Copedant Question on Right Knee Levers

[Brayden Doolittle]

I just got a new (for me) pedal steel, and I have been studying the changes trying to find out what does what. This is actually my first pedal steel, but I was playing a borrowed one for a couple months. Both use the Day setup, and the copedant on both of them is the same except for the two right knee levers.
The first one I was playing on had the RKL lowering the 2nd string from D# to C# with a half stop between at D. It also lowered string 9 from D to C#. The RKR raised strings 1 and 7 from F# to G#.
The guitar I just got has the RKL raising string 1 from F# to G# with a half stop in between, and it also lowers string 6 from G# to F#. RKR lowers string 2 from D# to D, and string 9 from D to C#.
I don't know much about different copedants, so I guess my question is is this a common setup for the right knee levers, and should I consider changing it around to match the first guitar I was playing or just learn how to use these new changes?

[Ian Rae]

I'd stick with it for now. That crossover change on 6&7 is neat - I'm thinking of doing it myself

[Dave Grafe]

Yes, that is perhaps the most common use for right knees in an Emmons copedant.

[Richard Sinkler]

I find that the knee levers lowering the E's and the one raising 1, 2 and lowering 6 should have the levers moving in opposite directions. I play Day style with the E lowers on LKL. I tried the lever raising 1 and 2 and lowering 6 on RKL. Seeing as how those two levers are used together a lot, I found moving both knees in the same direction to be very uncomfortable. If hitting those changes together fast, it tried to nudge my guitar to the left.

I moved the 1,2, 6 lever to RKL so that my knees went in different directions. To get both levers, I just spread my legs. The guitar stayed much more stable and was much more comfortable.

If I was playing Emmons style, I would have E lowers on LKR and the 1,2,6 lever on RKL. Just squeeze your legs together.

[David W.D. McCormick]

Seeing as how those two levers are used together a lot, I found moving both knees in the same direction to be very uncomfortable.

Apologies for going off topic but I can’t figure out the use case for activating these levers at the same time.

[Paul Strojan]

Those changes are the reverse of the standard I-IV pedal change. The sixth string lower G# to F# on the 5 fret is the same as letting off the A pedal at the zero fret, while the letting off the B pedal with open strings is the same as lowering strings 4 and eight at fret 5.

[Richard Sinkler]

Seeing as how those two levers are used together a lot, I found moving both knees in the same direction to be very uncomfortable.

Apologies for going off topic but I can’t figure out the use case for activating these levers at the same time.

To expand on what Paul said, Those two levers together give you a V(5) chord from the no pedal position. Think of it as another inversion. If you play a song in E, play the E chord at the 12th fret, then an A chord at the 12 fret with the A&B pedals, release the A&B Pedals and hit the two levers and you now have a B chord. This position is the same chord two frets down from the A&B position (B at the 14th fret with A&B pedals).

And in the 2 levers position at fret 12, if you release the lever that lowers string 6, you now have part of a B6 chord, then press your B pedal and you have the flatted 7th. Very cool movement going from a major chord UP to a 7th chord. Having that movement in the bottom of the chord (strings 4,5,6) is really powerful. Also using strings 5,6,8, it has the movement in the middle of the chord.

[David W.D. McCormick]

Thank you Paul and Richard! Very helpful comments.

[Brayden Doolittle]

Thanks for all yall's replies. I think for now I will just leave it as is. We'll see, maybe I'll end up changing it around later.