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Topic: Jim Lindsey - travelling sho bud |
David Beckner
From:
Kentucky, USA
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Posted 5 Oct 2010 9:34 am |
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I have just returned home from the trip of a lifetime (for me).I was invited to Arlington Texas to spend a week with Jim Lindsey.I was very welcomed into Jim's home , we instantly hit it off and after discussion of what I wanted or expected from my old shobud we set forth tweaking and adjusting until we both felt we had gone as far as we could go..After doing this Jim personally took me under his wing showing me liocks and very carefully explaining the concept and usage of the phrase as I played it back over and over until getting it right..I found Jim most patient as I was learning this..To make a long story short , Sunday came by all too fast and I had to force myself back into the car and back to Kentucky, I did get Jim to sign my guitar and as I pulled away I felt my steel guitar playing spirits have been lifted to a new level of wanting to learn more of this instrument..THANK YOU JIM FOR ALL YOUR HOSPITALITY. 
_________________
WILCOX SD10 (love the white mica)
WALKER SEAT
NASHVILLE 400
BEHRINGER RACK TUNER
CUSH CASE RACK
PEAVEY DELTA FEX
PARTS CASTER.Gospel and Classic Country Music
http://www.dbupholstery.yolasite.com
Last edited by David Beckner on 10 Oct 2010 8:00 pm; edited 1 time in total |
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Jim Lindsey (Louisiana)
From:
Greenwell Springs, Louisiana (deceased)
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Posted 7 Oct 2010 10:30 am
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Hi, David ...
It was a pleasure having you here and I hope that all our steel guitar activities will be a great help to you. The week did indeed fly by and it seemed like your departure day really came too fast.
David is right about working on the Sho-Bud. When we first set up his guitar I was amazed with how good it looked for as old as it is and then I played it ... the mechanics were definitely needing some attention and at least two full days of our visit were spent reworking and tweaking his guitar out. The "B" pedal was of particular interest, but we got it straightened out as well.
The pickup is a bit weak and could stand being replaced eventually, but despite the weakness in the pickup, that old Sho-Bud has tone to the bone and will, I believe, make for a very fine guitar. We'll continue the steel guitar lessons "by long distance" for as long as you like and, as always, I'm only a phone call away.
I'm very happy that you enjoyed the visit and I, too, had a great time. You're always welcome ... my home is always open to a fellow steel player. 
_________________
1986 Mullen D-10 with 8 & 7 (Dual Bill Lawrence 705 pickups each neck)
Two Peavey Nashville 400 Amps (with a Session 500 in reserve) - Yamaha SPX-90 II
Peavey ProFex II - Yamaha R-1000 Digital Reverb - Ross Time Machine Digital Delay - BBE Sonic Maximizer 422A
ProCo RAT R2DU Dual Distortion - Korg DT-1 Pro Tuner (Rack Mounted) - Furman PL-8 Power Bay
Goodrich Match-Bro by Buddy Emmons - BJS Steel Bar (Dunlop Finger Picks / Golden Gate Thumb Picks) |
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Jim Lindsey (Louisiana)
From:
Greenwell Springs, Louisiana (deceased)
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Posted 9 Oct 2010 11:10 am
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Hi, guys ... just talked to David on the phone about that old Sho-Bud of his. It's a beautiful old guitar. Close as we've been able to figure, it's a pretty old one and seems to be a late 1966 or early 1967 model (at least that's what David was told when he did some asking around about that guitar ... correct me, David, if I have that in error). Would be nice to pinpoint exactly what year model guitar it is ... it's from the Baldwin era when they were distributing Sho-Bud guitars.
I was happy to post a couple of photos of it for you, David ... and, for all the Sho-Bud enthusiasts out there ...
... his Sho-Bud sitting next to my Mullen (above) and a closeup of the face plate (below) ...
It's in beautiful shape ... the "Distributed By Baldwin" still shows clearly without any breaks in the lettering. It's been awhile since I've seen one of these.
