Which push pull would you choose

[Larry Moore]

Mark my S-10 is NOT a "bolt on".
It's a Split Tail
What would be a Good Fair price for it.

Thanks
Larry

[Brian Scott]

Cut tail, fat back, wrap around... would anyone be kind enough to explain these? Pics would be nice.
Not all necks are bolted on?

Thanks in advance!

[Erv Niehaus]

The difference is how the changers are mounted.
The attached picture should help to explain.
Erv

[Brian Scott]

Excellent! Thanks!

[Erv Niehaus]

You're welcome!
Erv

[Brian Scott]

What about a fatback?

[Dave Campbell]

fat back is a full rear apron, without the cutaway.

[Mark Robinson]

Mark my S-10 is NOT a "bolt on".
It's a Split Tail
What would be a Good Fair price for it.

Thanks
Larry

Oops, sorry. My eyes are getting old!

I’d better leave the price to the experts on the forum.

I’d like to own a D10 bolt someday.

[Damir Besic]

.

https://youtu.be/HFMpVOkUdCw

[Johnie King]

Thanks Erv good example.

[Jerry Van Hoose]

Emmons PP "Black Rock" Bolt On, 3&4

[Larry La Belle]

That's a cut tail.
Erv

What make it a cut tail?

[Mike DiAlesandro]

That's a cut tail.
Erv

What make it a cut tail?

[Larry La Belle]

That's a cut tail.
Erv

What make it a cut tail?

Thank you Erv

[Patrick Huey]

I played this , 1974 I believe, Bryan Adams 8pedal 10knee that David Mitchell had and it was the most awesome p/p I’ve ever seen. Absolute perfect tone, twang, that awesome “growly” twang in the mids...just amazing! And the pedal and knee action was just ALMOST as smooth and easy as my ‘95 pre RP and for a p/p that’s saying something! And David said in several years of gigging it NEVER had to be tuned! He offered it to me first when he sold it and I’m still kicking myself as I didn’t have the money at the time.

[Patrick Huey]

One more pic of under the hood

[Patrick Huey]

Cut tail, fat back, wrap around... would anyone be kind enough to explain these? Pics would be nice.
Not all necks are bolted on?

Thanks in advance!

Brian,
I’ve always heard the wrap arounds were the best. They didn’t make many so they are hard to find and expensive

[Patrick Huey]

You're welcome!
Erv

Erv
The wrap around’s are the hardest to find and the most expensive, correct?

[Bob Hoffnar]

My overall favorite is the 67 cut tail. Even and focused midrange and sweet highs. They can blend and cut through anything. To me it is the most versatile and perfect one. I do miss my bolt on that was made out of rosewood though. It was a cannon. I also had a wrap around for a while. It had a sound sorta like a bigsby. Really glorious. If I was playing old country dance halls enough I would find another one. They have a thing and its real.

[Tony Prior]

I never put that much thought into it, mine is an 81 cut tail. Compared to previous Steels and to the Legrande II that I have, it has some unique tones. The sweet spots are different. I can hear the difference , perhaps those that are listening can't.

[Ron Bryson]

I have owned a few Push-Pull Emmons guitars, including the blonde bolt-on that Johnnie now owns. I now own a '81 cut-tail as well, and I agree that it is the one that over the years that like Tony, I have kept.

[Erv Niehaus]

Patrick,
Yes, I believe the wrap arounds are the most expensive.
Not necessarily because they sound the best but because of the law of supply and demand; not many were made.
Buddy commented on the quality of sound with the bolt on, but the problem with them was the tuning issue. Because the changer was mounted on the metal neck, there was the problem of expansion and contraction with temperature changes.
Erv

[scott murray]

here's some quotes from Buddy:

The guitars I've heard and described as having that "extra special" sound, had the original wraparound neck. The Touch My Heart album was recorded with a wraparound neck and I had to throw water on it to keep it from sustaining too much on some of the songs. (That's a big fat lie) The bolt on neck guitars I've had seemed to have a beautiful tone but a more pronounced top end; a bit thinner by comparison to the wraparound neck. The necks with the cutout have a decent mid range and nice fat highs with a 20k pickup. My 68 guitar I call "The Blade" has that setup and I was very happy with it. It just didn't have that "missing ingredient".
Having a major in physics, I never understood why Ron chose to bolt the bridge to the aluminum neck. By doing so, it defeated the purpose of my original three-piece design, which was to minimize tuning problems due to expansion and contraction. Needless to say, the bolt on neck was short lived and replaced with the original three piece neck with the insert in the end, or split as you say. I've heard dogs from all the models, but the wraparound guitar is the guitar I could feel the most when I played.

I think the original wraparound was the best sounding of all the Emmons guitars...
The Blade that I used for so many years was a split-tail and always sounded great to me until I played it next to a wraparound, so I can't honestly put it in the same category. That's not to shortchange the sound of the split-tail because most of my work has been done with the Blade. I don't know what to say about describing a sound that affects you personally other than through an old Zen adage: Those who know can't explain it and those who can explain it don't know. That's why we come up with terms like warm, fat, thick, thin, and raggedyassed.
When I make a fuss over a wraparound, it's because I've never played another guitar that inspired me as much. Many musicians say the same for other guitars, so it boils down to if you can play what you feel and feel what you play; you've got the right instrument.

[Kelcey ONeil]

Scott Murray

Where did you source those quotes?

[Kelcey ONeil]

Scott Murray

Where did you source those quotes?