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Author
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Topic: Do All Emmon's Push Pull have "that sound?"
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Bob Hoffnar
Member From: Brooklyn, NY
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posted 10 June 2003 08:16 AM
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quote:
Jay Dee would come by his place and strum an unplugged P/P and could tell whether "that" was in there or not.
That is a way you can test steels for overtone stability. You strum the strings with no amp and listen for how long it takes for the fundamentals to die out and then you hear the upper partials start to cascade upward. On a PP this does not happen. The fundamentals and overtones remain consistent all the way to the final decay. Weird thing is that Franklins have the same quality of stability although they have a different over all sound. I think that is why Franklins record so well. Very few all pull guitars have the
overtone/fundamental stability of the old Emmons. Bob |
Larry Bell
Member From: Englewood, Florida
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posted 10 June 2003 08:53 AM
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Right, Bob
That's why both guitars lay so nicely on a track with other instruments. No slam on Zum, but that's a problem I always had with mine. A couple of engineers told me that the Zum invaded other tracks' space much more than the Emmons and they had to work much harder to make it sound right. I am finding that my Fessy is similar to the Emmons and Franklin in that regard. I have a session tonight with an engineer/producer with a very discerning ear, on a CD project that I started on the Emmons. I'll be interested to compare tracks once it's done. And, you're right -- all three guitars (Emmons/Franklin/Fessenden) have distinctly different sounds, but just seem to 'lay right' on a recording.------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps
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Gino Iorfida
Member From: Oakdale, Pennsylvania, USA
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posted 10 June 2003 09:01 AM
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If Emmons P-P guitars AREN'T so great, why are most modern steels being compared to them, and why is everyone strivng to make an all pull that sounds 'just like a push pull'?My guess why a LOT of pro's are not using P-P's now, would be that I'd say a good 75% or more of the new music is being recorded by one person now, and that person happens to play a Franklin, with B-L pickups, thru a Mesa preamp. The P-P doesn't exactly do the modern 'nashville' sound the way an all pull will do. To me the 'modern' sound has less upper midrange/lower treble sweetness that the Emmons does, instead has a bit of an uppper high end 'graininess' where the emmons tends to smooth this out a bit. (shobuds to my ears tend to exhibit this as well to some extent). To someoen who is more familiar with modern music than some of the classic steelguitar tones, the all pull may be closer to what they are think a 'steel guitar should sound like'.
I grew up listening to more clasic stuff (a lot of lloyd green stuff sounded great), but the tones that stick in my head from my childhood, are those from Buddy when he played on 'POP! Goes the Country!, Jay Dee's playing the backgroudn music for 'The Dukes of Hazzard', and Buddy Cage's playing with NRPS, add in hearing the countless Opry broadcasts, and the live performances on Austin City Limits and Nashville Now (70's and 80's), the tone stuck in my head is the push pull tone, and I was never happy until I had THAT tone... |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 10 June 2003 10:58 AM
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Gino,first of all 75% of all Nashville sessions aren't done by "one guy". And as far as I know, he's the only guy using Frankling guitars in town on recordings right now.(however two other guys own them) Many many sessions are being done on P-P guitars in Nashville .
There are hundreds of sessions a month done in Nashville, jingles,gospel, writer demos, custom sessions etc. I don't know of any Franklins being used on any of these sessions, but I do know of MANY players using the Emmons push-pull guitar. Name them? How about the most recorded player in Nashville, the guy that does the most sessions of all, Sonny Garrish? Emmons P-P.!!! Steve Hinson, Wayne Paul, Weldon Myrick,Bob Angelo,Jay Andrews,Bruce Bouton,Mike Daly,Mike Cass,Mike Duchett,Ron Elliott,Buddy Emmons,Keith Gaddis,Eddie Gossien,Doyle Grissom,Bob Hempker,Jim Hefferden,Tom Killen,Lynn Owslee,Robin Ruddy,Larry Sasser,Steve Wilkerson,Darrell Thatcher,Mike Sweeney,Mike Stidoff, Cal Sharp,Wanda Vic,Tim Sergeant,Jay Dee Maness(CA.), Tim Lusby,Tom Baughman, I could go on forever with the professional guys that play the Emmons guitars. Why don't they all? I think they do! I can name one or possibly two that play the guitar you mentioned Gino,and quite a few that still record with Sho-Bud.
