Hi,
Haven't posted in a while but just today saw this thread. Here are a couple of comments because, why not?
The acoustic sound vs the amp's output. This is of course something that I've thought about a lot. Here are some of those thoughts in no particular order:
- there is indeed, like from any PSG or lap steel or electric guitar, sound that comes off the instrument. In a band situation, of course you basically don't hear it.
- on the other hand, in those examples, the pitches are the same as what's coming from the amp.
- on the other hand
, lots of people play or played the Variax guitar or the Gibson ATG which could change tunings digitally and never complained about that. I'd venture to say that Joni Mitchell on stage probably never heard the open strings acoustically.
- so, the only times you'd really care are 1) when you would practice acoustically, as we all do sometimes or 2) when you play with an amp but at a very low volume.
- the answer to that is to have an amp/headphone type of thing (I recently learned about the Positive Grid Spark NEO headphones. I think I need to get them even for normal practicing).
- the two Beta Prototypes instruments being developed right now will be made of two different cabinet materials to see if that acoustic sound can be reduced, but I don't think it'll turn out to be enough of a difference to prevent certain material or wood choices. We'll see.
Now as for the idea about E9 or C6 or if you don't change a tuning too much, you could still practice acoustically .... Sorry, but not really.
The open strings (which physically never change tension) are tuned to no copedent in particular. The choice for physical open string pitches has been based on having strings that feel normal (in gauge and tension) for any PSG player, and on having reasonably easy tuning. If you think about it, therefore any copedent requires that the open strings are constantly being pitch-shifted as well as when they are changed via pedals and levers.
All of this is covered in the FAQ page and in other pages on the website
paglieresteelguitars.com. But I thought I'd put it down in writing here as well.
JD says, "... [times] where unplugged practice would be useless, like programming C6 into E9..." Well, based on what I describe above, though I wouldn't prefer to say it that way ... all unplugged practice is useless. There is no concept of programming a C6 into E9 or anything
into anything. You choose a copedent: the open string pitches the instrument will output (to the amp) and you choose what the pedals and levers do to them.
One thing I hope will come from all this (and I believe it will in time) is the breaking down of the limitation of the decades-long thinking only in terms of E9 and C6 tunings. One could argue, as I have, that there are two main reasons these tunings became so standard: 1) the kind of music being played at the time on steels: country and jazz (and of course country jazz
); and 2) the physical limitations of the mechanics that evolved at the time. Ultimately, at some point, there is no reason to think only in terms of E9, C6, or Bb6, or D13.... Heck, go crazy, start from scratch. What's the best tuning for a particular classical piece? What's the best tuning for a Flamenco or Klezmer tune? Or that 12-tone piece you've been meaning to write.
At my level of playing, I just want to be able to change a few strings and pedals or add a particular change for a bridge in one particular tune, that kind of thing; or just finally try that Franklin pedal I wondered was worth the effort of Allen wrenches and re-rodding and tweaking. Furthermore, what if I like the pedal, but want it in position 4 instead of position 1? That's about 30 seconds of work.
Okay, long enough of a post. So long for now.
