A6 or C6 for Gold Tone

Kevin Ruddell · From: Toledo Ohio USA

When I bought the Gold Tone lap steel it was strung ad tuned to open E. I restrung and tuned it to A6 which works well. I restrung it to C6 and it sounded ....well , tight.
My Maganatone doesn't do this even though it's a medium scale instrument. I'm just curious if other Gold Tone players are playing in C6 or have noticed this and changed to A6

Bobby Lee · From: Cloverdale, California, USA

    A6   C6


    --   --


    E    E


    C#   C


    A    A


    F#   G


    E    E


    C#   C

I don't see how C6 could sound tighter than A6. The 2nd and 6th strings are looser. Only the 4th string is tighter. You should be able to use the same gauges for both tunings.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
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

Kevin Ruddell · From: Toledo Ohio USA

Bobby Lee, thanks for replying with your input on tuning. Actually, I just tuned the A6 like C6, that is 1 3 5 6 8 10, AC#EF#AC# lo to hi. I guess all those years of four and six string playing make me want the root on the bottom string.

Bobby Lee · From: Cloverdale, California, USA

To me, the thing that distinguishes the A6th sound is the timbre of the 5th on top (E). The early Hawaiian tuning was A major (A C# E A C# E) and that's what the A6th evolved from.

C Dixon · From: Duluth, GA USA

The original A tuning was

E
C#
A
E
A
E

this was called "Low bass" A tuning.

Later, many adopted

E
C#
A
E
C#
A

This was referred to as "high bass" A tuning.

The A6th tuning:

E
C#
A
F#
E
C#

was started by I don't know who; but I imagine it began with "western swing" music, since it lends itself so well to this style of music. NOTE: when they went to 8 strings it became:

E
C#
A
F#
E
C#
A
F#

When Jerry Bryd invented C6 it began a "coming together" of most of the "tried" tunings in the evolution of the lapsteel. Although some like Herb Remington and Noel Boggs continued to use A6th; as well as E13th.

carl

Chuck Halcomb · From: Lubbock, Texas

Interesting. I just got off of the phone with Herb Remington and we were talking about tunings. He said he thinks the A6 lays out better for most western swing tunes. He did say he thinks that just playing across the strings that the c6 makes a prettier chord.

Of course a lot of the old instramentals were originally done on the e13 or e7 tuning.

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Remington Steel T-8 Steelmaster
Gibson Console Grande

[This message was edited by Chuck Halcomb on 30 November 2003 at 09:36 AM.]

Erv Niehaus · From: Litchfield, MN, USA

I have never used anything other than an E for the 1st string on a non-pedal steel. Whether you're playing A, C6th or a tuning I liked to call C#m7. This is more of an 8 string tuning, though. It goes from hi to lo:
E C# B G# E B G# E. Try it you'll like it!
Erv

Kevin Ruddell · From: Toledo Ohio USA

I'm going to try the A6 tuning you suggested with the E on top and the 6th on the fourth string , thanks for your tips !

John Bechtel · From: Nashville, Tennessee, R.I.P.

Billy Hue Len used an A6 for his basic tuning on his JB Frypan, back in '80. But, he did a lot of retuning to different variations during the shows. The first day I arrived in Honolulu, Dec.'79, I sat in at the Outrigger Luau, for a few tunes on his guitar, and he allowed me to retune to C6, because; I feel more comfortable on that tuning. If I had a Quad, I'd probably choose A6 for my 4th. tuning, but; I'd want my other (3) tunings to go with it first! Billy was a real nice person to know! I was sorry to hear when he passed away! “Big John” Bechtel

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“Big John” Bechtel
http://community.webtv.net/KeoniNui/BigJohnBechtels

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