Several folks don't realize how much recording is going on in this town. One guy wouldn't have time to even do five percent of it himself. The work horse of Nashville is still the Emmons push -pull, and all this seventeen years after the last one was built. [This message was edited by BobbeSeymour on 11 June 2003 at 06:23 PM.] |
Hans Holzherr
Member From: Ostermundigen, Switzerland
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posted 10 June 2003 11:08 AM
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Bobbe, this tone-enhancing procedure you mentioned, is this something you intend to keep to yourself? Am I being naive asking this question? |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 10 June 2003 11:12 AM
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Gino, after reading your post again, I realize you are totally off base on what you think is happening in Nashville, but I can understand this and don't blame you at all, I feel many folks don't know and believe what you are saying. The person you mentioned is THE high profile player,and he plays extremley well(as do many others:White, Buddy Emmons,Rugg,Myrick,Hicks,Garrish,and the list goes on) but you and everyone has to realize, Nashville is a big industry and much of it isn't very visible. There could be as many as two hundred sessions going on at one time in this town,(houses and all) including all kinds of sessions, all kinds of music,and so on. Many folks seem to be focused on Allen Jackson,the Judds,George Jones, Neal McCoy, Arron Tippin and so on and don't even start to see the big picture.
I can understand your not seeing how many Emmons P-P steels are being used here so don't take this as anything but an educational post. I'm only enlightening, I do appreciate your past patronage and you as a player, get out of PA. and come on down, you could work here, all the rest of us are!
Bobbe, |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 10 June 2003 11:28 AM
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Hans, It's not a "tone enhansing procedure", it's just how to get out what's in there. It's in there in all P-P Emmons guitars, but some slip into a state of "sleep" and things change from where they were manufactured/etc.
I have had many e-mails asking me about the "Secret".
First of all it's more than a secret, it's a total procedure. Something that Ron Lashly taught me twenty years ago when I first became an Emmons dealer. This is also my trade/craft, to show and tell would be detrimental to my income. All guitars I sell are "RIGHT", and all guitars I repair are "RIGHT". Possibly, one day soon I'll put out a video on this subject before I retire,
The tone (timbre) of the P-P guitar is slightly adjustable! No other guitr is. This alone makes it a very desirable instrument.
It can be "Tone tuned" to certain custom situations or jobs. For different players, different ears. Truly the best of all worlds, IF you know what you are doing with it. |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 10 June 2003 11:31 AM
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bOb, if I'm over loading your hard drive, I'll pursue this elsewhere, |
Gino Iorfida
Member From: Oakdale, Pennsylvania, USA
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posted 10 June 2003 11:39 AM
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Bobbe,
I appreciate your mentioning of a fact I obviously overlooked. I guess a better way of putting it, would have been "75% of what is being played on top 40 country radio/CMT" of course that would be the Allan Jacksons, Toby Keith etc.
The sad thing is, I'm sure I"m not the only musician who isn't hearing the bulk of what is coming out, but am stuck either listening to what the ClearChannel's and Gaylords are force feeding us up here, or I have to use the internet to find out on my own what else is out there (I'd most likely be pleasantly surprised to hear that yes, indeed there IS country music still alive, and not just the candy-coated-mindless-garbage they are passing off as country these days in the mass media). What is truely sad is that there are the masses of people that may have never had the opportunity to turn on to prime time TV to see shows like Pop goes the country, or Hee Haw, or evne Barbara Mandrell's show, and hear, and see real country, and hear they way a steel guitar should sound. All they know as country music is what is being pumped through the major airwaves, and the only thing they know about steel guitar is what they hear on this mass produced stuff. In no way am I belitteling Paul Franklin's playing, I think he's an incredible player, and have the utmost respect for him, but the fact that the recorded tone he has may not be traditional, I would put that blame on the producers etc. IN another post someone posted a clip of a bootleg of him playing with Drie Straits, and the tone on that clip is GREAT... doesn't sound ANYTHING like what you hear on the radio, however the same player, same instrument etc are used... that tells me that the producers for the masses are doing their job.
