The Steel Guitar Forum

A friend of mine has a D10 and I noticed that P7 first raised 3rd string C-C# and then strings 3&4 to D&B. Is this the normal setup of that pedal or should both strings raise a whole step at the same time?
Just wondering......

Bengt

For my tastes they should move together. This is because I like to do a half pedal on these as a passing diminished chord betweeen fully engaged and no pedal. As follows:

G
E
C#
A#
G
E

carl

Looks like he is trying to make one pedal do the work of two.That C to C# is usually on a Knee to go along with P8(boowah) Actually it is A7th....al

I assume he must have a half-stop in there. On a modern steel, I think most players would split tune pedal 7 with the standard knee lever that lowers the 3rd string from C to B. That would get you the C# note more precisely than relying on a half-stop. If you also split-tune pedal 7 with a knee lever than lowers the 4th string from A to Ab, that gets you the diminished chord Carl is talking about. Anyway, that's how I do it. .. Jeff

It was only the pull of the 4th string that made the halfstop and it was no problem to use the halfpedal with or without P8. The C# was in tune with the low C# (P8). I was just wondering if this halfstep-setup was common on the C6 neck, standard D10 8+5.

Bengt<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bengt Erlandsen on 21 June 2002 at 02:54 PM.]</p></FONT>

Bengt,
In my experience, half stops are not common on pedals on either neck. For the two pulls on P7, I generally try to synchronize them to pull together and I do half pedal both pulls, much as I do the A pedal on E9. Both are also common additions to the C6 neck (C to C# and A to Bb on separate levers). Those of us who play universal E9/B6 can get the half stop equivalent to A to Bb on the B pedal (where it's G# to A in B6) and C to C# by half-pedaling either the A pedal, C pedal (far less common), or P7.

The smoothness of pulling the 6th chord up to the Ma9 chord is something I prefer, so I'd never consider doing it that way. Like most things with pedal steel, you can probably find SOMEONE who does just about ANYTHING.

------------------
<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

Larry, Do mean like that nutty Doug that put P7 on his RKL so he didn't have to learn to jump off the vol w/the right foot to catch the combination of the Ma9 (P7) with P 5 & 6
with the left foot??! Works for me on a 10 string C6th, but not on a Universal....we don't seem to have that many knees?! I saw that on a chart of Weldon's in Winnie's book
years ago, tried it in 1973 on a S12 MSA and have used it ever since. Not the right way to do it guys, but I didn't know any better in those pre-Forum days! Where were you then
b0b?

Doug - I've got that change (Ped 7) on a knee-lever also. On my Mullen E9/B6 the lever is near the center of the guitar, operated by the left knee moving right. It makes the change easy to use with any of the 6th pedals.

------------------
Lee, from South Texas

.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 22 June 2002 at 06:02 AM.]</p></FONT>

Uncle Doug,
We may have discussed this before, but I couldn't use P7 on a lever. It's a quick off 'n' on change for me -- like the bridge in 'Raisin the Dickens' or the way Buddy uses it in a couple of spots in 4WD. I prefer P6 on a lever -- especially on my universal guitars. It also gives me back the D note I lost by not including the 9th string on E9.

Diff'rent strokes.

BTW, Did Joe tell you that he heard from The Beast a few weeks ago?????

------------------
<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro