Question about Franklin guitars

Jeremy Moyers · Post by **Jeremy Moyers** » 26 Mar 2015 6:10 pm

Mike Johnson does record with a Franklin, FYI.

Dean Holman · Post by **Dean Holman** » 26 Mar 2015 6:19 pm

I'm not by any means saying this to downgrade Franklin as I know they are quality guitars but I'm not buying that they are mechanically better and record better. I think with the right pickups and sound equipment and how everything is eq'd, that there are a number of guitars that can record just as good. I'm not saying that Franklins aren't great guitars but sorry guys, I feel like there are other guitars that can do what a Franklin does and I will go as far as to say I am not even remotely the only who has the same opinion about it. Sorry!

Bent Romnes · Post by **Bent Romnes** » 26 Mar 2015 6:50 pm

Here is my Norwegian buddy Kjell Helde, playing his Franklin. Sounds great to me. But then, so does Mike Sigler on his GFI.
That Franklin by the way used to belong to Hal Rugg
https://www.youtube.com/watch?v=IwIVoUcDhes

Bill L. Wilson · Post by **Bill L. Wilson** » 26 Mar 2015 9:40 pm

I saw Mike Douchett recording at Hilltop in Nashville using an Emmons P-P, and his Franklin was in the trunk of his car. Although I think the Franklin had some problems as discussed by Paul Jr. in a previous thread a few yrs. back. I offered to trade Mike an Emmons S-10 P-P for the Franklin, and I certainly wish he would have traded me, but it was not to be. My LeGrande II will have to do.

Jack Stoner · Post by **Jack Stoner** » 27 Mar 2015 2:32 am

One of the things recording engineers like, according to Paul Franklin Sr, is that the Franklin doesn't need a lot (or any) EQ.

The guitar was designed to have the tone it has, the characteristic tone was not "just how it turned out".

Mule Ferguson · Post by **Mule Ferguson** » 27 Mar 2015 4:12 am

Mike Johnson Plays Franklin.

https://search.yahoo.com/search?p=mike+ ... chrf-yff32

DG Whitley · Post by **DG Whitley** » 27 Mar 2015 7:02 am

I thought Mike Johnson's primary axe was that red Emmons, must be my bad.

DG Whitley · Post by **DG Whitley** » 27 Mar 2015 7:13 am

I also agree for the most part with Dean Holman, Franklins are great PSGs. But I also consider Emmons, Mullen, Williams, and some others to be in the same class. I, for one, have never believed a used PSG should sell for more than it's "new" pricing. If you want to pay that, so be it, it's your money. Used equipment is used equipment, period. So flame if you will, that's my story and I'm sticking to it.

I'm not a collector, so therefore I don't care what name is on the guitar, nor do I care whom might have played or owned it. It's a used piece of equipment that may or may not need mechanical work, adjustments, or even part replacement. If the original manufacturer is out of business, parts may be harder to come by and more expensive.

Now again, that being said, if you want it so bad you're willing to pay that kind of money for it, more power to you. I'm not criticizing anyone for doing so, just saying I'm not.

The value of something is in the eye of the beholder and I am not in judgment of that. If it makes both buyer and seller happy, I think that's wonderful. It's just not me.

Henry Matthews · Post by **Henry Matthews** » 27 Mar 2015 7:25 am

Well said mister Whitley, my thoughts exactly.

Willie Sims · Post by **Willie Sims** » 27 Mar 2015 9:38 am

Anyone that can pay $10,000 dollars for any type of guitar must have money to burn. Some folks think owning a Franklin steel guitar will make them sound like Paul Franklin Junior. If so they're in for a big surprise. I have never owned are played a Franklin steel guitar, but the ones I have heard doesn't sound any better than many others.
And my opinion is that 90% of the new guitars are basically copies of Emmons guitars. I am not trying to badmouth a good guitar, but I believe they are highly overrated. Willie SIMS.