Thanks again for enlightening me that there is MUCH MUCH more going on in Nashville than what is commonly known! -- I will stand behind my statemnt though that "If the Push pull ISN"T great, why is everyone trying to make a guitar that sounds like one... and why are they comparing every guitar to one..." -- has to be something if the Emmons is THE guitar that all others are judged by. I just know I wanted one because the tone that I had in my head that I heard grwing up came from an Emmons, so why not get the right tool for the job.... hey you can put big tires on an El Camino, and it will look 'almost exactly like a truck'... doesn't mean the ElCamino can go off roadin' or can haul a ton of gravel... right tool for the job...I wonder if the reason behind a good number of people using all pull guitars on the road has more to do with the fact that most steelers would have to maintain their own instruments on the road, and they can be set up a heck of a lot faster if something fails? Or is it more of a thing like 'you dont dig out the good china and silverware to eat TV dinners on?' and that the push pull hans't been made in close to 20 years they'd feel worse if something happend to a classic, vintage instrument vs. one that is more easily replaceable (same reason why the folks that will record with a '54 tele thru a tweed fender, yet tour with a '2003 tele thru a peavey bandit' type thing) |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 10 June 2003 01:30 PM
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I think you have it figured out and well understood Gino, now , get down here and play some steel with the rest of us!
I also agree with you about many steel players leaving the P-P under the bed because it is getting so rare and expensive,I myself am guilty of this quite often, I have an old junky P-P and also a newer LeGrande, along with my collection of junkys to play when I feel the P-P may be in danger of "lost by airline" or "crush by bus".
I have sold many steel guitars to folks that would never part with their P-P but also think too much of it to play on a "assembly line job". After all, most dancers and screamers don't care anything about what you play, what tone you get or how easy your pedals push. So, play anything until that important session or TV show comes along. Then, get under the bed and pull out the heavy artillery, you know, the LONG blade! |
Brett Cookingham
Member From: Sherman Oaks CA
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posted 10 June 2003 08:49 PM
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I think all you guys ought to get rid of those junky old p/p's ASAP. I'll be glad to give ya' $50 each! [This message was edited by Brett Cookingham on 11 June 2003 at 10:06 PM.] |
George Kimery
Member From: Limestone, TN, USA
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posted 11 June 2003 05:14 AM
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Whoa! I never dreamed that starting this thread would generate so many responses! Thanks to everybody that has contributed. I think we have all learned something. However, there is still questions that have not been responded to. Perhaps the answer is simply, "Who knows, it varies from guitar to guitar".
The questions are: Is there a difference in sound between a cut tail, bolt on, wrap around, single neck, single neck on a double frame, double neck, or 12 string vs. 10 string? I assume thatt just because one particular guitar sounds great doesn't mean that all of them of that design will. But, Bobbe can make any of them have "that sound", because he knows the secret, right? |
Bob Hoffnar
Member From: Brooklyn, NY
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posted 11 June 2003 07:13 AM
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Big news ! I have just traded the Brooklyn bridge for the Seymore "secret". There is a hidden pannel with a gizmo right behind the thinga-ma-jig that you turn left while clicking your heels together and humming old man river. Wow ! It really works.
I tried it on my mostly push 1978 Buick Skylark and now it has THAT SOUND.
Bob
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C Dixon
Member From: Duluth, GA USA
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posted 11 June 2003 07:22 AM
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 [This message was edited by C Dixon on 11 June 2003 at 07:24 AM.] |
Jay Ganz
Member From: Out Behind The Barn
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posted 11 June 2003 07:25 AM
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George,
If you're looking for a real "meat and
potatoes" P/P tone, then the bolt on is the
way to go. Nice full low-mids & mids.
But, if you'd rather skip
the main course & head right over to
the "dessert" tray, then the sweeter
tone goes to the wraparound. A ton
of sustain with a smoother tone that
really rings out.
The cut tail falls somewhere inbetween,
with a bit more pronounced highs than
the others, not quite as full in the
mids. This is figuring the exact same
pickup in each one. Each is just a
variation of the old classic Emmons tone.
