|
Author
|
Topic: Gunfight! What is the best Emmons changer of all!
|
Steve Stallings
Member From: Bremond, Tx, pop 876, Home of the fighting Bremond Tigers
|
posted 23 July 2002 02:07 PM
profile
Ok, we got a couple of really interesting threads going here about PP guitars. When I posted my search for a 65 wrap-around, I did so because I thought it the best design. In reading Buddy's own words, and I quote" quote:
The wrap-around neck on the original guitars was replaced with the bolt-on design some time in the mid sixties. That change was short lived because the bridge was bolted to the neck, which defeated the purpose of the independent wrap-around design. By the end of 1967, Ron went back to the wrap-around neck with a cutout in the tail end. This cut-tail design has remained the standard for all Emmons guitars.
Ok... if the wrap-around changer was so good, why was it superceded by subsequent design changes? I have discounted bolt on's because I felt that the man himself, considered this a flawed design.
Ok.... emotions aside, I'm truly curious here. What is the deal? Is the cut-tail changer a superior design? It would seem that would be the case if it remained the standard changer until the all-pull changers came along. I would enjoy hearing some learned, logical reaponses. I really would like to know.
------------------
Steve Stallings
Bremond, Texas
|
Herb Steiner
Member From: Cedar Valley, Travis County TX
|
posted 23 July 2002 02:33 PM
profile
Steve
For me, its a "vibe" more than anything else, a desire harkening back to my teen-age years. In 1965 I was 18 years old, and I owned a Gibson Electraharp. I surely wanted a "real" steel and the Emmons Co. sent me their blue/black/white brochure, with a full page photo of a wraparound on front, and a back page photo of Buddy wearing a open-collar sportshirt and playing in RCA studios. I decided then and there I wanted one of those guitars.After a period with Fenders, I went with Sho-Bud in 1968 and played that brand until 1982, when Clem Schmitz finally convinced me to go with Emmons. I had a PP built for me and played that until it got stolen in 1988. I had previously acquired a 1966 bolt-on from Bill Rudolph, the one that I'm playing on the home page of my website, but it was my second guitar. When the 1982 guitar was ripped off, I realized what a great sounding guitar the 66 was! My love affair with old Emmonses was re-ignited. In idle conversation with Mike Cass about 6 years ago, I casually allowed as how I always wanted a wraparound. Cass, resourceful man that he is  , made a few calls and found the Bill Johnson guitar for me. I was familiar with the horn as it had been floating around the Emmons factory for years, and ever so often they'd try to sell it for too much money (back then). The horn was in bad shape. Mike got it and did his magical thing with it and I got my first wraparound. I loved the sound and became intrigued with the early guitars and the company history. It's a totally emotional thing with me. I've heard cut-tails that sound equally wonderful to any guitar I've owned. Bolt-ons have their own full, ballsy sound... at least the two that I've owned. But still there's that... something... It's amazing, but jsut about every guy who contacts me and says he just got his first bolt-on or wraparound says the same thing: "I never realized there were guitars like this." OOOOOOPPSSSS! I see you said "emotions aside." never mind... ------------------
Herb's Steel Guitar Pages
Texas Steel Guitar Association [This message was edited by Herb Steiner on 23 July 2002 at 02:36 PM.] [This message was edited by Herb Steiner on 23 July 2002 at 02:39 PM.]
|
Frank Parish
Member From: Nashville,Tn. USA
|
posted 23 July 2002 02:53 PM
profile
I've got a 71 D-10, wood body, alluminum necks with the cut-tail changer that sounds as good as my 66 bolt-on to me. I had a 72 D-10 with the cut-tail changer that had a great sound as well. I've owned about 5 of these guitars with that changer and three were outstanding and the other two weren't bad. It's a big fat sound that stays in tune. What more could you want? |
Rex Thomas
Member From: Thompson's Station, TN
|
posted 23 July 2002 02:58 PM
profile
Cut-tail. |
PAUL WARNIK
Member From: OAK LAWN,IL,USA
|
posted 23 July 2002 04:29 PM
profile
Has anyone ever heard an Emmons original P/P in decent condition that really sounded BAD? granted some sound much better than others but I mean a really awful one? I haven't |
Gary Morrison
Member From: Centennial, CO, USA
|
posted 23 July 2002 05:21 PM
profile
Back in April, I asked Buddy if he remembered "Blondie". He does, and stated that he wasn't particularly attached to it at the time. Then he said: "Knowing what I know now, I could become attached to it in a hurry." |
Nick Reed
Member From: Springfield, TN
|
posted 23 July 2002 07:33 PM
profile
Gary,
I'd be glad to take "Blondie" off your hands if you ever decide to sell her.
NickMy 66' Bolt-On's: http://personal.bellsouth.net/bna/a/m/am1070/page10.html [This message was edited by Nick Reed on 23 July 2002 at 07:37 PM.]
|
Dennis Manuel
Member From: Wells, B.C., Canada
|
posted 23 July 2002 09:15 PM
profile
All Emmons guitars have a distinct sound and I have never heard a bad one whether it be a Push Pull or an All Pull changer. In my opinion the Push Pull changers sound the best, however, they do not allow the split tuning capabilities the all pull guitars accomplish. If you want total accuracy as well as all the splits the Legrande lll changers are the most accurate in the world. Zero cabinet drop.
With me its a fight when it comes to playing a gig and which guitar I take. The Push Pull usually wins out because the sound is something no other guitar can emulate. The tone remains and does not whimp out above the 12th fret. Any all pull guitar I have heard will skinny out somewhere above the 12th fret. Not sure why they just do.[This message was edited by Dennis Manuel on 23 July 2002 at 09:22 PM.] |
Jay Ganz
Member From: Out Behind The Barn
|
posted 24 July 2002 08:01 AM
profile
I stuck on a steel track for this guy's
original tune using my old Wraparound.
If you might wanna download the intro
then just click here.I used the Bolt-on awhile back for something
else. I'll hafta dig around so maybe I can
load that on also. Both are great for
recording, each one just has it's own thing
going for it.
[This message was edited by Jay Ganz on 24 July 2002 at 08:03 AM.] |
Herb Steiner
Member From: Cedar Valley, Travis County TX
|
posted 24 July 2002 08:53 AM
profile
Steve
I don't think you're gonna start a gunfight amongst Emmons owners. We stand firm, shoulder to shoulder, against the assault... confident that, although we may be using different firearms, we're all loading the same caliber of ammunition!  ------------------
Herb's Steel Guitar Pages
Texas Steel Guitar Association |
Brad Sarno
Member From: St. Louis, MO USA
|
posted 24 July 2002 03:34 PM
profile
I've got a '66 bolt-on S-10 on a single frame. How would you (anyone) describe the difference in the E9 neck's tone between a D-10 and S-10 frame, changer being the same. I have a '69 D-10 and the E9 neck on that one sounds quite different than my S-10 bolt-on, but I dont have the reference to know how much of that is due to the changers and/or the guitars' bodies. Thanks,
Brad Sarno
St. Louis |
Frank Parish
Member From: Nashville,Tn. USA
|
posted 24 July 2002 03:35 PM
profile
That's a fact Herb! |
Steve Stallings
Member From: Bremond, Tx, pop 876, Home of the fighting Bremond Tigers
|
posted 24 July 2002 06:28 PM
profile
Hey!..... I belong to the "army too". It's just that both of mine are all pull.
Jay, that is really nice. Great tone!
------------------
Steve Stallings
Bremond, Texas
|
The Steel Guitar Forum
