The Steel Guitar Forum

Ok how about this one?



The G# to F# is not doubled on LKL and P4 anymore. And now I have an extra change from B to +C on the LKL.

I still think I like the D to C# on the RKL. I'm just so use to lowering the E strings over there it seems natural. But do you think that lever is getting too hard to pull with the extra 2 changes?

Now with the +C on the LKL, I can easily go from (with no pedals down using strings 3,4,5) I to I+ (with the LKL) to IV (with A+B) on any fret.

About LKV... I don't even have it on the guitar right now so I don't even know if I'll like using it. It does have a lock by the way - not that it will matter on this tuning.

So are these changes I can make myself or should I let Bud Carter do it for me? I'm only about 3 hours from him.

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• Gary Shepherd
• Sierra Session 12
• www.16tracks.com

Gary, when I ordered my Sierra Session, I asked Don Christensen if it would handle lowering the 3rd string to F#. He experimented with it and got back to me, saying that it wasn't possible. It's too long of a pull for the changer design.

You sure have a lot of changes on LKV (for a vertical) and RKL. Maybe you should dub your guitar "The ThighMaster".

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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (F Diatonic), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6), Roland Handsonic

Here's what I recommend for you, Gary:
<font face="monospace" size="3"><pre>
LKL LKV LKR P1 P2 P3 P4 P5 RKL RKR
F# ++G#
D# +E -D/C#
G# +A -G
E +F ++F# -D#
B -A# ++C# ++C# --A
G# --F# +A -G
F#
E +F ++F# -D#
D -C# -C#
B -A# ++C# --A
G# +A -G
E ---C#
</pre></font>It's simpler than what you posted, and closer to the "standard" changes that the pros are using.

Tunable splits will give you the C note on strings 5 & 10 (P3+LKV), and the G note on string 6 (P2+LKL).

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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (F Diatonic), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6), Roland Handsonic

Gary,

If you tell me how to put the nice graphic/spreadsheet in I will put up the Extended E9 copedant for the Sierra when I had it.

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Bill Fulbright
Mullen D-10 8x7; Gibson ES-165; Peavey Vegas 400;
ICQ# 2251620 My Music Site

<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Fulbright on 16 January 2003 at 11:27 AM.]</p></FONT>

I did it in Excel and made a .png (picture) and posted that on my web site. The pictures copedants I have above are pictures on my web site.

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• Gary Shepherd
• Sierra Session 12
• www.16tracks.com

Get a D10, and have the best of both worlds! About 90% of all pros use them...there must be a lot of good reasons! These guys make their <u>living</u> with the thing, and they could have anything they wanted.

So...unless you have a bad back, or a <u>very</u> small car...

S12U is really "...the best of both worlds!", IMHO.
I feel strongly that if S12U's that function like todays guitars were available when the greats of the industry first took up steel, that S12U would have become the overwhelming standard o' the industry.
I have a chance to sit and play a D10 from time to time, and while the tuning is certainly do-able, the limitations of the 10 string C6th are the first thing I notice as being "lacking"... for example, S12U allows for (in C6th terms) D on top, G on top, and A on the very top.
My top 3 in B6th terms:
C# (D# when in E9th mode)
G# (raise to A in either E9 or B6)
F# (raise to G on P5, also useable in either E9 or B6)

No Ext E9th either.
A significant part of the enjoyment of playing pedal steel, for me, is based in having Ext E9 available on command.
I use it all the time when doing my solo gig.

So, pretty much every time I hear someone wailing on a D10, I'm thinking, Wow... what a monster this guy would be on an S12U!