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BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 07:57 AM
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Jay, all the guitars you mention have "That tone" As a matter of fact, most (including myself) perfer the later guitars tone and playability. Collector like the "Bolt on" only because there were so few of them. To be perfectly clear, the fact that it may be a bolt on or not has very little at all to do with the Emmons tone. Fingers, changers,body thickness, the endcasting method of attachment have the majority to do with string feedback that creats "That Tone". As I said before, I can adjust the timbre on a P-P guitar, but not on all pull guitars.
Most players that are after the last increment of great tone prefer the '68- up guitars. Weldon Myrick, Sonny Garrish,Steve Hinson,Russ Paul,Mike Sweeney,and about all the Nashville players play the "split neck" guitars.
Not to take anything away from the originals,there hasen't been a bad P-P ever made, (a few ugly blue and green ones though). [This message was edited by BobbeSeymour on 11 June 2003 at 08:00 AM.] |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 08:04 AM
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The original question here was "Do all Emmons P-P guitars have "that sound". The general answer is "YES". |
Jerry Roller
Member From: Van Buren, Arkansas USA
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posted 11 June 2003 08:09 AM
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I am very curious as to the difference in tone of a wrap-around and a split. It appears to me that the design is basically the same since both have the changer pillar blocks mounting thru the neck and onto the body. It seems to me the only difference is the back of the neck is open on the split but the mounting of the changer is the same.
I have not had a wrap-around apart so I can't be sure if this is correct or not. It also appears to me that most other builders use the same design of mounting the changer and the wrap-around neck design. The bolt-on seems to me to be the most radical departure from what is currently being done.
Jerry
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Gino Iorfida
Member From: Oakdale, Pennsylvania, USA
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posted 11 June 2003 09:13 AM
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Never seen a wraparound close enough, but I can bet that the block at the tail of the split tail design DOES contribute to the tonal differences between the split-tail and the wraparound. Witht he 2 caphead screws holding this block to the body, (and which anchor on the underside of the endplate) and the screws holding the end of the changer to this, I would say it significantly makes a difference in the tone. I would guess this to be the reason the split tails tend to have more defined highs than the wraparound. I would also go out on a limb to venture an educated guess that the split tail design was NOT to cut manufacturing costs/labor costs, but was a tone enhancement design. Common sense says that because now you need ANOTHER piece of machined aluminum, plus 6 more screws that parts AND labor will go up. I could be wrong, but it would make sense.
I can see how the bolt on design would save time in assembly, and there must be some reason why Emmons still used the bolt on design with the wood neck guitars as well (I can see how it would cause tuning problems with an all aluminum neck design... a piece of AL that long with the changer bolted to it woudl easily cause tuning issues, but the wood neck only having that @6" or so piece of aluminum would eliminate that as well...
In the amp business there is a motto "an amplifier is the sum of it's parts" -- in other words, "that tone" is a function of just about eveyr single thing on the guitar that matters (body type/size/shape/material, endplate size, shape thickness/casting/material and so on...) just the little things like bolt-on vs. split tail, vs wraparound, or wood neck vs. aluminum neck, mica vs lacquered... they all can have 'that tone' due to the important things, just the other things make them all a little different.
