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  The End of the Push-Pull

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Author Topic:   The End of the Push-Pull
Eddie Malray
Member

From: South Fulton, Tennessee, USA

posted 12 October 2002 02:38 PM     profile     
Fellow Members: I know this has probably been discussed many times but I have'nt been a member very long and this is my only connection to the Steel Guitar World. I'm pretty much the Lone Ranger around here as far as I know. Can anyone tell me the reason Emmons dropped the PP system. When the LeGrands came out I figured maybe they had decided the all pull was better and they were going to update. Now it seems a lot of players don't think so. Myselg, I could'nt really say. So, I began to think it was a cost cutting move. Can someone in the know explain this move? Just wondering.
THANKS< Eddie Malray
Jim Smith
Member

From: Plano, TX, USA

posted 12 October 2002 03:36 PM     profile     
One of the main reasons for the demise of the push-pull was the much higher cost of production. With the high list price of the all-pull Emmons, which is almost as much as the new MSA, I'd hate to think what they would charge for a new push-pull.
Bob Snelgrove
Member

From: san jose, ca

posted 12 October 2002 06:52 PM     profile     
I still have never hear why it would cost so much more? parts is parts, right?

bob

Donny Hinson
Member

From: Balto., Md. U.S.A.

posted 12 October 2002 06:59 PM     profile     
Maybe I'm missing something...but I can't see why it would so much more expensive to build? A little more assembly time (to set up), maybe. But actual actual "manufacturing time", no.
richard burton
Member

From: Britain

posted 13 October 2002 06:03 AM     profile     
It's far easier to change the set-up on an all-pull guitar, plus there is no inherent slack required in the mechanism, unlike a push-pull. Emmons had to go with the flow. It is only in retrospect that push-pulls have gained a reputation for good tone compared to all-pulls.
Fred Shannon
Member

From: Rocking "S" Ranch, Comancheria, Texas

posted 13 October 2002 06:13 AM     profile     

[This message was edited by Fred Shannon on 15 December 2006 at 07:29 AM.]

jim milewski
Member

From: stowe, vermont

posted 13 October 2002 06:27 AM     profile     
I believe it's the vibration/resonance transfer properties from finger to body that plays a large part in tone, then naturally the body construction to be in a favorable resonant frequency range of the notes of a pedal steel, a heavy guitar is stable but not very resonant being somewhat muted like MSA's in my opinion, most of the time you can tell by playing an unplugged guitar, my old emmons was so lively, I think the push pull changer was a simple uncluttered changer without pressed metal parts in the mechanism that helped give it that good sound
BobbeSeymour
Member

From: Hendersonville TN USA

posted 13 October 2002 10:32 AM     profile     
Backfeeding the string! Some do, some don't. Some can, some can't. Overtones (good tone) are generated by this "backfeeding". Loops and lodes create tone,the path of vibration governs how much (if any) get back to the string from the body. The Emmons Push-Pull has the great combination of solid finger contact with the cabinet,(impossible with and all pull) resonant freqencys in the body obtained by correct materials and thicknesses. The manor in which all parts are connected also matters. The P-P vibration all goes into the body, all pull guitars send the vibration into the end casting which then goes directly into the legs and then the floor. (would you rather have a good sounding floor or guitar?)Ever wonder why ALL Emmons guitars have that big hole cut out in the middle of the cabinet between the necks? Did you think it was just to put that silly, usless tone bypass switch? Nope. Accustics,resonance,path of vibrating energy to backfeed the strings. Overtones! You bet. Many reasons why this is the premier sounding guitar. Can and will it ever be duplicated? I think so. Ain't quite happening yet but a couple of builders have their eyes open and are looking and listening hard. Good luck, all you builders and designers, think about tone!
BobbeSeymour
Member

