Vertical Lever on C6

[Lee Rider]

I have a Mullen D-10 8x6 with one vertical for C6. What is the recommended change for this lever?

Thanks

Lee Rider

[Ian Rae]

I'd also be interested to know, as traditionally the C6 doesn't have a vertical.

[Bill McCloskey]

In the Paul Franklin copedent the V raises the first string a half tone. D to Eb . This gives you a minor triad on strings 1 3 and 5. So you can play a major triad on 2,3 5 and the minor on 1,3 5

[Richard Sinkler]

Mine lowers string 5 from G to F, and raises string 1 from D to D#.

[Bill McCloskey]

Mine lowers string 5 from G to F, and raises string 1 from D to D#.

Franklin splits that with the LR doing the G to F lower. You can engage both LV and LR fairly easily.

[J D Sauser]

I got 3 V-levers on my S12 C6th with 6P and 8K... which I admit could be rated as exaggerated... but sure is FUN!

My left knee has 2, one raising the A's and the other lowering the A's half.
I have the C->C# raise on a pedal to the left of standard P5... I use them like split pedals a LOT. Which brings me to my right knee Vertical which lowers the middle G a whole step which complements my Dm11th chord (open) thinking of D as the root (I got a low where most have the bottom C).
I also drop my middle E-string a whole step with RKR, which among other things with my C# and standard P5 gives me the same upper-structure lineup as with RKR.

I should want to add that standard P6 is on my RKL on my setup which brings standard P5 & P7 next to each other and now allows me not only to play those two together but also ad RKL (standard P6) to the mix (like P5, P6 and P7 together) AND also drop my A's half with the LKVR.

I don't know if these are good ideas to take over, but in principle, it's all about repetition in different fret positions, so open the fretboard up harmonically to play easily in all 12 keys. It's also "all" about making useful/workable combinations available.

In my opinion, Paul Franklin's set up, being based on a traditional BE-setup, seems to me to be one of the most well thought and useful ones.

... J-D.

[Jerry Overstreet]

Reverse of pedal 6. Pretty common change amongst many C6 pickers. I'd have to take some time to explain the changes and benefits, but it's handy there for licks and stuff. Been using it for 30 yrs. probably.

[scott murray]

I raise the As to Bb with my vertical. I raise the Cs to D on LKR which I use together with the vertical a lot. with string 5 raised E to F via pedal, those 2 levers are similar to the A and B pedals on E9

[Lee Rider]

Thanks all! Seems like there are more options on the C6 side of things.

I appreciate the responses!

Best,

Lee Rider

[Ron Funk]

'ditto' Jerry Overstreet's suggestion.

"Try it, You'll like it"

Ron

[J D Sauser]

Reverse of pedal 6. Pretty common change amongst many C6 pickers. I'd have to take some time to explain the changes and benefits, but it's handy there for licks and stuff. Been using it for 30 yrs. probably.

By "reverse" you mean, raising the lower E half instead of P6's lower and lowering the high E half instead of P6's lower, Jerry?

It's a change I got suggested by Doug Jernigan and it's useful just for the simple fact that it brings a second root to the 9th-string rooted M9th... there's more, of course. I got that on LKL which I am thinking of moving/switching with my RKR as I have the standard P6 change on RKL... which is "stupid" because they are contrary changes which don't need to be combinable (because they only cancel each others.



Really, I think Bobbe Seymore had it right on his C6th Videos (youTUBE) when he stated that with the basic BE setup "you got everything" and that "everything else is just repetition". Evidently, the addition of changes which are fairly standard like raising and/or lowering the A's and also raising the C's or at least the high C (since P8 already raises the middle C, to C# are logical additions which in turn can add more in combination with other changes. It's very a very different thinking than on E9th.

From there there is the "hole" that occurs between the C and E (a Major 3rd/4 fret gap) which is "filled" by the D-string on the top but remains a big "jumper" on the lower end when single note playing fast. I think that this "problem" is the root to some having added the low E-hole step drop (I think both Franklin and Jernigan have it)... but it's great for Quartal-Voicings with and without P7&P8 too and a great many other combinations.

The "elusive" things, the ones where we at times wonder if the greats have more than just the 12 half steps we all have occur mostly in upper registers (9th, 11th, 13th and their alterations). P7 is a great gateway to that, but even more expansive lowering the low E and also G a whole step.




... J-D.

[Dale Rottacker]

I raise the A's on my Vertical which works pretty well for me... lower them on MKR, and lower the 5th string G>F and raise 10th string C>D

[Steve Cattermole]

I lower my A's a half step, and raise my first string D a whole step to E . If you don't have the C-C# I would seriously consider it, I use it a lot

[Ron Funk]

J. D. Sauser -

"Reverse of Pedal 6" means:

2nd string E gets Lowered from E to Eb

and

6th string E gets Raised from E to F

Exactly the Opposite / 'Reverse' Functions of the standard Emmons Pedal 6 set-up affecting both Strings 2 and 6

Hope the above clarifies.

Regards
Ron

[fraser]

I lower both A's a half step.

Fraser