What Steels Are Being Recorded?

chris ivey · Post by **chris ivey** » 27 Mar 2009 1:41 pm

of course we know that we hear on the radio specific players which lend themselves to certain steels. we hear franklins by paul, emmons p/p's and others (?) by emmons,rugg,myrick, sho-buds by pete drake and lloyd, msa by curly...who's playing what on the other major recordings?
there are so many other great steels now (williams, mullen, rains, rittenbury,derby, zum etc.) are we hearing any of them ???

Franklin · Post by **Franklin** » 27 Mar 2009 5:08 pm

Chris,
Ruggs used his Franklin exclusively in the studio from the mid 70's through the early 90's, Before that he used an Emmons along with a Sho'bud on Loretta's hits. Mike Johnson and Bruce Bouton also use a Franklin along with their Emmons PP guitars on sessions. Randle Currie told Dad he records with his Franklin. I believe Russ Pahl uses mostly his Show Pro these days although he still owns an Emmons. Tommy White primarily uses his Show Pro these days. Dugmore uses an old Professional Sho-Bud and a Fender sometimes. Hughey used his Emmons and JCH for most of his recording career. John may have used his Zum on Vince's last quad CD, not sure? Weldon used his Emmons. Terry Crisp used a Derby the last time I talked to him. I'm not sure what Robbie Turner uses in the studio. I'm pretty sure that Mike Doucette owns a Bud, a Franklin, and an Emmons, I'm Not sure which is his main studio axe. Steve Hinson was using his Emmons but seems like someone told me they saw him with a Show-Pro, I could be mistaken. If other guitars are being used I'd also be curious as to what they are using. These are primarily the guys I see listed on credits.

Paul

chris ivey · Post by **chris ivey** » 27 Mar 2009 5:16 pm

thanx paul,
that says a lot for the way the franklin tone is studio friendly. and it doesn't surprise me that the show-pro is going to be a hitmaker.

chris ivey · Post by **chris ivey** » 28 Mar 2009 1:55 pm

any others? paul and i would like to know!

Michael Douchette · Post by **Michael Douchette** » 28 Mar 2009 4:02 pm

Chris, just for current info, my stable has my old Franklin (3rd one built), my Zum Stage One, and a Gold Tone lap. At present, I don't own anything else. I split my usage between the two, but mostly I've been using the lil' Zum.

Franklin · Post by **Franklin** » 28 Mar 2009 4:04 pm

Thanks Chris,

My Bad! I left out some studio players. The Big "E" during his 60's and 70's period recorded mostly with an Emmons and a Bud. Later on he rotated between brands like Sierra and EMCI and his Famous "Blade" guitar.

Besides Sonny I'm not really sure what the others studio preference is. Sonny Garrish uses an Emmons P/P, Jernigan used for many years his Emmon's and Sho-Bud in the studio. I know he now uses a Mullen. Stu Basore used an Emmons and a Franklin up until a few years back. He now plays a Zum. Not sure what Scotty Sanders plays. Perhaps someone knows the studio guitars these players prefer.

I do know that the Show-Pro is well received by all engineers. That is the hurdle every guitar has to jump.

Paul

David Wright · Post by **David Wright** » 29 Mar 2009 3:11 am

Hi Paul,
Good to see you in Dallas!!

Are the engineers that well schooled on Brands of guitars? and tone? and how much control do they have on "the" tone we her today? I found it interesting your comment on engineers & the hurdle every guitar has to jump...

You sounded Great by the way here in Dallas,

Tell your Mom & Dad Hi, and hope all is well,

David

Kevin Hatton · Post by **Kevin Hatton** » 29 Mar 2009 7:31 am

Gary Morse is using a Desert Rose on at least some recordings for Brooks and Dunn and Dierks Bently.

Franklin · Post by **Franklin** » 29 Mar 2009 7:52 am

Hi David,

Could they list all the brands? No. I don't believe I could either. Have players tried all of what I would call the most popular brands used today. I believe the answer is yes. Word on the street travels fast. When a player switches guitars everyone hears about it. That's pretty much how it works.