I will say that I have seen an ugly emmons or two, but hey, bodies can be refinished/remica'd.... some of the best sounding 6 string guitars are also the ugliest (stevie ray vaughn's strat, roy buchannons tele etc)... we listen to music with our ears, and not with our eyes. Although, that robin's egg blue push pull that Bobbe had a month or so back... don't think I coudl play something like that w/o getting a LOT of flack from the guys at the bar *laugh* [This message was edited by Gino Iorfida on 11 June 2003 at 10:26 AM.] |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 10:02 AM
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Regardless of how they are made at the bridge, they all have "That timbre". The amount of treble , bass, lower boom, highs etc. isn't what Emmons P-Ps are famous for,it's the Timber, quality of overtones,color of the notes, you know, the things that can't be fixed with the controls on the amp. All Emmons guitars have "that sound". The bridge, wood, mica,color,whatever, isn't what's important, that's not where the tone is coming from,[This message was edited by BobbeSeymour on 11 June 2003 at 06:35 PM.] |
Pat Burns
Member From: Branchville, N.J. USA
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posted 11 June 2003 11:53 AM
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...give ya a dollar if ya tell me... |
Johnny Cox
Member From: The great state of Texas
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posted 11 June 2003 01:48 PM
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Gino, please allow me to comment here. Your assumption of who is playing on most sessions is pretty correct in the sense that you are most likely referring to current records that you hear on radio. Those sessions are done in most part by Paul Franklin (Franklin Guitar), Mike Johnson (Franklin Guitar),Dan Dugmore(Sho-Bud). Sonny Garrish (Emmons) still does many sessions, but you don't hear him on radio as much as the other guys. Several of the other players mentioned do demo and custom sessions here. A great portion of the other gentlemen mentioned in Bobbe's post do very few if any sessions here. The folks that do lots of sessions that were not mentioned like John Hughey, Doug Jernigan, Tommy White, Hal Rugg, and I could go on, are not playing Emmons guitars. There must be a reason and there is. It is called keeping up with the times. One of my heros told me many years ago that you can live in the past or live in today and look toward the future. There are many steel guitar players that will never play anything but an Emmons PP, that is each individuals choice. I do a few sessions myself and I don't play an Emmons.
Now I will address Mr. Seymore. Bobbe, you don't need to call anyone an idiot to make your point. Not everyone may have the same level of intelligence as you, but that does not make them an idiot no more than Mr. Lashly showing you how to fix the PP made you an idiot. If you know the secret to getting that magic sound and you are the supporter, promoter and friend of steel guitar and steel players that you claim to be why would you not want to share this information with the hundreds of PP owners that would love to update their guitars? By the way Bobbe, you mentioned that your knowledge of whats going on stems from you being in the middle of the action. You also said that most people are focused on Alan Jackson, The Judds etc. I hate to tell you this but The Judds broke up about 10 years ago, and Neil McCoy is not the new kid on the block anymore.Respectfully, Johnny Cox[This message was edited by Johnny Cox on 11 June 2003 at 02:03 PM.] [This message was edited by Johnny Cox on 11 June 2003 at 02:11 PM.] |
Marco Schouten
Member From: Amsterdam, The Netherlands
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posted 11 June 2003 02:27 PM
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Maybe I missed something, but I don't see Bobbe calling anyone an idiot. I think he has a right to protect his bussiness, I also don't tell others my special tricks in my profession.------------------
Steelin' Greetings
Marco Schouten
Sho-Bud Pro III Custom; Sho-Bud LLG; John Pearse bar; Emmons bar; Panther amp
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Frank Parish
Member From: Nashville,Tn. USA
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posted 11 June 2003 03:36 PM
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I tend to think that no matter what guitar any of the session players or road players choose would make a difference in them working or not. If they play well then they play well on any guitar that's functional. I have to concede that by and large the all-pull guitars will outplay the Emmons p/p but not by much and certainly not enough for me to change over. I tried that remember? If you want to play in your sock feet then get an all pull although I doubt you can play many gigs or will be allowed to in your sock feet. I kind of think if the session guys all swapped guitars out tomorrow, nobody would lose their gig.
As for the post that commented on why everybody doesn't play an Emmons, I'd say there's a couple of reasons. First one is they've made the sacrifice of playability over tone. If they didn't have a well adjusted p/p it probably played terrible so they dumped it. Second they just preferred the all pull for tone and don't appreciate the tone of the Emmons guitars. That doesn't mean they're tone deaf but just prefer something else. Nothing wrong with that. I believe that a lot more players would play the Emmons p/p guitars if they weren't so hard to make changes to. Once they're in adjustment they stay in tune forever but changing the set-up is another story. They sound great but you better like the set-up for a long time.[This message was edited by Frank Parish on 11 June 2003 at 03:41 PM.] |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 05:13 PM
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Frank Parrish, as always, well put, your whole post is well put. Now I'd like to say that within ten years, the Emmons P-P guitars will be to valuable for most players to own ,or at least play out in a bar or on the road. This well keep the number of players from owning one, not the fact they don't want one, or want to play one everywhere. All I can say is, if you think you might want one, get one now, it's going to get expensive out there.
