The Steel Guitar Forum

Herb Steiner wrote:My setup is b0b's *modern* 5+4 setup.

That's funny, I always thought you were a G man.

I have that standard 5+4 as well. But I have the G to F knee lever in place of the A to Ab. It's working out very well for me. I notice that Mr. Franklin is also tuned this way (though he has alot more other stuff than me). I really like the FM7 on top and the F7 in conjunction with pedal 6. I use those alot. Since it's impossible for me to find stuff without being able to actually have the guitar in front of me, I'd love to hear about the A to Ab lever from someone who makes alot of use of it.

One more thing I will add is that on my personal guitar I use 3 knee levers on C6th, but the 5 and 1 I was speaking of earlier was for my courses. For what it's worth, the other two knee levers I use are lowering the 5th string from G to F and I also raise the 10th from C to D. I use this lever all the time as there are many uses for it by itself and with several pedal combinations. My 3rd lever lowers the 4th string from A to Ab, but I also have an extra rod hooked up to this same lever that I keep backed off most of the time. The extra rod raises the 4th string from A to Bb, which I just use once in awhile. Of course, when I use this change, then I have to back off the A to Ab rod.

Also, Bob, you had asked about the minor 9th chord with the 4th pedal. As someone else mentioned, the root is omitted since the root (strings 4 and becomes the 2nd or 9th tone when raised a whole tone with pedal 4. The neat part of this voicing is having strings 3 and 4 played together being a half tone apart. Of course, you also have voicings of a C maj 7th open with this same pedal. I also use pedal 4 at times with pedal 5 for some 13th chord voicings.

I'll close for now.

Herby Wallace

Well, I have the A's lowered and raised a half, the C's lowered and raised a half, and the G to F, and the 2nd string E lowered to D, so I can keep the G on top.... but it takes 5 + 5 to do it. I knew it would come to this, that's what I mean - if a new guy buy a doubleneck, most anything beyond the one knee lowering the C to B is going to be oddball unless someone specifically copies the last Buddy incarnation, which I believe is what b0b charted.

Earnest Bovine raises the A both a half-step and a whole step on the same lever! I've heard of half-"pedaling", but them's some mighty sensitive knees you got there, Earnest.... I actually believe it, he worked some of the S & P's for solo violin by Bach up to performance level (we're still waiting for the CD, Earnest....)

My point is that the C6th isn't unique in this respect. Like the E9th, there's the standard tuning, and then there are lots of personalized variations beyond the standard on the knee levers and even pedal changes.

When learning pedal steel, its best to start with the common denominators which are 3+3 on E9th and 5+1 on C6th. As you come to understand the the instrument, you can make decisions about what changes you want for the other levers.

That's my opinion about it anyway.

I agree with b0b. This was what I was trying to say in my rather long-winded post: When learning pedal steel, its best to start with the common denominators which are 3+3 on E9th and 5+1 on C6th. As you come to understand the instrument, you can make decisions about what changes you want for the other levers.
steve t