The engineer is responsible for determining whether or not a players sound is sonically usable according to the overall sound of the record. Its always been that way. When I was with Lynn Anderson I was getting my first Nashville sessions. It was under the advice of a few helpful engineers and producers that I should get a different guitar. Most will just call the next guy if they are not satisfied with the sound a player produces. Records have to be mixed according to an overall picture. Most steels sound good when they are loud and upfront in the mix like on instrumentals. Its how they sound, how audible, and how they blend with the other instruments when the volume level is the same as the various keyboards and electric rhythm tracks. Does the guitar find its own space? or does it's sonically get in the way of the other instruments desired musical parts?
Paul

Paddy Long · Post by **Paddy Long** » 29 Mar 2009 2:59 pm

Hi Paul -- thanks for your very insightful comments - it's interesting that I bought a new Zum Hybrid last year and the very first thing the engineer said when I used it on a session for the first time was how much "better and brighter" it sounded compared with my standard changer Zum ! (which I always thought sounded pretty good to me!)

MARK GILES · Post by **MARK GILES** » 29 Mar 2009 6:13 pm

Chris, Great thread.

Paul, Thanks for the education. The more we know, the better able we are to improve. Thanks for coming to the TSGA show. You played great. I especially enjoyed "King Of The Road", and the Dave Peterson extravaganza.

And David.... leave the nice man alone. Mark

Tom Quinn · Post by **Tom Quinn** » 29 Mar 2009 6:37 pm

Do players go straight to the board or are they amping their guitars?

Michael Douchette · Post by **Michael Douchette** » 29 Mar 2009 6:58 pm

Both.

David Wright · Post by **David Wright** » 30 Mar 2009 3:53 am

Paul,
Thank you, it must be a very interesting world you work in..When you first was getting in the the session work, what guitar was you playing when the engineer suggest you get another brand of guitar? & How many , if any S-12 are used .

Does the guitar find its own space? or does it's sonically get in the way of the other instruments desired musical parts?
Paul

Who makes that call that??..

Mark, I might ask a few more questions of the nice man, just pay attention...

David

Tom Quinn · Post by **Tom Quinn** » 30 Mar 2009 5:25 am

Okay, if you are amped, what are you using? Thanks!

David Doggett · Post by **David Doggett** » 30 Mar 2009 8:17 am

I'd be interested in whether people mostly use humbuckers or single coils in the studio, and what the engineers have to say about that.

mtulbert · Post by **mtulbert** » 30 Mar 2009 12:01 pm

Thought that I would jump in on this one. Good thread. In my day, I worked with Hal, Weldon, Sonny, Pete Drake,Buddy,Lloyd,Stu Basore and many others. The other engineer and I always wanted the musicians to be happy with the sound of their instruments and I never failed to check with the guys to make sure they were happy with the sound that we were getting from their guitars.

The producers as a rule, were not obsessed with the tone of the steel, but would be more concerned with the musical content. Blending the steel into the tracks was never a problem and as much as I loved the steel, I was probably guilty of having it too loud. Be aware that there were several little tricks that we used to make sure that the steel was audible but far enough down in the track to not be overbearing. If you guys heard the tone of that eq'd steel you would not be a happy camper, but it worked great in the mix.

Producers were well aware of the talent of the steel players. I don't ever recall one commenting on the gear that was used.

I do remember once Stu Basore showing up with what I think was an EMCI guitar and how great it sounded. It was vastly different than Hal or Weldon's tone. Producer liked what Stu played; said nothing about the tone.

That was then; today it may be totally different.

Joe Rogers · Post by **Joe Rogers** » 30 Mar 2009 12:19 pm

mtulbert wrote:
....and as much as I loved the steel, I was probably guilty of having it too loud.

Mark, I didn't think such a thing was possible.