From: Hendersonville TN USA

posted 13 October 2002 10:52 AM     profile     
The Emmons company came out with the LeGrande because of ease of manufacture and maintanance, NOT because they thought the LeGrande was a better guitar,(although it turned out to be a great guitar also). Many folks that were not mechanically inclined had some trouble learning how to tune the push-pull steel. Also , the P-P guitar was a little more expensive to build, it could have been cheapend but this is not the "Emmons way" of doing business. So this company built both guitars for Six years('81-'87) untill the demand for the Legrande was about 99 to 6 against the P-P. When it came time to re-order, re-tool,and generally re-build the P-P assy line, it was cost prohibitive and foolish to put money into building a product that would slow down production of the much in demand, sought after, new LeGrande.
Have any idea how much easier it is to build a 10 and 10 LeGrande than it is a 10 and 10 Push pull? Three Legrandes can be built in the time it takes to build one Push Pull. Time is money. However as we all know, both guitars are at the top of the pile."
I worked very closly with Ron Lashly throughout these years and now agree with his business moves, however, I'd like to see some more Emmons P-P guitars being built.
Bobbe

[This message was edited by BobbeSeymour on 13 October 2002 at 10:53 AM.]

BobbeSeymour
Member

From: Hendersonville TN USA

posted 13 October 2002 11:01 AM     profile     
To you guys that say Emmons can build the Push-Pull just as inexpensivly as the LeGrande, look at the bell cranks on both guitars. On the P-P, the bellcrank is made of seven parts and silver soldered, on the LeGrande, just two parts and stamped!
Multiply this by the typical 42 bellcranks on most simple double 10 guitars and you can see where a little of this extra expense is hiding.
Eddie Malray
Member

From: South Fulton, Tennessee, USA

posted 13 October 2002 11:45 AM     profile     
Thereis no doubt in my mind that the PP is a lot more expenseive to build. I"m a maintainance mechanic by trade and I know that the more parts the higher the cost.Thats why i figured they quite building them . I know it's a little more complicated but one thing I can say about the one I've owned for twenty-two years is that it's been absoutly trouble free. I started on all pull guitars and when I ordered the Emmons I didn'nt know push-pull from JACK. I thought it would be an all pull. Imagine the look on my face when I opened the case and saw underneath the thing. How in the world do I tune this I thought. But after reading the instructions it proved to be quite simple. Its always amazed me as to haw well it stays in tune. No need for me to ramble on anymore but I must say thanks for all your replies. You have expanded my Steel Education to another degree. EDDIE MALRAY
Ken Byng
Member

From: Southampton, England

posted 15 December 2006 05:05 AM     profile     
I am toying with either purchasing a Promat next year or an all pull guitar from a USA manufacturer to supplement my Sho-Bud. Quality, tone and back up support are all important, and Bobbe's comments are swaying me towards the Promat if only from the tone prespective.

Ken

Jim Sliff
Member

From: Hermosa Beach California, USA

posted 15 December 2006 06:24 AM     profile     
"From what I've been able to garner off the Forum, tone is a function of cabinet material/construction, neck material/construction, and primarily of the type and ohmic rating of the pickup."

Mass and attachment of (plus construction of) the changer will have a huge effect on tone, just like changing the bridge material on a Tele or the Trem block on a Strat (or locking it down).

john widgren
Member

From: wilton CT USA

posted 15 December 2006 07:11 AM     profile     
I had a lengthy conversation with the late Ron Lashley a few years ago. He told me that there was a market demand for all pull guitars which he welcomed. He also said that the inherent "over built" quality of the original guitars actually hurt him from a business standpoint. He said that he took pride in the qualities of the original, but because they were so good, they actually killed his "replacement instrument" market. He talked about his experience that "those old push pulls just won't die, and sometimes he wished they would." BTW none of this has anything to do with my opinions about PP's, (which for the record; I love). Please lets not turn this into any kind of "my guitar is better than your guitar" squabble." I'm just relating what the man told me, once upon a time.

[This message was edited by john widgren on 15 December 2006 at 07:12 AM.]

[This message was edited by john widgren on 15 December 2006 at 07:13 AM.]

Charles Curtis
Member

From: Bethesda, Maryland, USA

posted 15 December 2006 07:22 AM     profile     
Well said, and I hope that someday Ron Lashley Sr. will be inducted in the SGHOF. I would love to have one of those original PP Emmons.
Erv Niehaus
Member

From: Litchfield, MN, USA

posted 15 December 2006 08:38 AM     profile     
I know it was just a one time deal, but I bought two new D-10 push/pulls from Ron last year. The cabinets are 30 years old but everything else is brand new.

