The Steel Guitar Forum

One of the things that I really like about the middle D string on the C6th is having a root for that D9th chord with pedal 5. It makes a jam scale that's a lot of fun.

I sat down this evening and recorded a little jam demo at the 4th fret. After laying down two and a half minutes of solo steel, I went back and overdubbed a rhythm part on the HandSonic. It lacks the communication that's the essence of a real jam, but I think it demonstrates pretty well how you can have a lot of fun just jamming on a riff on the C6th.

Here it is: http://soundhost.net/b0b/4th_fret_.mp3

Click C6add9 in my signature below to see the copedent used. I kept p2 down for the whole song, adding p1 and LKL now and then. I played into my Webb, miked with an SM57, and ran the HandSonic direct into the recorder.

I'm no great player, but I thought you all might enjoy this little demo.

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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 (C6add9), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6), Roland Handsonic

Bobby- I can see the logic in your olympic S12 tuning.
That LL Knee lever, for one thing, gives the tonic 7th two frets up.
That RR knee and P5 is your Dominant 7th of the tonic, two frets lower. And you still have the Boowah with pedal 5.

In order to save on a knee lever I just put that higher C# on P5 , but I put the whole thing on a Knee lever. Like your E to F's on E9. I like the D's in there. But how are you handling the Grips?
I have tried a that and I can't seem to get used to it , after all these years. I like the way you are thinking.....al

hi b0b...cool

what's soundhost.net?

Soundhost.net is one of my domains, Dave. It's never gone public because I don't have enough disk space. Yet.

Al, I am very comfortable with skip grips, having played extended E9th for 25 years now. Even before that, I played a D6add9 that required skip grips.

I really like this extended C6th tuning a lot!

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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 (C6add9), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6), Roland Handsonic

Thanks b0b,

I think having actual aural examples of some of the more abstract, or controversial topics if you will, that are discussed here makes a lot of sense, and I wish people would do it more to back up their ideas.

It doesn’t have to be fancy, and with the advent of low cost recording options for home, it would be great to see this as a trend in posts where these types of ideas are presented.

After all, it's what these concepts sound like and concrete examples of how they are used is what makes the most difference when it comes to determining if one might consider exploring these things further for their own use.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Sam Minnitti on 11 February 2003 at 09:39 AM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Sam Minnitti on 11 February 2003 at 09:41 AM.]</p></FONT>

i don't know nuthin'bout S12s but i sho'dig what you played on it b0b !

very cool...

tp

I like this riff a lot. It sort of has a ZZ Top vibe to it. Very funky indeed.

There aren't too many real songs that I'd play all at one fret. There are, of course, similar scales available at other frets, and a real solo would include some bar and pedal movement.

My point is that by having the D string in the middle octave, you can play riffs like this very easily, almost mindlessly. You hear me hitting the low string (C raised to D) and then the middle D string a lot. They are the root of the chord. It's a very bluesy thing to do.

Having a lever that raises the E to F gives me another position for those kinds of licks, bouncing against the low F string. In that case, the middle D becomes the 6th tone of the chord, which is almost as useful as the 7th tone from the other position.

This kind of music is very different from what most people expect from the C6 tuning. All of the standard C6 stuff is still there on the 12 string, though. You just have to play more carefully to get it.

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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 (C6add9), Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6), Roland Handsonic

Here is a piece I played solo on my C neck with the D string. :
http://home.earthlink.net/~bobhoffnar/MP3's/Britten%20steel%231.mp3

Bob<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Hoffnar because he has trouble finding his ass with both hands]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Hoffnar on 12 February 2003 at 06:51 PM.]</p></FONT>

b0b and Bob H., I enjoyed listening to both you guys very much on those clips. They clearly convey what your musicality is and what you look to dig out of the tuning. I feel like I know you both better than I did before. Thanks. .. Jeff<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 11 February 2003 at 09:02 PM.]</p></FONT>

Jeff,
The piece I played is a transciption of a solo cello piece by Britten. I played it on the tuning that I have. The goofy thing is that it could be played without the octave displacements and with very little bar movement (open strings for the most part) on an E9/B6 12st Universal tuning. With a little more bar movement a standard C6 would work fine also. Every tuning would have different give and takes to get there but it would all be music when it was done.

Bob

Hey, b0b, first thing that comes to mind is how MANY of the Jam band tunes this kind of thing would fit into. In fact your groove sounds much like some of the "hits" that bands like String Cheese Incident, Leftover Salmon, and others have... way to go. Is that Patchouli I smell?