Joe Rogers

Tom Mooney · Post by **Tom Mooney** » 30 Mar 2009 1:14 pm

Interesting. When I was still building guitars, I acquired a bunch of great mahogany, but was uncertain whether it would be suitable for a steel guitar body. I called Paul Sr., and he told me that all those hit records Jr. recorded was with a Franklin, of course, and it had a mahogany body!
'nuff said.
Tom Mooney

Kevin Hatton · Post by **Kevin Hatton** » 30 Mar 2009 4:54 pm

Paul's insight here is very informative about what goes on in the studio. Excellent thread.

Brett Day · Post by **Brett Day** » 30 Mar 2009 6:03 pm

Kevin Hatton wrote:Gary Morse is using a Desert Rose on at least some recordings for Brooks and Dunn and Dierks Bently.

Kevin, Gary also played a Sho-Bud on Dierks' "Modern Day Drifter" record and I think he's playin' his Desert Rose steel live and in the studio with Brooks & Dunn. Mike Johnson is playin' either an Emmons or Franklin in the studio-I think on Brad Paisley's records, Mike played his Franklin, and now, Brad uses his road steel player Randle Currie on his latest records and he's playin' his Franklin or his paisley colored MSA Millennium D-10. When John Hughey recorded with Vince, he played his Emmons LeGrande II. And, Dan Dugmore uses several different steels, from his Fender 1000, a Sho-Bud, and an older Zum.

Brett

Brett Day · Post by **Brett Day** » 30 Mar 2009 8:34 pm

Franklin wrote:Chris,
Ruggs used his Franklin exclusively in the studio from the mid 70's through the early 90's, Before that he used an Emmons along with a Sho'bud on Loretta's hits. Mike Johnson and Bruce Bouton also use a Franklin along with their Emmons PP guitars on sessions. Randle Currie told Dad he records with his Franklin. I believe Russ Pahl uses mostly his Show Pro these days although he still owns an Emmons. Tommy White primarily uses his Show Pro these days. Dugmore uses an old Professional Sho-Bud and a Fender sometimes. Hughey used his Emmons and JCH for most of his recording career. John may have used his Zum on Vince's last quad CD, not sure? Weldon used his Emmons. Terry Crisp used a Derby the last time I talked to him. I'm not sure what Robbie Turner uses in the studio. I'm pretty sure that Mike Doucette owns a Bud, a Franklin, and an Emmons, I'm Not sure which is his main studio axe. Steve Hinson was using his Emmons but seems like someone told me they saw him with a Show-Pro, I could be mistaken. If other guitars are being used I'd also be curious as to what they are using. These are primarily the guys I see listed on credits.

Paul

Paul, I believe Robbie uses his Zum or Emmons in the studio now.

Brett

A. J. Schobert · Post by **A. J. Schobert** » 31 Mar 2009 12:47 pm

How many of these guitars have been "modded"?

Brad Malone · Post by **Brad Malone** » 31 Mar 2009 2:51 pm

Paul F. said>>I do know that the Show-Pro is well received by all engineers. That is the hurdle every guitar has to jump.<<

Mr Jeff Surratt will jump for joy when he reads that endorsement..the engineers see and hear it all, they can make you or break you..what a terrific insight Paul has provided..what a great heads up for Show-Pro.

Bruce Bouton · Post by **Bruce Bouton** » 31 Mar 2009 4:41 pm

I don't think any guitars have been "modded" per say. Most guys achieve their mod's with whatever amp or effect they use along with their touch and what they hear in their head. that's the beauty of steel. Everyone has a slightly different take on how they approach a recording session.
I found Paul's opinion on blending in with a track interesting. It brought back memories of years ago when I was trying to break in to sessions. Paul suggested I back my bass way down from where I'd been running it.Said id would have a better place in the track. Advice I still follow today.

The Steel Guitar Forum

What Steels Are Being Recorded?

What Steels Are Being Recorded?

Franklin tone

Show-Pro makes the cut.