Besides being more expensive to build, another problem is for the steelers who are continually making changes to their copedent. It is quite difficult to make changes to the underbelly of a p/p. You pretty much have to decide on what you want and leave it that way.

I think my most prized p/p is a 1966 Black mica bolt on with 8 pedals and 8 knee levers. The undercarriage is all polished and before you open the case, you need to put on your dark glasses or the shine will hurt your eyes!

Bobby Lee
Sysop

From: Cloverdale, North California, USA

posted 15 December 2006 11:02 AM     profile     
I think that if they still made push-pulls, everyone would be complaining about them. It's hard to get a push-pull adjusted right, and today's modern copedents with multiple raises, lowers and splits just make the problem worse.

They are great guitars for the mechanics among us, but if they were being made today a lot of people would buy new ones, knock them out of whack, and curse "good riddance" under their breath as they sell them on the Forum.

As it stands today, there are a limited number of these guitars in existance. Most have found their way into the loving hands of experts who can appreciate their design and trademark sound. I think this is a much better situation than the alternative.

------------------
Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) My Blog


[This message was edited by b0b on 15 December 2006 at 11:03 AM.]

Erv Niehaus
Member

From: Litchfield, MN, USA

posted 15 December 2006 11:39 AM     profile     
I think maybe a good compromise is Bruce Zumsteg's guitar with the hybrid changer.
He has incorporated the tone qualities of the p/p and the conveniences of the all pull into one guitar.
I have one on order and now the looooooooong wait.
Donny Hinson
Member

From: Balto., Md. U.S.A.

posted 15 December 2006 12:27 PM     profile     
quote:
On the P-P, the bellcrank is made of seven parts and silver soldered, on the LeGrande, just two parts and stamped!
Multiply this by the typical 42 bellcranks on most simple double 10 guitars and you can see where a little of this extra expense is hiding.

I agree, Bobby...a "little" extra expense. I also notice that the bell-cranks and shafts were made of (cheap) plain steel and nickel-plated, instead of being made of stainless steel. Had Emmons had the equipment, the bell cranks could have been spot-welded, or induction welded instead of silver-soldering; that would have been a far more economical solution in the long term. As far as the rest of the parts (collars and swivels), they could be knocked out by the thousands on a modern CNC machine today.


Okay, so the bell-cranks cost a little more (I'll be generous and say they cost $10 more each to make), so that only accounts for about $400 in extra cost. But wait a minute, that's only around 10% more when we're talking a $4,000 guitar (which is where we are today).

That really ain't no big thing!

I think the reason they dropped the P/P is that the market wanted a different (better, more versatile and easier to deal with) guitar. The market wanted a guitar that had more adjustments for timing. (We've even had people arguing here on the Forum that 14-hole bellcranks were a "necessity" for accurate timing!) Timing adjustments on a P/P were about nil, you had the compression springs, and (if you were lucky) 2 holes on the bellcranks. They wanted a guitar that you didn't have to reach underneath and fidget with barrel tuners. They wanted a guitar that would do triple raises and lowers. They wanted a simpler, lighter, quieter, and easier-to-deal-with guitar.

I won't argue that the old P/P's sounded good, they certainly did, but players wanted more than just a good sound. The truth is that most pros today don't play one, and don't want to play one. Emmons isn't making them anymore for the same reason that GM isn't making a '57 Chevy.

The demand just isn't there.

For what people are paying today for a new Caddy, they could certainly build a '57 Chevy. But they wouldn't sell very many...because people today want more than a bench seat, a heater, and an AM radio.

What was "good enough" in the old days is simply no longer marketable to the masses.

Jack Anderson
Member

From: Scarborough, ME

posted 15 December 2006 12:54 PM     profile     
That '57 Chevy with the bench seat, the heater and the am radio sure was more fun on a date than my late model Subaru! It sounded better, too!