Brett Day · Post by **Brett Day** » 27 Mar 2015 10:16 am

When Teddy Carr was the steel player for the band Ricochet, he played a 1994 Franklin and it sounded incredible!

Tom Gorr · Post by **Tom Gorr** » 27 Mar 2015 11:12 am

The owners that don't see the value at 10k sell.... those that hope to find it buy... A busy session player selling a couple of tracks a day would certainly hope to find more value in a Franklin than a gigging musician that fears a wreck on stage or a Grand Theft Franklin.

I'm undecided as to whether I would own three or four very different very good used guitars or one great one. Until I find 'the one' at whatever price I think I would rather own a couple of different guitars.

Seems like every guitar has a niche. My Fessy records awesome out direct for a third of the price of a Franklin.

W. Van Horn · Post by **W. Van Horn** » 27 Mar 2015 11:49 am

As mentioned earlier, most of those photos are from an earlier generation of players. Here is a list of active players off the top of my head who (at least sometimes, at some point) record with a Franklin:
Paul Franklin
Randle Currie
Mike Johnson
Bruce Bouton
Eddy Dunlap
Bob Hoffnar
Greg Leisz

I'm sure I'm missing a lot of names. This is also not counting road players who are using Franklins.

Randle currie, Mike Johnson, PF, Bruce Bouton, are a core part of the current generation of pro players, in terms of volume and visibility of work, certainly comparable to the prolific players of previous generations.

Just trying to demonstrate that Franklin guitars are pretty well represented with today's professional players.

The most common steels among the bigger names today seem to be Franklin, Show Pro, and the Emmons PP, perhaps followed by the occasional sho-bud (Dan Dugmore), all pull emmons, etc.

DG Whitley · Post by **DG Whitley** » 27 Mar 2015 11:55 am

I've heard Paul's Franklin on recordings, just as I've heard Buddy's Emmons, Lloyds Sho-Bud, Joe's Sierra, etc., etc. I wouldn't give a dime for the difference between them, they all sound good. That being said, if engineers believe Franklins sound better then that's a bias on their part.

If recording engineers don't want to record my PSG because it's not a Franklin, then I know the way home. I refuse to put up with people's prejudice, ignorance, and arrogance as far as equipment goes.

My 2 cents, YMMV.

Tom Gorr · Post by **Tom Gorr** » 27 Mar 2015 12:14 pm

It is possible the guitar has a certain j en sais pas or vibe that inspires the specific player in a certain way. What is the value of that?

Lane Gray · Post by **Lane Gray** » 27 Mar 2015 12:20 pm

I think that's EXACTLY it, Tom. The sonic difference is small in my ears, and the mechanics only play a small part. But certain guitars just are more psychically rewarding to play.
There's also the fact that Paul Sr. has an excellent reputation for "customer care" (although so does just about everybody but the Lashleys).

Jack Stoner · Post by **Jack Stoner** » 27 Mar 2015 12:22 pm

If Tommy White shows up with his Mullen or some other guitar I'm sure they won't turn him away from a session. But, if a Producer and/or Engineer hires a certain picker because he can produce the sound they want and that picker shows up with a different axe he could very well be turned away (and not called for future sessions by that Producer and/or Engineer).

No different for Lead Guitar players. At one point, in Nashville, the Gibson 355 Stereo guitars (using one particular setting) was the "in" sound that all the producers wanted. If they hired a picker and they showed up with a Tele they would turn him away, because they wanted the specific 355 Stereo sound. Today, Tele's are in.

Dustin Rhodes · Post by **Dustin Rhodes** » 27 Mar 2015 12:30 pm

DG Whitley wrote:I've heard Paul's Franklin on recordings, just as I've heard Buddy's Emmons, Lloyds Sho-Bud, Joe's Sierra, etc., etc. I wouldn't give a dime for the difference between them, they all sound good. That being said, if engineers believe Franklins sound better then that's a bias on their part.

If recording engineers don't want to record my PSG because it's not a Franklin, then I know the way home. I refuse to put up with people's prejudice, ignorance, and arrogance as far as equipment goes.

