The Steel Guitar Forum

Thanks Chris: Sophia Loren had sitting next to Jane Mansfield?
Looks like the nipple got out.

To those apologizing for hijacking the thread, no need for that. I’m certain that there are many more besides myself who find all of this fascinating. This is all great stuff, guys. Keep it coming!

It would appear logical that the conception was indeed from Buddy (Buddie?), and the execution was by Ron. In any event, it must have been considered quite the innovation in its day.

There would appear to be at least two major variations of the Emmons pedal, the drop-pin version and the one with a fixed pin. Are these the only two types, or have there been others, or minor variations among the two main versions? Is this pedal still in production? Me thinks probably not.

The one I have (with a fixed center pin) shows no markings whatsoever besides the “in” and “out” for the phone jacks. Presumably later versions would include patenting info (like #3447413 stamped on the cut-tails) if one was ever applied for and/or granted. US Patent No. 3447413, granted to RL Lashley in 1969, appears to have dealt only with the pitch changing mechanism. I recall reading somewhere that Ron once held many patents.

In any event, the Emmons volume pedal seems an elegantly simple and ingenious design which has stood the test of time by faithfully performing the job it was designed to do. I respectfully disagree with Donny’s opinion that its open design causes problems. At least not with mine, and I’ve been using it since the late 1970s.

Chris -- two great photos. Was the second one taken at Hooters?

Chris, that pic made me cry , I laughed so hard. A pic is worth a thousand words.
Ahem ,back on topic. I always liked the Emmons' pedal no nonsense design.
I may even have Jeff install an Emmons bracket on my Show Pro.

Tommy, I'm definitely with you on this....the simplicity of the Emmons pedal is a primary reason why I prefer it....easy to replace the pot, and also the string....and it does not "color" the tone like some of the newer digital/electronic volume pedals (i.e. Hilton)

Everthing everyone has said about Buddy, Ron etc is true. Ok back to the Dave Easly string theory. My understanding is that he attached the string to an E pull changer to move a half step to F. I've seen the picture as I descibed it. Only one string involved. Methinks Gimble has a staged photo. It is hillarious I'll admit.

Rest assured, the 'Easley Thigh-String' is indeed very real.
I first witnessed it when Dave played Coltrane at an early
1990's steel show in Hammond, Louisiana.
~Russ

Rest assured, the 'Easley Thigh-String' is indeed very real.
I first witnessed it when Dave played Coltrane at an early
1990's steel show in Hammond, Louisiana.
~Russ

Evan Rose wrote:Tommy, I'm definitely with you on this....the simplicity of the Emmons pedal is a primary reason why I prefer it....easy to replace the pot, and also the string....and it does not "color" the tone like some of the newer digital/electronic volume pedals (i.e. Hilton)

Evan, I believe you will find that it's the opposite. The resistance of pot pedals color the tone, but the newer electronic ones don't. However some people, like you and me prefer that coloration.

I "thought" that I heard once that it was someones dad, maybe Buddy's that had the idea so that moving the guitar and pedal could be done in one move. I 'm prolly wrong................but that's my story an I'm sticking to it!