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 Whilst I'm waiting for my Railboard... 
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Post Re: Whilst I'm waiting for my Railboard...


You saw this coming....

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Gene Perry
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Mon Jan 08, 2018 3:30 pm
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Post Re: Whilst I'm waiting for my Railboard...
earthgene wrote:


You saw this coming....


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Tue Jan 09, 2018 1:57 am
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Post Re: Whilst I'm waiting for my Railboard...
(Thank goodness, I have someone to meme with)

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Gene Perry
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Tue Jan 09, 2018 7:37 am
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Post Re: Whilst I'm waiting for my Railboard...
What a cool thread, it was a lot of fun to read! What Gene mentions here is pretty "big" as far as playing the instrument and being able to resonate with it. In my opinion anyways, although I am nobody...

"Spirit tuning" yeah, I like that. I went through pretty much all of them, and went back and forth (pun) on my current tuning that I have settled on (Mirrored 4ths). I have a railboard that I go back to every now and then (it's in RMR currently) but mirrored 4ths is "home" for me, probably the way that Classic is "home" for so many other folks.

It's a pretty personal thing, you'll know what "works" and what "doesn't" for you pretty quickly.
Resonance.

As far as the "wait" goes, oh boy... :D

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Tue Jan 09, 2018 8:40 am
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Post Re: Whilst I'm waiting for my Railboard...
Well, you're somebody here jayesskerr.

I enjoy hearing others trials and tribulations with tuning. It's a tough decision, so having a plan, even just a hypothetical plan, is a great way to start.

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Gene Perry
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Tue Jan 09, 2018 9:54 am
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Post Re: Whilst I'm waiting for my Railboard...
Thanks for chipping in Jayeskerr. Can I ask what it is about mirrored fourths that you appreciate?

earthgene wrote:
Well, you're somebody here jayesskerr.

I enjoy hearing others trials and tribulations with tuning. It's a tough decision, so having a plan, even just a hypothetical plan, is a great way to start.


Two things I'm looking forward to trialling:
1) Using my thumb to fret on melody hand, ala piano. This should make it easier to hold down lower strings to get sympathetic resonance while changing top notes (like selective notes + sostenuto pedal on piano)

2) Major third internal between the highest two melody strings, ala guitar. This is NOT actually because of guitar, but because of the way I play piano. I like being able to easily play root/fifth / fifth/root in the right hand (relative to the tonal center) but add tension by departing briefly to replace the root with maj7th then resolving to root/fifth again. I try to keep a fairly static right hand wherever possible to ensure it sits in a mix consistently, and also to allow vocals to have roughly the same harmonic space to play with throughout. THEORETICALLY I expect to have some enhanced ability to do this and not have to cross under fingers etc if I have a major third interval between two strings. I could be way off base, but I won't know til I get the railboard.


Tue Jan 09, 2018 10:39 am
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Post Re: Whilst I'm waiting for my Railboard...
Mirrored 4ths works best for me for a few different reasons. Keeping in mind that this is just my viewpoint, of course! It's definitely a tuning best suited for a 12 string in my opinion...

I like the option of closed voicings in my chords on the bass side. Also, three note per string "in position" scales for reading purposes on both sides of the instrument is nice. It's a simpler tuning, intervallically - chordchanges are closer/tighter on the bass side, and for scalar stuff there is a lot less position shifting which makes life a lot easier in regards to learning tunes, and working out bass lines. Plus, a different tuning equals a different way of playing, which means that I will sound a bit different, just because my tuning forces me to do things differently. That's my story... :D

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Tue Jan 09, 2018 11:20 am
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Post Re: Whilst I'm waiting for my Railboard...
mcgrahamhk wrote:
2) Major third internal between the highest two melody strings, ala guitar. This is NOT actually because of guitar, but because of the way I play piano. I like being able to easily play root/fifth / fifth/root in the right hand (relative to the tonal center) but add tension by departing briefly to replace the root with maj7th then resolving to root/fifth again. I try to keep a fairly static right hand wherever possible to ensure it sits in a mix consistently, and also to allow vocals to have roughly the same harmonic space to play with throughout. THEORETICALLY I expect to have some enhanced ability to do this and not have to cross under fingers etc if I have a major third interval between two strings. I could be way off base, but I won't know til I get the railboard.


I don't fully follow all of the specifics of your reasoning for this, but I'm interested in what you find with it as you think it through and try it. Who knows, maybe you're on to something.

Probably not the thing for me, though. One of the absolutely most appealing things to me about straight tuning is that it makes chord shapes and scale relationships universal everywhere on the fretboard, no matter what strings or frets are involved. E.g. if I want a first inversion chord, it's always the same shape no matter where the root note falls.

Incidentally, you don't have to limit yourself to the melody side on the chord voicing front...that maj7th is readily available on the bass side with your left hand, in a reasonably high register even on the low frets. As a pianist I'm sure you're aware of this, but it can't hurt to mention it. :-)

While I don't think it's analogous to what you're considering, one interesting thing some 12 string players do is to use a "high bass 4th" tuning (12th string tuned up a 4th instead of a 5th). I've chosen not to do it myself, but the 12th string is used less often than other bass side strings (it's an "extra" string as compared with a 10 string Stick), so tuning it down a step from the norm to provide a chord voicing variation doesn't present a severe impact.

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Tue Jan 09, 2018 3:39 pm
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Post Re: Whilst I'm waiting for my Railboard...
I am SOOOO going with that high 4th if and when I get a 12-string Railboard. It's true, it would be like a bonus string having played the 10-string for so long.

Speaking of which, how has the 10 to 12 string transition been going Victor? I'd love to hear more.

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Tue Jan 09, 2018 4:11 pm
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Post Re: Whilst I'm waiting for my Railboard...
earthgene wrote:
Speaking of which, how has the 10 to 12 string transition been going Victor? I'd love to hear more.

Ah, Gene, you know what buttons to push to get folks talkin'! Have you ever considered interviewing people? :D

The migration to 12 strings has been a Good Thing (tm). About the only musical negative is that I do on occasion still notice the string spacing difference. What I notice is that for the left hand, I'm more likely to occasionally graze an adjacent string when I use my third or fourth finger, which can dampen a note that I didn't want to dampen. Apparently it's a game of "fractions of a mm". :P Been focusing on that recently, and have improved.

My Tarara 12 string with linear indigo inlays, which I bought used from SE out of impatience, looks lovely. It's not germaine to the question, but I confess that I liked the look of my 10-string Bamboo with green polypearl inlays better. Someone else out there has it now, and they've got an awesome looking (and sounding) instrument. Keep on rockin', 5377!

But boy howdy, I wouldn't go back! :-)

I don't use the sixth melody string a whole lot, but it can be a big plus. I find it pretty handy sometimes to help keep my hands from crashing- I can stay on the higher frets when the melody side notes go lower. Almost as important, it gives nice extra spacing between the fifth string and the lowest bass string, so unwanted damping of the fattest bass string is MUCH less of an issue.

I don't use that "new" 12th string a lot, yet, either. Given time and learning and that will likely increase. Sometimes it's just sooooo nice to be able to climb a little higher with the left hand.

SteveA was a 'bad' influence, lightly mentioning that "you should consider a Grand" on a couple of occasions during Skype lessons. I resisted. Then I watched Jim Meyer perform in Vancouver shortly after, and paid a little more attention to his left hand. That pushed me over the edge. I can't prove it, but I swear they were colluding.

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Tue Jan 09, 2018 5:34 pm
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