Rick Garrett

[This message was edited by Rick Garrett on 25 December 2004 at 02:48 PM.]

1. Dan Armstrong Orange Squeezer Compressor 2. MXR Envelope Follower for Wah effect
3. Electra Fuss unit
4. Electra Chorus for the Leslie organ effect
5. Electra Phase Shifter
6. Ibnez Analog Delay
And there is more!
7. Lexicon Digital Delay
8. MXR Pitch Transposer
9. Ibenez Analog Delay
10.MXR Flanger/Doubler
11.MXR Noise Gate
12.MXR Noise Gate
Buddy had a Anvil style rack mount case that contained most of these units. and as you can see some units are listed twice. Why? Maybe you should ask Buddy that question. We were traveling together at the time and I had the old 1988 white Lincoln Town car with a big trunk. Buddy would have his steel set up in his room and played almost every night. I remember hearing him experiment with an idea and it just boggled my mind with the things he would come up with. I don't remember hearing a lot of those things on record though.

Witches Brew and Blue Jade are on what I call the Emmons "Black Cover" LP which is now on CD. He also recorded Witches Brew on a recording live at the International Steel Guitar Convention aat the Park Plaza Hotel, St. Louis, MO in 1977. He recorded enough tunes for two LP's. Both LP's are now on one CD. I chose to call the LP "Black Cover" as there was another recording by Buddy on the Flying Fish label and I called it the "White Cover". The reason for this was the title of both records was simply "Buddy Emmons". I have Black and the Live In St. Louis in stock at Scotty's Music.

Anvil style briefcase units:
1. Dan Armstrong Orange Squeezer Compressor
2. MXR Envelope Follower Wah Effect
3. Electra Fuzz unit
4. Electra Chorus for Leslie organ effect
5. Electra Phase Shifter
6. Ibanez Analog Delay
Anvil Rack Mount Case
7. Lexicon Digital Delay
8. MXR Pitch Transposer
9. Ibanez Analog Delay
10.MXR Flanger/Doubler
11.MXR Noise Gate
12.MXR Noise Gate

The briefcase effects plugs into the Lexicon Digital delay which has two outputs; normal and echo. The normal output is then fed to the Pitch Transposer, Flanger/Doubler and Noise Gate. The echo output is fed to the remaining Noise Gate. The two outputs are fed to two amps.

All the briefcase effects are heard through both amps while the Pitch Transposer and Flanger/Doubler are heard throug one amp and mixed with a pure steel sound with echo or briefcase effects with echo.

The Analog Delay in the rack mount case is fed to an auxillary input-output of the Pitch Transposer for special effects. Scotty

[This message was edited by DeWitt Scott on 27 December 2004 at 12:29 AM.]

I wrote: This may sound stupid to you, but: I just realized you are "THE" Buddy Emmons. The same guy that I've been trying to play like for an untold amount of years. The same guy that designed, IMHO, the best damned steel guitar, yet. The same guy that played with Dickens, ET and Price. I mean I knew that you were you, but something just clicked in my head. Sometimes, it just floors me. Also, I wonder why it is, when I e-mail you, I can say just about anything and when I'm there in person, I get tongue- tied. I'm at a loss.

He replied: "I don't know what to say Ernie. All I can suggest is that you gather your wits and treat me as you would any other great person."
I still laugh every time I think about it. IMHO: Absolutely the classiest of the classy! Yes, I'm partial! Partially...

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My best,
Ernie

www.buddyemmons.com

Hook

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HookMoore.com
Allen Moore

Bill had used Buddy Emmons on most of his past records and when I found out he was going to cut again with Buddy Emmons I offered to drive the car both ways, which I think I ended up doing.

Of course as soon as he was set up I was over at his steel asking him how he did a certain lick on the Ray Price "Western Strings" Cherokee Cowboy instrumental album.

I will never forget how gracious and kind he was to show me the lick I asked about (a lick I still use to this day). He probably should have said, "Go away, kid, you bother me!" but he never hesitated to show me the lick and everything else I asked him about.

Bill finally had to come get me and take me away from my pestering and Buddy just grinned.

Just imagine how a young horn player in the 40's being shown a lick by Charlie Parker must have felt. This was at least that good!

Thanks, Buddy Emmons.

Best,