Sorry Johnny Cox but it is very obvious that you have choosen to air your personal problems with me on this forum because of your trying to be brand loyal to some other brand of steel guitar your are paid to endorse and hype. If you see need to continue this "Idiotic" approach to picking apart every fact that I have eluded to, how about doing it by coming over or using your e-mail?
All these guys I mentioned that work in Nashville and make a fine living and play Push Pull Emmons guitars,Should take deep offence at your "Idiotic" post. I guess Sonny Garrish isn't doing any sessions now? BOY! The Judds have had more "Reunion tours" than Porter has hair perms. Is Allen Jacksons career over? I don't think so. The P-P guitar hasn't been made for over 17 years, I am not pushing them or hyping them for any personal reason other that the fact that, love them or not, they have "That sound". Find me another guitar that sounds that good and I'll change brands in a second. New or old. I'm not paid for "Pushing Push -Pulls". I just appreciate great tone, like I heard you get on Sho-Bud several years ago Johnny. If I wanted to be a hipocrate, I'd push the new guitars I have on the floor of my store and be like all the other players in Nashville that "Push guitar brands for money". I can't and wont do it. I don't have to and I don't want to. Sorry bOb, If he was a member of my forum I'd be glad to take it over there. [This message was edited by BobbeSeymour on 11 June 2003 at 05:28 PM.] [This message was edited by BobbeSeymour on 11 June 2003 at 06:34 PM.] |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 05:51 PM
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AND, another thing that I feel you should do Johnny is apoligise to not only the steel players you belittled because you don't think they do enough sessions to be first class citizens, but also to all players everywhere, because they may play just as well or better than your studio idol does, and they are definatly just as fine human beings as studio players in Nashville may be. And most of them probably make more money in the process with their day jobs. No steel player is over paid but still shouldn't be judged as a "person" by how much money he makes.
I meet the finest people everyday in the steel business in my store, most don't play professionally, but are the most wonderful folks in the world. Most are very happy, well adjusted folks, that play and enjoy steel guitar for the greatest reason of all. These are MY idols,regular people that love steel guitar. |
Rick Collins
Member From: Claremont , CA USA
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posted 11 June 2003 06:00 PM
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Boy! At this point, I'm about ready to start looking for an "all-push" guitar....anybody know where I can get one with a black and white checkered cabinet?  Rick |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 06:09 PM
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No, but I do have a car like that! Actually Rick, if you just lower strings, the Emmons is a all push guitar! As a matter of fact, the ONLY all push guitar![This message was edited by BobbeSeymour on 11 June 2003 at 06:15 PM.] |
Mike Sweeney
Member From: Nashville,TN,USA
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posted 11 June 2003 06:52 PM
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Man!!! This is better than Jerry Springer. |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 07:01 PM
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Hey Mike, it may not have even started yet!
Boy, I wish this was on my forum, bOb gets ALL the good stuff! [This message was edited by BobbeSeymour on 11 June 2003 at 07:55 PM.] |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 07:34 PM
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Yes Marco, I called no one an idiot. Just gave anyone a chance if they wanted to be one. Only one responded! I put no one down and never will because I have great respect for all steel players , at any level, as I really feel there is only one level. There is no "class distinction" in steel guitar. you are either a steel player or you aren't. We are all in it together, because we love it. [This message was edited by BobbeSeymour on 11 June 2003 at 07:42 PM.] |
Johnny Cox
Member From: The great state of Texas
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posted 11 June 2003 07:56 PM
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I would like to post my last comments on this thread. First, most of the steel guitar players that were mentioned in Bobbe's post are friends of mine and true professionals. That being said, they know who are and who are not doing session work. My intent was to never diminish the ability or careers of any of these players. I truly feel that none of these gentlemen would take offense to my statement. If anyone has, please accept my humble apology. Bobbe, in a previous post which has now been edited by you, you made the comment that you had to straighten out some new guys and old idiots. I took great offense to the fact that a person in your position would make the slightest reference to any steel guitar player, be they professional or amateur, that one might be an "idiot". My comment was "not everyone may have the same level of intelligence as you, but that does not make them an idiot no more than Mr. Lashley showing you how to fix the PP made you an idiot". My comment should have read "not everyone may have the same level of intelligence as you, but that does not make them an idiot no more than Mr. Lashley showing you how to fix the PP WOULD HAVE MADE you an idiot". Bobbe, I apologize if you feel that I called you an idiot. I certainly had no intention of doing that. My comments to this whole matter come from Johnny Cox, the steel guitar player, and have nothing to do with my business association with the MSA company. If anyone has taken any offense to any comment that I have made, please accept my apology. As a member of the steel guitar community, I have opinions and feelings as all of you do. I will try to refrain from sharing my personal feelings, but will continue to share my professional opinions and knowledge on this forum.