[This message was edited by Jack Anderson on 15 December 2006 at 12:54 PM.]

Darrell Owens
Member

From: Norco, California, USA

posted 15 December 2006 09:12 PM     profile     
I have a Push Pull reissue that I just bought this year, and it is a great guitar. It is an original, 30 year old body with all newly manufactured parts. The guitar sounds like an original PP, plays good and stays in tune. It is set up exactly like my LeGrande lll (bought last year). Both are D-10 and the PP actually cost a little less. It took longer to build the PP due to the wait for parts, but it was worth the wait.

I have a hard time trying to figure out which guitar I like the best. They are two completely different guitars.

------------------
Darrell Owens
www.darrellowens.com

Chris Allen Burke
Member

From: Signal Hill, CA

posted 15 December 2006 10:37 PM     profile     
Promat!
Donny Hinson
Member

From: Balto., Md. U.S.A.

posted 16 December 2006 05:13 AM     profile     
quote:
...with all newly manufactured parts. The guitar sounds like an original PP, plays good and stays in tune. It is set up exactly like my LeGrande lll (bought last year). Both are D-10 and the PP actually cost a little less.
So, that "far more expensive to make" thing is just a myth, then?

Thank you Darrell for that information!

Erv Niehaus
Member

From: Litchfield, MN, USA

posted 16 December 2006 09:00 AM     profile     
One of the drawbacks in a p/p is the slack you have to have in the raises so you can accomodate a lower on the same string. Just the nature of the changer.
Chris Lucker
Member

From: Los Angeles, California USA

posted 16 December 2006 10:22 AM     profile     
I like it better this concise:

Let's speculate on what the Lashley's had for breakfast this morning, and if we answer that question, we can move on to what they will have for lunch.

[This message was edited by Chris Lucker on 16 December 2006 at 10:27 AM.]

[This message was edited by Chris Lucker on 16 December 2006 at 12:53 PM.]

Nick Reed
Member

From: Springfield, TN

posted 16 December 2006 11:01 AM     profile     
In reference to cost cutting for those of you who have both Emmons models like myself. Compare the Pedal Bars. The older ones are much heavier and solid. You can tell the newer ones are made cheaper out of a softer aluminum. NR
Chris Lucker
Member

From: Los Angeles, California USA

posted 16 December 2006 11:05 AM     profile     
Erv

Please explain to us why the amount of slack we have on a push pull hurts the playability of the guitar? Do you really think the slack is that bad? No wonder no one wants a push pull.
And for someone else to say you cannot load up a push pull the way you can a modern all pull, why would you want to? A loaded push pull does not sound as good as one with 4 or 5 knees.

Carlos Polidura
Member

From: Brooklyn, New York, USA

posted 16 December 2006 07:14 PM     profile     
Emmons push pull... I have one and I love it.
Carlos
Ken Byng
Member

From: Southampton, England

posted 17 December 2006 04:32 AM     profile     
I have received a number of emails concerning my post and I'd like to thank all of those who have given me their advice and experiences. One or two have certainly opened my eyes and re-enforced the very obvious point that instruments made purely by engineers are not always the most playable by musicians.
Erv Niehaus
Member

From: Litchfield, MN, USA

posted 17 December 2006 07:15 AM     profile     
Chris,
I like my pedal and lever action to be very "tight" and precise. I don't like a lot of play in my pedal and lever action.

For instance, on the E raise and lower, you have to have some slack in the E raise to accomidate the E lower. This necessitates having some slack in the E raise lever.

If this doesn't matter to you, then it's NO big deal.

Bruce Bouton
Member

From: Nash. Tn USA

posted 17 December 2006 07:04 PM     profile     
I'd have to respectfully disagree with Donnie Hinson. In my humble opinion a properly set up PP plays much more responsively and accurately than most all pulls. I also had conversations with Ron Lashly(senior) and he told me the same thing that were were more expensive to build. Keep in mind that manufacturing costs are a combination of parts and labour. It takes a lot of time to build a push pull. I think it's safe to say that ease of setup had as much to do with the shift to the LeGrand.
BB
Donny Hinson
Member

From: Balto., Md. U.S.A.

posted 18 December 2006 07:07 AM     profile     
Bruce, disagreement is welcomed! I learn a lot more when people "push back", occasionally. My only point was to bring to light the fact that, while a push/pull may be a little more expensive to build, that that probably wasn't the main reason for their decline in popularity. As you said...
quote:
I think it's safe to say that ease of setup had as much to do with the shift to the LeGrand.

