SD-10, and I wanted to experiment with some ideas with getting more dissonant sounds to take the place of having a C6 neck. I used to have a staggered lever that raised the G# to B. After doing some experimenting, I realized that I liked raising it to Bb much better. For a long time, I never used the B’s to Bb change, and I’m doing something different to compensate for not lowering the 6th string G#. So, I’m using the staggered lever to lower the B’s to Bb, and the vertical to raise the 6th to Bb. I lower my 5 and 10 a whole tone on the 4th pedal, and I raise my 7th string a whole for the G# and release to get the F#. That allows me to do the same as lowering the 6th a whole, plus, it lets me split the Franklin change.

[Pete Burak]

This can be used with the A pedal to simulate P7, or by itself to simulate P4, 6th style changes when playing 6th style on E9th, with E's lowered.
It is standard on P0 on the Cowboy Eddie Long Universal copedant.

[John McClung]

Following...

[Steve Leal]

I raise string 6 a whole step on my zero pedal next to my A pedal. There lots of great uses as everyone has explained above. When in your 2 minor chord with Es lowered a half step and two frets down from open position, playing strings 4,5,6 together and squeezing in the string six raise gives great dissonance ( similar to if playing 2 minor chord in pedals down position with strings 5,6,7 and raising string 7 a whole tone).

After playing this dissonant chord, I like to lower string 7 a half tone to resolve into 5 chord with Es still lowered.

Note: I lower string 7 a half/whole tone on lever that raises string 1 a whole tone and string 2 a half tone. Lots of great stuff with this lever as well.

[Earnest Bovine]

One thing you can try if you want to get a feel for it, is rejigging your C pedal to raise strngs 5&6 a whole tone. (Instead of 4&5)

That's how I got there. I played with that as my 3rd pedal for a few years.

And there are some other examples here: https://bb.steelguitarforum.com/viewtopic.php?t=288615

[Andrew Frost]

One thing you can try if you want to get a feel for it, is rejigging your C pedal to raise strngs 5&6 a whole tone. (Instead of 4&5)

That's how I got there. I played with that as my 3rd pedal for a few years.

And there are some other examples here: https://bb.steelguitarforum.com/viewtopic.php?t=288615

Ya the C pedal ends up being on its own in that scenario most of the time I found. But if used with B pedal gives you that dom7(#9) business built on F# which can be useful.

[Willie Sims]

If you play a double neck guitar you could put the raise from G sharp to B flat,, OR B,, ON pedal seven OR eight. If you don't mind double pedaling .

[Bengt Erlandsen]

I let my P4 on my D10 do double duty so it lowers string 7 F#-F on the E9 neck(really nice combo w lkl since my knee is already kinda over towards P4 when I lower my E strings). Is only one extra pullrod in addition to the 2 that works on the C6 neck and pedal doesnt feel hard to use either.

Probably could let P4 do G#-A# and B-C# (strings 6 and 5 on E9) on that same P4 instead if I installed one helper spring somewhere there.

B.Erlandsen
Zumsteel S12extE9 7+7
JCH D10 8+8