E9 B6/7 low D change

David L. Donald · Post by **David L. Donald** » 23 May 2003 4:19 am

I have some rods coming.
I think it was Carl Dixon who noted on E9 neck, E's to Eb gives a B6. and I find with the P2 G#'s to A , it gets a nice 7.
Getting to the blues here.

But the 9 string D isn't too cool at the bottom of the chord or arpegio.
A raise just duplicates the Eb right next to it.. a la Sacred Steel sort of,
but a lower to C# gives a 9 down below.

Anyone else try this change?[This message was edited by David L. Donald on 23 May 2003 at 05:21 AM.]

Michael Johnstone · Post by **Michael Johnstone** » 23 May 2003 7:57 am

Most modern 10 string E9 guitars have that change - usually on the same lever that moves the 2nd string. Another useful change and you don't see it much but try raising the 9th string(D)a half-step to Eb with the same lever that raises your 4th & 8th strings from E > F. Combined with your so-called A pedal(Bs > C#) you get a nice C# diatonic scale across you bottom 5 strings.The change can be defeated(except on a pushpull)by re-lowering the 9th string with the other knee. Try it - you'll like it. -MJ-

Bobby Lee · Post by **Bobby Lee** » 23 May 2003 9:15 am

Having a C# down in the middle of your B6 is like adding a middle D string to the C6th tuning. A few people like it (including me!), but most people say it gets in the way.

------------------
<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, Line 6 Variax

David L. Donald · Post by **David L. Donald** » 23 May 2003 10:15 am

Bobby I get down to the D 9 and it all falls apart, but the B below is still cool.
C# shiould at least be usefull. It wouldn't get in the way like the D does.

Wayne Cox · Post by **Wayne Cox** » 23 May 2003 11:06 am

My solution involved a gut-wrenching decision,which worked out beautifully.
I decided to throw away the D string and move the B up one space,then add a G# in the 10th string position. For years I raised the B string to D,with a knee lever,to replace that missing D note. That works well,except that the string does not always return to a true pitch if followed by a B to C# raise.
About a year ago I started lowering the E string (string

to D. This produces a slightly different tone or timbre,when playing a 9th chord (perhaps it is the difference in string gauges in 8 vs 9). This also frees up the player to use more "strum" chords. To further suppliment the tuning,I put a B to C# raise on a knee lever(string 9 raised a whole tone). Anyway, I love it and wouldn't go back to straight E9 for anything. But that is me, and this is today,and tomorrow could change all of my perspectives.

~~W.C.~~[This message was edited by Wayne Cox on 23 May 2003 at 12:10 PM.]

David Doggett · Post by **David Doggett** » 23 May 2003 11:14 am

This is one thing I love about a universal. In B6 mode with the E-lower lever, if you hit the B pedal (which is not available on a C6 of course) you change the 6th to a 7th and have something very similar to the Sacred Steel E7 tuning (two octaves of uninterupted tonic chord with high and low 7ths). It is much more convenient for blues to have the 7th inside the chord rather than having to reach up to get it at the 2nd string. Now if you let off the pedal and the E-lower lever you have your V chord for the 12-bar blues turnaround, or of course you can drop down 2 frets and have the IV chord. Or you can take the B7 combination up the neck to get a IV7 or V7. You can do all of that at least on the upper stings on a 10-string E9.

On a universal there's no D at the 9th string to get in the way. If I want the low 7th (in an open pedal position) my LKR gives it by lowering the 8th string a whole step (which also gives a flatted 3rd for the B6 or B7 mode, also a good blues note). I don't miss the 9th-string D at all, but then I never knew much to do with it other than to get the low 7th.

Bob Hoffnar · Post by **Bob Hoffnar** » 23 May 2003 11:15 am

<BLOCKQUOTE>quote:<HR> a lower to C# gives a 9 down below.

Anyone else try this change?<HR></BLOCKQUOTE>

This is already one of the most common changes on E9 steels. It is usually on the same lever as the 2nd string lower as part of the double lower. Eb to D to C#.

It is a standard change that comes with just about any new steel.

Bob

David L. Donald · Post by **David L. Donald** » 23 May 2003 5:51 pm

Hi all. I do have that pair of C#'s on RKR
With a D split on string 2.

But with the voulme pedal height, when I hit that WITH the LKR for Eb's, even if I have P2 stomped on for the 7th, the whole Bud moves stage right.
Tends to throw my chord a bit flat... LOL.

So I was thinking about trying a C# on LKR.
And getting a Short Hilton.

Bengt Erlandsen · Post by **Bengt Erlandsen** » 24 May 2003 4:31 am

Maybe it is just me, but I find the Low D at 9th string very useful when I lower the E's to Eb.
Playin 9 8 7, 9 8 6 and 9 8 6W/Bpedal. The b3rd will be on the 9th string and the 3rd will be on the 8th string. Rest of the notes is 5th, 6th and b7. Requires a bit of either palm-blocking or pickblocking since the 9th and 8th string don't sound too good together.
Also lowering 9&2 to C# when E's are lowered to Eb is something I like for playin scales since it gives the 9th note when you use 10th string as root. Or it will give the 4th note in the pentatonic minor scale when you play the min7th chord (E's-Eb) 1 fret above A+Bpos.

Bengt

David L. Donald · Post by **David L. Donald** » 24 May 2003 9:50 am

Maybe I should move the C#s to RKL
then it is a pull to the center for thiose great scales, and not moving the steel around to much. I can dig the choice of 3 or b3.
Still the darn thing really up an moves to the right. almost impossible to avoid.

Shorter volume pedal fo sho.

Bengt Erlandsen · Post by **Bengt Erlandsen** » 24 May 2003 11:00 am

I have 2&9 lower to C# on RKL so Lowering E's and and 2&9 to C# moves both knees together.
Moving both knees out raise E's to F on L-knee and 1&7 to G or G#.
Makes sense to me that raises are outwards and lowers are inwards.

Bengt