As I understand it, the guitar was originally one of those "convertible" D-10 guitars with 6 floor pedals and 1 knee lever and had a lever mounted on the back so that when set in one direction all the pedals and the knee lever worked the E9th neck, then turn the lever the other direction and it switched the pedals and knee to C6th. At some point it was converted to an SD-10 with 3 pedals and 4 knee levers.
You've got a beautiful guitar there, David ... was happy to post these photos for you and hope that others enjoy them as well.
_________________
1986 Mullen D-10 with 8 & 7 (Dual Bill Lawrence 705 pickups each neck)
Two Peavey Nashville 400 Amps (with a Session 500 in reserve) - Yamaha SPX-90 II
Peavey ProFex II - Yamaha R-1000 Digital Reverb - Ross Time Machine Digital Delay - BBE Sonic Maximizer 422A
ProCo RAT R2DU Dual Distortion - Korg DT-1 Pro Tuner (Rack Mounted) - Furman PL-8 Power Bay
Goodrich Match-Bro by Buddy Emmons - BJS Steel Bar (Dunlop Finger Picks / Golden Gate Thumb Picks) |
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David Beckner
From:
Kentucky, USA
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Posted 10 Oct 2010 7:42 am
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Thanks Jim
You are correct in saying the guess of this guitar is 66 -67 ..It really looks nice sitting next to your Mullen..My only wish is that someday I will be able to get it to sound as great as it did when you played it....For some odd reason it seems to have forgotten all the licks you taught it. 
_________________
WILCOX SD10 (love the white mica)
WALKER SEAT
NASHVILLE 400
BEHRINGER RACK TUNER
CUSH CASE RACK
PEAVEY DELTA FEX
PARTS CASTER.Gospel and Classic Country Music
http://www.dbupholstery.yolasite.com |
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Jerry Tillman
From:
Florida
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Posted 11 Oct 2010 5:33 am Old Sho Bud clone
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| I have a Sho Bud that is a clone of yours but the colors of wood are reversed.Both guitars look great in my opinion.Great sounding steels and my original pickups both work.The crossover still works on my steel and I,m going to fine tune the e9 neck and just play the c6 without pedals to avoid problems.I will try and post a picture.The decal looks a little different on these model sho buds.Does anybody have any info about the decals.Thanks Jerry. |
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Jim Lindsey (Louisiana)
From:
Greenwell Springs, Louisiana (deceased)
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Posted 11 Oct 2010 6:55 am
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Hi, Jerry ... I haven't found any info on the decals (yet), but I did run across an interesting "unofficial" Sho-Bud web site that seems to have a lot of information and Sho-Bud history.
http://www.planet.eon.net/~gsimmons/shobud/buddy.html
http://www.planet.eon.net/~gsimmons/shobud/shot.html
http://www.planet.eon.net/~gsimmons/shobud/woodfinish.html
http://www.planet.eon.net/~gsimmons/shobud/models.html
The fourth link talks about the Baldwin guitars and here's a quote from it:
3) THE BALDWIN CROSSOVER
Sho-Bud became involved with the Baldwin Piano and Organ Company because of its large distribution potential. Baldwin wanted Sho-Bud to produce a pedal steel with their name on it to promote sales, and in 1967 the Baldwin Crossover was introduced. This model of pedal steel like the Fingertip had a wonderful rich tone. The guitar was standard with 6 pedals and one knee lever (generally placed on the right knee), although at this time, players were adding knee levers on a regular basis, and it was not uncommon to see two or even three knee levers. The Baldwin Crossover was a double neck with a shift type lever or gear that the player could move. In one position all the pedals would operate the top neck. Moving the shift lever would disengage the pedals from the top neck to the bottom neck (by moving the shift lever, the pedals "crossed over" to the other neck, thus the term "crossover"). In this way, all the pedals could actually be used on both necks just by the flick of the shift lever. This shift lever was positioned on the back side of the pedal steel facing the player. The undercarriage of the Baldwin Crossover was unique in the fact that the pull rods were attached to small metal "baskets". These baskets were connected to the pedal crossrods and bell crank. The guitar had a metal frame that wrapped all the way around the body of the steel. On the front, the frame was on the inside of the body and the actual front was covered with maple. This wrap around metal frame supported the undercarriage. There were two models of Baldwin Crossover available. One was the Regular Baldwin Crossover in which the metal frame was an unpolished black textured-ruff finish. The other model, called the Custom Baldwin Crossover, had a smooth polished metal frame. These Baldwins, like the Fingertip, were sensitive and temperamental in the fact that the tuning and pedal setup up had to be adjusted perfectly in order for it to play right and in tune. When this was done and the guitars were adjusted, both the Fingertip and the Baldwin Crossover played great. The generally excepted Crossover production years were from 1967 to 1970. Suggested retail price of a double neck 10 string, six pedals and one knee lever was $1295 for the maple body in 1970.