Sincerely,
Johnny Cox |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 08:17 PM
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Good, we have most of this cleared up, Now, I called no one an idiot, as I said before. Marco and many others saw it before I edited it for you Johnny, and didn't see/ read it the way you claim to have. I did give anyone a chance to be one if they wished though, and thanks for the nice e-mail. Thanks, I enjoyed it, but I'm not telling everything I know about steel guitar on this forum, that took me a lifetime to aquire, just so all my friends can argue with me about that too!
Will I always help with any owner/dealer problems? Offer hard to get parts? Yes I always will, and have. I'm always here to help. Anyone can call or e-mail me anytime for any kind of steel guitar assistance.
Yes, you too Johnny, We have a lot of years in this town together, we both had fun. Diana Curry (singer) said to tell you hello. Tell Joan I send my best.
Bobbe |
Jim Cohen
Member From: Philadelphia, PA
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posted 11 June 2003 08:30 PM
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(Music starts. Fade to black) |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 11 June 2003 08:31 PM
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Jerry Springer here, signing off until tomorrow night, Don't touch that dial! Good night bOb, send me a bill for the new hard drive. I think I'm up to 78% now.
Cohen, you are hilarious!
[This message was edited by BobbeSeymour on 11 June 2003 at 08:32 PM.]
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Rick Tyson
Member From: Ohio
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posted 11 June 2003 09:20 PM
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Man I love it when the big dogs are showin thier teeth & fighting,,
cause a little dog like me can sneak in & steal a few bones of knowledge
Come on ,,someone throw em another bone,, Im learning a lot here about steels (no pun intended)I would say these guys know what thier talking about & I respect them both,,,so keep it up guys,,sick,em boy !!
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Bobby Boggs
Member From: Pendleton SC
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posted 11 June 2003 09:30 PM
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If your old PP is sounding a little tired and lifeless? You too can have "That timbre" For rushed delivery just send 29.95.Make check or money order to Bobby's PP repair and used tires.Or call 555-BRB-549 Operators are standing by.Don't let a dead PP cost you another session.This offer want last long and is in no way affiliated with Bobbe Seymour or Steel Guitar Nashville.Offer void where prohibited. |
Wayne Cox
Member From: Chatham, Louisiana, USA
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posted 11 June 2003 11:18 PM
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BOBBE, maybe now would be the right time to ask if you have an Orange P-P for sale,cheap?
~~W.C.~~ |
Cal Sharp
Member From: Gnashville
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posted 12 June 2003 01:23 AM
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This thead is so intriguing that I had to jump in.
Bobbe - Thanks for the plug.
Johnny - As one of the "gentlemen" mentioned by Bobbe I'm not offended at all by your comments. I did do a session recently, a whole album, in fact. It's selling down on Broadway like hotcakes. Cold hotcakes! I used a "not keeping up with the times" P/P that you've played a few times, sounding mellifluous.  Cheers, all. C#[This message was edited by Cal Sharp on 12 June 2003 at 01:54 AM.] |
Ulf Edlund
Member From: Umeå, Sweden
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posted 12 June 2003 02:56 AM
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Q: Do all Emmons P/P have that sound?
A: Only if they are black!Didn't we all know this allready? Uffe
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