The Steel Guitar Forum

Been working through some of the tunes on this album and some are laying out better on E9, some better on C6...I know he used something different than modern tunings - does anyone know what they were for this album?

According to Winnie Winstons book Speedy used an f#9 tuning on the front neck; A-, E, C#, A-, E, C#, B-,
G#, E, B.
E9 on the back neck; G#, E, b, G#, F#, D, B, G#, E, B.

F#9th may seem a head scretcher…
But… all it was, was E13th with the change of C6th’s P5 (the “ two below” change) engaged.
If you look at Speedy’s setup, you will find that one of the pedals (he held down a lot) actually puts the guitar back into E13th. This was because back then it was mechanically easier to raise than to lower.

BUT, some of the most iconic or shall we say “Spectacular” Capitol Records tunes, including the most famous “Speedin’ West” tune were dine on a basic version of E9th, open strings and a lot of holding A&B down.

C6th is too dark for his sound.
And you need an early Fender D-8 with the wide pickups. They sound it at the first at the first strum.

THAT’s the EASY part!
Now you need to find a guitar player like Jimmy Bryant. And witht that, I cannot help

… JD

JD said:

F#9th may seem a head scretcher…
But… all it was, was E13th with the change of C6th’s P5 (the “ two below” change) engaged.

No kidding. Not a single F# in the tuning.

Richard Sinkler wrote:JD said:

F#9th may seem a head scretcher…
But… all it was, was E13th with the change of C6th’s P5 (the “ two below” change) engaged.

No kidding. Not a single F# in the tuning.

Because it’s E13th, with b5 (Bb instad of B).
He kept his foot down on a pedal that raised that nack up half to a straight E13th.
Releasing that pedal had the same effect as depressing P5 on a BE C6th creating a rootless F#9 (or E7/9th two frets below) or C#m6th (dropping the b7th to 6th) rooted at the 6th/13th degree of E13th.
(I hope I didn’t mess up!)

…. JD.