The Steel Guitar Forum

Howdy,
Heres what I'm thinking about trying to do. I'm wondering if it is possible on my GFI student guitar. I want to add a C# between b and e and move E,G#,and Eb over one string so that C# is string 4, E is string 3,and G# is string 2. That would mean C# is where E used to be. E is where G# used to be and G#. is where Eb used to used to be. I would leave the F# as it is.
I would want all the usual changes except I would want to take the Knee lever I had for Eb and move it to the C# string to raise it to D which would now be on the 4th string. Also what gauge string do I use for the C# to raise it to D. I'm thinking if this is possible it would allow me to do some of the E13 moves I enjoy doing and still keep most of my E9 changes. I know it would be a compromise but I have a feeling it would work out well. If anyone could give me some ideas on this it would help. This is a great group of folk here and I've learned a lot here. Thanks everyone!
Ziggie

Don Zeitler wrote: Also what gauge string do I use for the C# to raise it to D.

0.16 would work.
Other players have tried what you suggest; for example Red Rhodes and Zane Beck, and in a way Sneaky Pete.
The problem you will run into is sympathetic vibration of the C# string. In other words, if you pick the B string when it is raised to C#, it will cause your C# string to sound. And after you release the pedal to lower the B string back to B, the C# will still sound even tho you probably don't want that. You can learn to mute it as did those players I mentioned, but that is extra work for the right hand.
A simpler way to get the E13 that you want might be to leave all your strings where they are, but tune your second string to C# instead of D#. Then you won't have unwanted sympathetic vibration of the C# string because the string won't sound unless you push your bar out there to cover it. And it will be easier to mute with the middle finger of your left hand by just pulling the bar back toward you.
You can use a knee lever to raise the second string to D and D#.
There are quite a few players who have used this kind of E9/E13 tuning. I think it has been used by Hal Rugg, Weldon Myrick, Mike Johnstone, and others.

Thanks for your input Ernest. The sympathetic vibration makes a lot of sense. I didn't think about that. I'm still thinking about trying it though to see what it would be like. One of my biggest questions is though, is would it work to move the pedal changes over a string on a GFI student guitar? I'm going to consider doing it on the 2nd string also.

I tried that, and it works. I also raised the c# to d on the same pedal as the b to c# raise. That eliminated the sympathetic vibration.

Ethan,
Are you telling me that you did the C# to D raise on the 3rd pedal that normally raises the E to F# and the B to C#? Thanks for your input

actually, I took off the lower b to c# raise on p1, and used the pull rod for the c# to d raise on that same pedal. Those GFI students are really easy to change around, so they're good for stuff like this.

Would you be willing to post your setup so I could see what and how you're doing it. I'm looking to get a bit more swing in my tunning. I always like being able to get more chords happening. Thanks again.

sure. I just need some time to figure out the best way to post it.

Ethan
I surmise from your post that you're not playing the Fender 2000 anymore. It's been a long time since I've seen you play. What's your current horn?

the GFI is my "flying" steel, 'cause it's under 50 lbs. That Fender is 103 in its case. But most of the time, I've been playing a Bud Crossover. (The crossover works really well on this one.) One neck pretty regular C6, the other is Mooney tuning. (And it's got that sweet tone.) That steel has just enough to do Mooney's thing, and that tuning has made me look at things differently and take a different approach. Someday, I'll be a "real" steel player! By the way, speaking of Buds, I saw Danny H. playing recently, and he was all kinds of happy that you helped him reunite with his LDG. That guitar has "the tone", too!

Alright, I know this isn't the best way to post it, but check out this copedant:
I actually found that a 7th in the middle was more useful than a 6th, because with this tuning you can actually play "true" C6. I used a D7 tuning.

open (high to low):e,f#,d,c,a,f#,d,c,a,d
p1:high a to b, high c to d
p2:f#'s to g's
p3:whatever you want
lkl:d's to e's
lkr:high c to b lower
rkl: d's to d#

this is kind of a basic universal tuning, because you have the basic E9 (D9) changes, and the basic C6 changes. (p2+lkl=C6, lettg off p2 is C6 p5, rkr is C6 p 6, p1 is C6 p7).

there's a lot you can do with this tuning, and you can use a GFI starter to do it.

Thanks Ethan! I'll take a close look at this. It could be what I'm looking for. Ziggie