Copedent thoughts

[Mike Preuss]

Hi gang!

This is the copedent I have been using for the last 8 months. It suits me well and I really like it, especially my pedal 4. I am curious if there is a simple way to get the last piece of the puzzle figured out.

I'm talking of course about the B6 pedal 8, B-C. Is there any change I can simply add it onto that wouldn't undercut its utility? Or is it necessary to add a pedal? If so, where should the pedal be located?

I am not a C6 player, and don't know if what I am doing is a fools errand, but I like the way this copedent plays and all the music I get from it. Any input from those who know better would be much appreciated.

[Mike Preuss]

Typo on the B6 chart. The knee lever lowers to Bb not B

[Bill McCloskey]

I'm completely confused about what you are asking. What are you trying to achieve?

[Robert Miller]

Are you asking how to extract a Boo wah pedal from the quasi-E9th/B6th Setup on the bottom drawing without adding a pedal?

If that's your question, I would tend to say there isn't an elegant solution, assuming you're not into chords that rub hard at the expense of some very idiomatic 6th neck changes on the back neck. (I assume you're talking about piggy backing with another change.) That A7#9 (Gb#9 in your case) is a fairly unique construction. It's not diatonic with the open tuning (VI7#9), so it's a prickly blend with its neighbors.

Of course Sonny Sharrock tuned his guitar to all the same pitch and played slide with it in the 70s, so, your palate and mileage may vary. I'm taking the Inigo Montoya approach.

If that wasn't your question, I'm interested and curious to understand what your goal is.

[Mike Preuss]

Some background:
Over the years my copedent has drifted from a standard E9.

The first copedent change was replacing the typical RKL with string 5 B-Bb.
Then added a zero pedal string 6 G#-A#.
Then removed C pedal, and put string 4 E-F# on LKV.
Then added a fourth pedal string 7 F#-F

It has been a blast to play, and works perfectly for me. I thought it might be cool to add a C note, either from string 9 or 10. I thought maybe I could put it on RKR, so that lever would raise string 10 to C, drop string 9 to C#, drop string 2 to D. Maybe that wouldn't interfere too much. When using RKR I rarely use string 10.

Can I simply add that quasi C6 p8 change (string 10 B-C) to RKR, have my cake and eat it too?

Or would it be better to install an additional new pedal for that change?

If I install an additional pedal to raise string 10 to C, or lower string 9 to C, where would a good place for it to go?

Has anyone gone down this road before?

[Robert Miller]

I'm missing the boat. If we're looking for a boo wah pedal against a B6th tuning (Which is approximately where you're at with your Ds raised), we'd need G#, D#, G#, C, D#, F#, G#, B, D# (C# or higher b7) depending on your flavor. So, G7#9 (#11).

Now, if you're intending to use it as a B7#9, which is what the second string D is hinting at (D is #9 of your B bass note), then you've got the B, F#, B, D#, A (w/P3), D of B7#9...BUT...you have some wicked nonstandard grips to get it and the interposed (D, D# or C, C# you mentioned) is gonna be a challenge to navigate and produce some cringe if you miss. Also, no raking down to the bottom with those in the middle.

If, on the third hand, you're shooting for a boo wah with a C bass, then I'm more loster than I thought because I don't understand the C#.

Am I homing in?

Can you give an idea of what the harmonic goal is?

As to your question about P8 on a knee lever, I have no idea, other than working the new tuning you get with P8 might be a little cumbersome latching on to a knee lever, rather than resting your foot.