My 2 cents, YMMV.

More often than not its not a guitar that will lose you jobs its unwillingness to "play ball".

DG Whitley · Post by **DG Whitley** » 27 Mar 2015 1:12 pm

Dustin, I have no problem working with people in general. I've worked with some very difficult ones in high pressure situations over the last 30+ years. But I draw the line with someone wanting me to buy a $10K PSG just because they like the sound. So be it, they can go find somebody that does.

Earnest Bovine · Post by **Earnest Bovine** » 27 Mar 2015 1:54 pm

Jack Stoner wrote: if a Producer and/or Engineer hires a certain picker because he can produce the sound they want and that picker shows up with a different axe he could very well be turned away

I don't know about the big time, but in my experience nobody notices what kind of steel guitar I have. They do care about sound tho.
If there is enough time, I would bring more than one steel. I remember one time where I switched to Franklin and everybody liked it better right away. Another time when I was in a little room where nobody could see me, I switched to Franklin for the next tune and they said "Did you switch guitars or something? It sounds real thin like Ralph Mooney. Could you go back to the other one?" This was a surprise since thought I had EQed it to sound nice & full.

I can think of another case where I thought I had a rich full sound on the Franklin but when it came out the steel sound was thin & ugly. The lesson I take away is try everything, ask "which do you prefer?", and never trust my own ears.

Earnest Bovine · Post by **Earnest Bovine** » 27 Mar 2015 1:55 pm

Jack Stoner wrote: If they hired a picker and they showed up with a Tele they would turn him away, because they wanted the specific 355 Stereo sound.

Did you ever hear of a guitar player showing up with only one guitar?

Jack Stoner · Post by **Jack Stoner** » 27 Mar 2015 2:15 pm

Years ago many only showed up with one guitar a Fender amp and maybe an Echoplex, unlike today where they have a "truckload" of equipment.

Dean Holman · Post by **Dean Holman** » 27 Mar 2015 3:22 pm

I pride myself to know what good tone is and as a working musician I am just as critical about the guitars and equipment that I use to an extent. I've always believed if one has what would be considered the best sounding guitar in the world, guess what, if you don't know how to play it, it's going to sound like you know what anyway. And another note about equalizing, most instruments that sound great to begin with, sounds great by running it flat. Let's also look at the music being recorded today with steel. The engineers don't know squat about steel guitar anyway and the only thing it takes is a thin honky harsh tone to compete with the earth shattering drums and the blazing volume of the guitars, yes I said guitars meaning plural, you can't tell me nor convince me that only a Franklin can do the job needed to be done, but that's just me not buying into the psychological BS and not sugar coating my opinion about it. For those of you that have Franklins that DIDN'T pay 10 grand or more for it, you have to understand that most people that have any kind of merit in the music business, don't have or make the kind of money to buy a Franklin whether they wanted one or not, but those are the ones I would want playing my guitar anyhow. Another question, if Paul wasn't playing a Franklin and he was playing a different brand that wasn't being built anymore, would that guitar be worth 10 grand or more? Let's quit sugar coating how a lot of people feel about this. Again, this is in no way saying that I think Franklins are bad guitars or questioning their quality and to those who have Franklins and those willing to pay the NOW price tag for one, more power to you and to each his own.

chris ivey · Post by **chris ivey** » 27 Mar 2015 4:26 pm

so...you're saying that current engineers in the bigtime music market don't know how to record a steel guitar?

Keith Currie · Post by **Keith Currie** » 27 Mar 2015 4:34 pm

Dont know a lot about it but I like mine for the way it playes and sounds, I havent played any thing I liked as well but that is just me.
I do know that Randle was doing some session work with a different steel and at the end of the session he was asked if he still had his Franklin and when he said yes they asked if he could bring it to the next session so guess that engineer could hear something different about the Franklin cause Randle had used it in that studio before.
But what do I know.

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