Buddy might have been playing the Blade. I walked up and "tried" to push the pedals with my hand, I almost couldn't. I thought wow why would he play a guitar that stiff.

During one oh his sets he had a problem getting a signal, 30 minutes later he found out that it was the neck seclector switch that had fallen down into the guitar. I thought why would he play a guitar that was so unreliable.

But then he played, and he played, and he played. I can not find enough words to describe how he played.

Just a couple of thoughts on my part. It was not the guitar in it's unstable condition it was the man. I would not have bought that guitar for any amount of money even though it was the blade. This is related to the Bobby and Buddy thread.

Secondly, there probably isn't any guitar he couldn't play...but would he want to?

I don't think Buddy would play "any" guitar he could not get tone from and express himself musically the way he would want to.

Remember, this is a man who has the option of playing any guitar he wants due to who he is and his accomplishments. The guitar he plays is by choice.

Food for thought: If Buddy was playing it, there was a reason for it.
Think about it!

Now, this matter is over as far as I'm concerned.

I have got an almost done lefthanded steel.Let's give it a try.

Mike Cass told Bob Bender not to sell this PP, he did, I am now the owner. I am done buying steels.

Larry Behm

[This message was edited by Larry Behm on 23 September 2004 at 10:58 PM.]

Db

------------------
My best,
Ernie

www.buddyemmons.com

I have a Rosewood D-10 S/N 1153-D
( Not for Sale )

I suppose it's possible that it was up-graded - the 'wood-grain' effect does look similar on the album to the picture that Ernie posted.

------------------
Ron Petersen &
The Keep'n Tyme Band
Mullen Universal 12 - 1975 Session 400

[This message was edited by rpetersen on 23 September 2004 at 04:34 PM.]

And the switch was what made the pedal so stiff, sticking on something underneth.

[This message was edited by David L. Donald on 26 September 2004 at 01:31 PM.]

I did sell it in California. I was playing bass for Roger Miller and thought I wouldn’t play steel any more. When I realized I had made a mistake Peggy called the man who purchased it and he was nice enough to let us buy it back. The day it was back home I gave the guitar to Peggy knowing she would never sell it. It worked and she was very good about letting me play it for the next fifteen years.

As for history, outside of Nashville, it has done its thing on recordings with Judy Collins, Ray Charles, John Phillips, John Sebastian, Henry Mancini, the Carpenters, and a host of other L.A. artists (even Tiny Tim) in the late sixties and early seventies. I wouldn’t be ashamed to take it anywhere.

[This message was edited by Buddy Emmons on 23 September 2004 at 07:53 PM.]

I'm happy to know that the Blade is right where it belongs....

Have you ever owned another guitar that cuts like the Blade?

The Blade may have a slight edge over the Bart brothers sound wise, but there are the advantages and disadvantages of each that have to be weighed in choosing the best guitar for my use. With the exception of a few friends I record with I’m no longer in the session end of the business; but I still like to experiment with tunings and pedal changes, and that’s where the Legrandes get the nod.

Great sounding guitar Peggy has there!

------------------
My best,
Ernie

www.buddyemmons.com

#1140 D

Thanks for the update.

------------------
Darvin Willhoite
Riva Ridge Recording

For me it keeps my creative jucies flowing, even though anyone in the crowd may not hear the difference between an augmolished and a dimented chord let alone a suspendered or a miner one.

Think about that...

[This message was edited by Frank Freniere on 25 September 2004 at 01:35 PM.]

quote:

---

The decision making is still ongoing but the change I like most so far is having taken the low B to C# raise off my first pedal and putting it on one of the two extra left knee levers.
In the open position, Pedals A & B down with strings 4, 5, 6, and 10 is a 4 over 5 chord. (see tab)
I lower the 10th string one tone, on my right knee right lever. Using it and the knee lever that lowers my Es gives me a 5 chord with a 4 chord root (strings 4, 5, 7, and 10).
Pedals A and B with the RKR is a four chord with strings 5, 6, 8, and 10.
Releasing pedal B in the last example resolves into a nice major 7th voicing.

---

     <  <  ^  >   A  B  C  <  >
F#
Eb
G#
E             Eb
B                 C#  
G#
F#
E             Eb
D
B   C#                        A

      4/5    5/4    4    maj7
1________________________________
2________________________________
3________________________________
4_____0_______0L_________________
5_____0A______0_____0A_____0A____
6_____0B____________0B_____0_____
7_____________0__________________
8___________________0______0_____
9________________________________
10____0_______0LL___0LL____0LL____

Dave

[This message was edited by Dave Robbins on 25 September 2004 at 10:20 PM.]

quote:

---

Some care to walk, some want to fly.

---

I nice turn of phrase, but I find nothing in Lloyd's playing pedestrian.

What I do see is thet these two masters resolve their lines in very different harmonic ways.

Lloyd is general resolving from with-in the frame work of the chords, if not excluseivly, generally.

While Buddy is much more often resolving from the outer tensions to the inner consonances.

Hence he is more often searching for new ways to approach this, out to in, path. Whether on E9 or C6.

While Lloyd has been plumbing an inside course that is filled with a naturally closer logic, hence he has been happy with his set up for a long, long time.

He already had enough of the tensions he desires to be fullfilled.

So they both fly for me, just on different trajectories!

[This message was edited by David L. Donald on 26 September 2004 at 02:03 PM.]