The would have to transpose everything just to get started. The re-learning curve could be fairly steep.ДЄlso, there is no instruction material available for this tuning that I'm aware of, so it would be fairly hard for a newbie to start out with this tuning. I would have the same concerns regarding having an extra lower 9th interval on the C6th configuration. Am I overthinking this? Maybe I'm just too old to take on the challenge. I am intrigued by this tuning, but it seems that having an extra string smack dab in the middle of the E9 set-up (the extra 6th interval) would wreck havoc on someone who's played normal E9 for a long time. Lee в™Є Recordings в™Є Breathe в™Є D6th в™Є Video When all is said and done though, the money is still in the gliss sound using one to three notes, and mostly on the top of the tuning and for that, you can get by with eight strings or less and a creative mind. I don't know where it will take me but it's different, which in turn makes me sound a little different, and I could use some of that. I've been slipping some E9th style bends on some jazz tunes and it sounds pretty cool. I use two of the pedals for a whole tone raise of the G (5) and a half tone raise for the Es (2 & 6). Pedals five through eight, and five knees, would be for the E6th.Д«ut I'm not starting out today, so the single twelve I have is leaning toward the C6 tuning again. Pedals one through four, and five knees, would work the E13 tuning. That would leave three remaining knee levers (LL, V, and LR) that would be positioned in the middle of the guitar as they are on my D10 (except there is no middle vertical on my D10). They would also change some of the same strings I change on the C6 tuning of my D10. Five of the eight knees (rights, lefts, and one vertical) would be the same as my E9th. Of course if you had limited musical training, you could flounder around until you're 63 and then start spouting out advice.ДЇor pedals and knees, I would have eight on the floor and eight knees. That and a little musical training should get you through any studio job you'd ever have to tackle.

So if I were starting out today and career minded, I'd probably go with a 13th tuning that would cover country, western swing, and with a little manipulation, jazz. Yet it has never kept Jay Dee or Lloyd from being acknowledged as two of the finest players ever to have played the instrument. Jay Dee told me he knew enough about the C6 tuning to fill a thimble, and I'm sure Lloyd.Green wouldn't hesitate to say as much in a different way. But I think I would choose an alternate route that would cover the E9th and offer room to add and not take away from the sound. When there are great players like Jeff Newman and Maurice Anderson, who have proven the viability of the U12, it would be foolish of me to suggest that it wouldn't be a good choice. If I were to start today, the U12 would probably be my choice, but I'm not sure I would go with the universal tuning as we know it, not that I don't think it's a good way to go.

Buddy emmons pedal steel guitar