Maurice Anderson Bb6th
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Joshua Yarbrough
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Maurice Anderson Bb6th
I have a few questions for the Bb6th players out there. I have been transitioning to the Bb6th copedent of Maurice Anderson's and had a question about pedal 3: are there many players out there who have moved this pedal elsewhere? I find the voicing of his pedal 4 more useful next to pedal 2 in much the same vein as its usage with pedal 5 for dim. I can imagine Mo' left pedal 3 where he did not only to gain some real estate for double footing such as P2 + P5, P2 + BooWah + E+lever, etc. I have found that pedal 3 works best with P6 in resolution from the 4 cord but in making this pedal not have the 5 string lower in the style of am I missing something? Half stop of this same pedal with a half stop of the RKR string 4 full tone lower (resulting in a semi tone) does give a second opportunity to locate P5 for speed purposes... It feels like Mo's P3 would be better placed adjacent to P6. Any thought?
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Last edited by Joshua Yarbrough on 19 Jan 2026 10:13 am, edited 1 time in total.
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Joshua Yarbrough
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Re: Maurice Anderson Bb6th
P3 half stop + P4 with half stop of RKR repeat P4+P5... which probably is the main point in Mo's thinking. But this isn't quite as possible with the fourth string lower which I have taken off as well as the G - - F lower but moved it to the LKV. Instead I have a low F on bottom. This tuning is just so interesting for the movement it entices and huge chords.
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Joshua Yarbrough
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Re: Maurice Anderson Bb6th
Who am I kidding... It might be the perfect copedent... B flat is where its at!
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Joshua Yarbrough
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Re: Maurice Anderson Bb6th
Any recommendations for the X pedal?
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Joshua Yarbrough
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Re: Maurice Anderson Bb6th
P2 + P7 + RKL is such a beautiful chord; it needs to +1/2 pull on top though on P7 added
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Marco Coblenz
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Re: Maurice Anderson Bb6th
Hi Joshua,
I’m by no means an expert on Maurice Anderson or his tuning, and I haven’t played it myself. As I understand it, it’s a universal tuning that combines Bb6 and Eb9, with more emphasis on the 6th side.
To switch into “9th mode,” you raise the D strings to Eb with RKL (which Reece used—a change you’re missing). With that in place, the pedal layout is fairly typical: P1 and P2 function like the A and B pedals on the 9th side, and P4–P7 correspond to P5–P8 on the 6th side.
P3 is the interesting one. There’s no C pedal, so it effectively takes that position—and there’s no F lever either. On Reece’s setup, P3 produces the same sonority as the important A+F combination, just two frets higher. That’s also its main purpose. If I remember correctly, Reece himself explained this in an old forum thread. Seen that way, it makes complete sense to place it right next to the A and B pedals, keeping the E9-related functions grouped together.
I’m by no means an expert on Maurice Anderson or his tuning, and I haven’t played it myself. As I understand it, it’s a universal tuning that combines Bb6 and Eb9, with more emphasis on the 6th side.
To switch into “9th mode,” you raise the D strings to Eb with RKL (which Reece used—a change you’re missing). With that in place, the pedal layout is fairly typical: P1 and P2 function like the A and B pedals on the 9th side, and P4–P7 correspond to P5–P8 on the 6th side.
P3 is the interesting one. There’s no C pedal, so it effectively takes that position—and there’s no F lever either. On Reece’s setup, P3 produces the same sonority as the important A+F combination, just two frets higher. That’s also its main purpose. If I remember correctly, Reece himself explained this in an old forum thread. Seen that way, it makes complete sense to place it right next to the A and B pedals, keeping the E9-related functions grouped together.