Yes, I agree. Most people these days want a guitar that doesn't require a "specialist" to keep it in tip-top shape.

In these days of mostly higher prices, it's not hard to spend $4,000, $5,000, or even $6,000 or more for a really high-quality, custom-made instrument. Emmons has many loyal fans out there, and I'm sure that some of them wouldn't mind paying an extra 10%, or even more, to get a push/pull should Emmons decide to make them available again.

Mike Shefrin
Member

From: New York

posted 18 December 2006 08:15 AM     profile     

[This message was edited by Mike Shefrin on 25 December 2006 at 06:06 AM.]

David Doggett
Member

From: Philadelphia, Pennsylvania, USA

posted 18 December 2006 03:10 PM     profile     
I think if you take a very standard p/p setup properly by the factory or a specialist, and just maintain it, but never experiment with changes in the setup, then a p/p can be very stable and last forever. But if you want to take an S10 from 3&2 to 4&5; or if you want to take a D10 from 8&4 to 9&8; then you really have your hands full if you live far from a specialist, and it's the only guitar you have and you don't want to ship it for service. It can also be daunting to take a 9&8 with changes you don't want to something with changes you prefer. Then you might not like all your new changes, and want to try something else. This is the sort of thing that happens when you buy a used p/p that doesn't have the setup you want. Or maybe the changes are okay, but after going through several previous owners the action is way out of whack. Or say you want to switch the whole tuning, strings and stops, from JI to ET, or experiment with somewhere in between. That is a lot of work on an all-pull, and can be a nightmare of trial and erro adjustments on a p/p. BE himself said he once switched from a p/p to an all-pull in a studio session, because he was out of practice getting the tuning right on the p/p. This is why some people say they've never had a problem with their p/p, and others say they are too much trouble. It depends on whether you are just maintaining a well-adjusted guitar, or wanting to make wholesale changes on an out-of-whack old war horse.

As for manufacturing costs, remember that, when multiplied across dozens or hundreds of instruments, 2 or 3% extra cost can doom a line. 10 or 20% extra can really be prohibitive, especially if the line isn't selling well, as the p/p wasn't toward the end of its run.

[This message was edited by David Doggett on 18 December 2006 at 03:19 PM.]

Sigi Meissner
Member

From: Duebendorf, Switzerland

posted 26 December 2006 09:14 AM     profile     
I have two all pulls Emmons and I probably won't ever have the oportunity to play an push pull to judge the differnce of the tone.
I hope It's not that great to throw my guitars in the trash. I don't even know exactly the difference of the two constructions systems. Has anyone an animated picture to show me the 2 systems?
Greg Simmons
Member

From: Edmonton, Alberta, Canada

posted 26 December 2006 09:40 AM     profile     
Courtesy the good folks at Carter...

All-pull: http://www.steelguitar.com/steelmap/maptop/changer.htm

Push-pull: http://www.steelguitar.com/steelmap/maptop/ppchangr.htm

Jerry Roller
Member

From: Van Buren, Arkansas USA

posted 26 December 2006 09:50 AM     profile     
I have 3 push pulls, 2 LeGrande II's and a LeGrande III and I like each one very much. All are D10's and it doesn't make any difference to me which one I take out and play. They are all tremendous sounding and playing guitars. It takes me a lot longer to set up a push pull than the LeGrande but that is because I can't remove or add a bellcrank without removing the cross shaft. I would not suggest to anyone to get rid of a good LeGrande in order to replace it with a push pull but on the other hand I would not want to ever be without a push pull. Ron and Buddy knew what they were doing when they developed the push pull and the guys at Emmons today know what they are doing also. Neither takes a back seat to any other guitar. (my opinion).
Jerry

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