Suggestions for a fourth pedal on MSA 10-6 Tour Pro

[Tomas Enguidanos]

Hi folks,

I’m looking for some advice on a pedal change.

I recently bought an MSA 10-6 Tour Pro, and it’s the perfect guitar for me. I never succeeded in learning C6 (even though I love Western Swing), and since I grew up playing Dobro, the 6-string neck is extremely familiar territory. The guitar has a super authentic Dobro sound from the second output, and output three gives me a lap steel–style two-pickup configuration — very versatile.

On the E9 neck, I ordered an extra pedal that I’m not currently using. At the moment, that pedal lowers my 5th string (B) to Bb, but I haven’t found a musical reason to have that on a pedal.

The guitar has 4 pedals and 5 knees, and what I’d really like is to use pedal 4 to expand what I can do with A+B engaged (that 6th chord you use for Western Swing, Hank Williams, etc.).

So I’m considering changing pedal 4 to something more useful in that context.

Possible changes I’m exploring: (as suggested by ChatGPT)

Raise 1 & 2 (and possibly 7)

1st string F# → G#

2nd string D# → E

optional: 7th string F# → G

I’ve heard this is the classic Ralph Mooney / early Buck Owens pedal change.
Great for swing, single-note runs, and the Mooney style pedal pops.
This one really appeals to me.

Other options I’ve seen mentioned:

Raise string 6 (G# → A) — unison bend with the A pedal, good for Mooney-style licks

Raise 5th string B → C — gives jazzy / Western Swing 6th & 9th chord voicings

Franklin drop (5 & 10: B→A, 6: G#→F#) — cool for modern country, but maybe not what I need for swing

Question:

For those of you who play Western Swing or older Hank-style E9 swing on a single 10,
is the Ralph Mooney 1&2 raise the best use of a spare pedal?
Or is there another swing-oriented change that pairs better with A+B?

Thanks in advance for any ideas,
Tomás

[Lane Gray]

I've got the 1&2 raise on a "Zero pedal" so it's easy to get to after hitting the A pedal. I'm in favor of that, as I find it handy.
If you're wanting a C6th change, and P6 can be found just by releasing the E lowers and hitting string 9, I think I'd either lower the 7th string to get P5 (although I think I'd use a "corner slant" to get that), or maybe raise 5 and 6 a whole tone to get P7.

[Tomas Enguidanos]

Shoot, I really appreciate your quick response, and also wish I knew more music theory so I could hear in my mind what these changes would sound like. Does your zero pedal raise?

1st string F# → G#

2nd string D# → E

I think I'd have to hear it to understand how to use it, or play around with it.

[Lane Gray]

Yes, just the 1st and 2nd strings, to G# and E, respectively.
As luck would have it, I made a video on my channel highlighting that particular change: by putting it on a pedal, it also pairs nicely with the whole tone lower of the 2nd string
https://m.youtube.com/watch?v=XUykptG6DBQ&t=199s

[Paul Strojan]

If you want to play Hank Williams, get the Don Helms book and use the A pedal to complete the E6 tuning. The B6 from E lever lower or A6 from the AB pedals down doesn't have the brightness that defined Hank's sound. Gene Parsons recommended to me to raise the F# to G# and G# to B on the Zero pedal. Combined with the A pedal that would give you the Don Helms/ Little Roy Wiggins E13.
As far as Ralph Mooney I don't understand raising strings 1 and 2 would fit with his style of playing. He had a very rudimentary setup that didn't have chromatic strings at all.

[Lane Gray]

I submit that the tuning is less important to playing like Moon than is thinking like Moon. And I'm not convinced the 3rd string lower is essential to playing a lot of his stuff.

[Bobby D. Jones]

You may have heard that pedal used, And did not catch it being used.
Grand Old Opry steel player Mr. Tommy White has the E9th 1st F# to G#, 2nd D# to E on his 4th pedal. That pedal is some of his phrasing that makes his playing unique..

[Dale Rottacker]

You might also consider the "Beavers" change and lower both 9 & 6 a half ... works great with your B-Bb lever if you have it and also with E's lowered and then released. Pretty C6y

[Andrew Frost]

F# to G# and G# to B on the Zero pedal. Combined with the A pedal that would give you the Don Helms/ Little Roy Wiggins E13.

That's a great idea!

3----G#
4----E
5----C# ( w/ Pedal )
6----B ( w/ zero )
7----G# ( w/ zero )
8----E
9----D

[Tomas Enguidanos]

Hi Lane, got it, that’s my right knee left sound

[Tomas Enguidanos]

Thanks for your help guys. I think I’d like to try the Don Helms/ Little Roy Higgins set up

[Lane Gray]

Hi Lane, got it, that’s my right knee left sound

I put it on a pedal so I can split it with the whole tone drop of 2