I thought it made for some interesting reading.
_________________
1986 Mullen D-10 with 8 & 7 (Dual Bill Lawrence 705 pickups each neck)
Two Peavey Nashville 400 Amps (with a Session 500 in reserve) - Yamaha SPX-90 II
Peavey ProFex II - Yamaha R-1000 Digital Reverb - Ross Time Machine Digital Delay - BBE Sonic Maximizer 422A
ProCo RAT R2DU Dual Distortion - Korg DT-1 Pro Tuner (Rack Mounted) - Furman PL-8 Power Bay
Goodrich Match-Bro by Buddy Emmons - BJS Steel Bar (Dunlop Finger Picks / Golden Gate Thumb Picks) |
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Jim Lindsey (Louisiana)
From:
Greenwell Springs, Louisiana (deceased)
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Posted 11 Oct 2010 7:23 am A Little Info On Sho-Bud Decals
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Hi, again, Jerry ... After reading through those links (in my post above), the one under "woodfinish" talked a bit about decals. Here's an interesting quote from it:
After the stain had dried, lacquer was sprayed on the wood. A minimum of 5 coats of lacquer was applied. Generally though 6 to 7 coats was sprayed. The procedure of spraying the lacquer was standard for the most part. The guitar body would be first sprayed with 2 to 3 coats, with light sanding of 600 to 800 grit paper between the coats. Then the decals would be applied over these coats of lacquer. Some people believe that the Sho-Bud decals were silk-screened on. But this is not true. According to Duane Marrs and A.J. Nelson, the decals used at Sho-Bud were a water base. The decal was on decal paper and then dipped in water for a brief time. Then the decal would be applied by sliding it off of the paper on to the guitar body. This process with the water based decals was used throughout the history of Sho-Bud. After all of the water had dried and evaporated, the lacquer spraying would continue . The decals did not react well with the lacquer, and if too much lacquer was applied over the decal at one time, then the decal would bubble and wither. Therefore a very light tac-coat of lacquer was sprayed over the decals once and then let dry.(one need not light tac-coat the entire guitar at this point-just the decals to seal them.) Several more light tac-coats of lacquer was sprayed just once over the decal with each coat allowed to dry before another tac-coat was sprayed. In this way, the decal and lacquer would bond to each other with out a reaction. A.J. Nelson recalls that at times they would have trouble with the decals and lacquer and that many decals were destroyed as too much lacquer would be applied to the decals at one time. After there were several light tack-coats over the decals, then the guitar body could be sprayed normal.
I don't know how accurate the following is, but I read in several places this morning that the very same Sho-Bud logo decal design was used throughout the life history of the Sho-Bud guitar with white on dark finishes and black on lighter finishes. The decal on David's guitar above looks more ivory colored and I think this is simply due to the age of the guitar.
That's as much as I've been able to dig up so far on decals for Sho-Bud guitars. Hope this helps.
_________________
1986 Mullen D-10 with 8 & 7 (Dual Bill Lawrence 705 pickups each neck)
Two Peavey Nashville 400 Amps (with a Session 500 in reserve) - Yamaha SPX-90 II
Peavey ProFex II - Yamaha R-1000 Digital Reverb - Ross Time Machine Digital Delay - BBE Sonic Maximizer 422A
ProCo RAT R2DU Dual Distortion - Korg DT-1 Pro Tuner (Rack Mounted) - Furman PL-8 Power Bay
Goodrich Match-Bro by Buddy Emmons - BJS Steel Bar (Dunlop Finger Picks / Golden Gate Thumb Picks) |
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David Beckner
From:
Kentucky, USA
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Posted 11 Oct 2010 3:33 pm
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Jim pointed out the discoloration of the decal on this axe..I think it may be a combination of age, smoke filled bars and clubs etc. that have contributed to the fading of a bright white logo to a more ivory patina..If this Bud could only talk - might be astounded by the stories it could tell.
