The Steel Guitar Forum

I switched over to a D9 tuning on my E9 neck a couple months ago to check it out.
So far I am happy with it. I fumble around a bit but overall it seems to be an improvement.

The open strings are more usefull for one thing and I don't need to avoid strings while I play now at least for tone reasons.


I was getting frustrated with the E9 tuning because of the high G# string. It seemed to skwonk out on my Franklin. I found myself avoiding the 3rd string almost completely for the last couple years. Depending on what amp I used I sometimes felt like I was navigating a mine field in the studio.

The D tuning sounds more full and even all up and down the neck to my ears. I haven't switched my JCH over yet but I should get to it by next week. I'm not smart enough to keep track of multiple pedalsteel set ups.

If you want to play hardcore country from the early 60's to early 70's it might not help much. But for single line, vocal range melodic work the D9 is pretty nice.

Bob

I believe to have heard that Jimmy Day was playing D9th, at least in the ol´ days. It makes sense. The high G# and basicaly the 4 first strings of the E9th setup are overstrung and going to a lighter gauge thinnens the sound even more...
My next pedal-guitar would probaly be D9th(/A6)-Universal. And I´d drop the bottom string for an other top "chromatic" or just stay with 11 strings.

... J-D.

Bob, did you switch string gauges or just tune down? Just curious.

Franklin has a D9 set they made up for the pedabro. I used them. They are a little heavyer guage so it took almost no tuning set up work when I switched.
Bob

..<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Keith Murrow on 26 October 2004 at 04:04 PM.]</p></FONT>

http://www.scottysmusic.com/chart5.htm At the bottom of the above page, there is a chart for D9. Hope this helps. Jim Vogan

14
16
12
15
20P
24W
30
32
36
40

Jim, I fixed it.


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Hoffnar on 28 March 2002 at 09:14 PM.]</p></FONT>

Bob, is that a typo or do you really use a smaller string for 8 than 7? I would think a .034W would make more sense for string 8, since it's tuned to a D, the same as string 9 on E9.

Bob H.

Try lighter gauges on strings one through seven. That must handle like a two ton truck without grease in the steering assembly. Strings 8,9, and 10 work great with .030, .036, and .038 - in that order.

Bill H.

Bill,
Those thinner strings sound thin to me for some reason. That’s why I changed the overall register of the guitar. The Franklin plays like butter no matter what I do to it.

Thanks, Bob

Bob H.

I believe that the ultimate resonance, and sustain are determined by bar pressure. Not to be fooled by the bad feature of the flimsy 3rd string, that receives much less downward external force, due to the resistance of the 2nd, and 4th strings. On some steel guitars, the 3rd string lies slightly below the level of the 2nd and 4th strings. A thin shim to raise the 3rd string a tiny bit above the 2nd and 4th could very well eradicate the "thin" sound, that is better known for its declining sustain. Predetermining proper string gauges to fill one's needs, is always the first order of priorities in tuning changes. I hope that you are successful with the D9th tuning.

Bill H.

This is very close to the guages I was using on a Sho-Bud for D9. I was using a .013 for the 3rd and a .016 for the 4th and it worked great. It's a lot fatter tuning to me. If you want to sound traditional keep the E9 but the D9 is a great way to go for non-traditional stuff.

I tuned down my standard set and the pedal travel got much shorter (for example: I was flying right past C# on the A pedal raise.)
I decided not to reset all the pedal stops and instead get a D9/A6 set together.

Frank P.

I'm not aware of any music written, traditional, or otherwise that cannot be played on the D9th chromatic tuning. The majority of written music is not in control of the musician. A player should reserve the right to perform in any key that pleases the vocalist. Let the rhythm players slide their key changers, while the steel guitarist enjoys utilizing sharps and flats for a welcome change.

Bill H.

Hey Bob what do you mean by "Skwonk"???
Don't think I've heard that word before
Ricky

Ricky,

Skwonky for me is when the uneven overtones start to stick out . I like a very brite and clear tone and with that sometimes the thiner strings on the E9 don't blend so well. An example for me is I prefer the sound of strings 4 and 6 over the sound of strings 3 and 5 if I play something like the solo from "Together again".

If I want a big rude lap sound I go for my beat up old Supro. It is very skwonky. Skwonky can be a good thing it just doesn't work for me when I'm trying to blend with other instruments sometimes.

Skwonky is a musical term most used to describe this guitar player named Marc Ribot around here. But that is another thing all together !

Bob

Skwonk? Squonk? Any major dude'll tell ya. Have you ever seen a Squonk's tears?

Ok Bob.