_________________
WILCOX SD10 (love the white mica)
WALKER SEAT
NASHVILLE 400
BEHRINGER RACK TUNER
CUSH CASE RACK
PEAVEY DELTA FEX
PARTS CASTER.Gospel and Classic Country Music
http://www.dbupholstery.yolasite.com |
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John Billings
From:
Ohio, USA
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Posted 12 Oct 2010 7:31 am
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Wood wrap-around changer. '67 or '68, IMO. I have a '67 S-10, a '59 Perm, a '63/64 Fingertip, and a '74 S-10. Your Crossover has polished endplates, which not all X-overs had. I think that makes yours a Crossover Custom. Here are a couple of pics of my '67 to compare the changer, which I can't see very well in your photos. There were a couple of design changes back then to the changers. Rick Abbot has the earliest I've seen.
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John Billings
From:
Ohio, USA
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Posted 12 Oct 2010 7:38 am
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Another note about the decals. Both my '59 and my '63/64 have the decals installed on top of the lacquer finish. Some short time after my Fingertip was built, they went to lacquering over the decals. Probably to protect them from scratching, and possibly to prevent owners from just removing them.
JB |
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Jim Lindsey (Louisiana)
From:
Greenwell Springs, Louisiana (deceased)
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Posted 12 Oct 2010 9:28 am
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Those are some beautiful Sho-Bud guitars in your photos, John ... the cat's cool, too ... I have a black & white cat that looks almost the same.
Although I've never owned a Sho-Bud myself, I've always had a real admiration for those guitars. Seeing David's Sho-Bud at my home rekindled my interest in them.
I think the end plates on David's guitar may look a little misleading in the photos (perhaps due to the bright camera flash). His end plates are actually a sort of rough black finish (in very good condition).
Something that surprised me, when I changed the strings on that old Crossover, were the string fingers. There's not a single sign of "wear & tear" on them at all ... they literally look brand new.
Wish I could give you a better view of his changer. Unfortunately, I didn't think to take a snap shot of the changer when I snapped photos of his guitar.
_________________
1986 Mullen D-10 with 8 & 7 (Dual Bill Lawrence 705 pickups each neck)
Two Peavey Nashville 400 Amps (with a Session 500 in reserve) - Yamaha SPX-90 II
Peavey ProFex II - Yamaha R-1000 Digital Reverb - Ross Time Machine Digital Delay - BBE Sonic Maximizer 422A
ProCo RAT R2DU Dual Distortion - Korg DT-1 Pro Tuner (Rack Mounted) - Furman PL-8 Power Bay
Goodrich Match-Bro by Buddy Emmons - BJS Steel Bar (Dunlop Finger Picks / Golden Gate Thumb Picks) |
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John Billings
From:
Ohio, USA
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Posted 12 Oct 2010 11:32 am
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Thanks Jim! Mao gets in most of my pictures. I think she likes the flash! I thought the endplates were just oxidized, as they looked gray in your pics. Ya wanna see some strange ShoBud mechanicals? Check out the rack system on my S-10, 6 and 2;
Before restoration
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David Beckner
From:
Kentucky, USA
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Posted 12 Oct 2010 6:07 pm
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John
The machanics that you show on your guitar are identical to what is under this one..A rather complicated design to say the least.I was wondering if maybe you might know how many models had the rack and barrel system or when the design was changed.
_________________
WILCOX SD10 (love the white mica)
WALKER SEAT
NASHVILLE 400
BEHRINGER RACK TUNER
CUSH CASE RACK
PEAVEY DELTA FEX
PARTS CASTER.Gospel and Classic Country Music
http://www.dbupholstery.yolasite.com |
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