The Steel Guitar Forum

I hear alot of feedback and see alot of comments on the 60's and 70's p/p Emmons guitars but never see anything on the Forum about the later model p/p's. I have a Derby Blue p/p, serial number, 6597. I was told earlier that it was probably a 1983. I would like to hear some comments on how they stack up to the older models as far as workmanship and tone etc. I love to play this guitar and tone wise, it walks all over my Legrand. Also would like to know if this model is called a rap around or what??? Thanks, your comments would be appreciated.---
Henry

There are guys on the Forum who know a hell of a lot more about Emmons guitars than I do, but I had an 83, #6610, that I really dug. It was my first PP, ordered it through Clem Schmitz and it was built at the factory for me. It sounded great and played great, IMHO. Unfortunately, it was stolen in 1988 and I never saw it again. Since I had an old 66 bolton laying around, I started using that and got into the older Emmons guitars.

I've heard PP's from all eras, sixties through eighties, and never really heard one that didn't sound like an Emmons Original. If there was a time when the standard for these guitars dropped (like when Sho~Bud went to zinc parts in the mid-70's), I don't know of one. Here in Austin, Bill Pan has a mid-70's black D10 with tone to die for, IMHO. Right now, I'm working on a 1979 Original with 18.5's, which also has the Tone. So I think the Original is just a good guitar that was built by a relatively small company that had it's eye on the product more than the balance sheet or bottom line.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

Emmons' guitars were made by the most unusual man I have ever met in my entire life. And yet He was the most brilliant man I ever met.

Yep, the late Mr Ron Lashley was like NO other human being on this earth. Extremely soft spoken most of the time. And much of the time he never said a word. UNLESS, he really wanted to know something and then he could out talk Mrs Polly, (my 5h grade geography teacher! )

He epitomized the art of "listening". No one could listen like Ron. And after taking in everything one said, he would often just look at you or off in space. When I first met him I did not know what to think. But as I got to know him, I realized he was thinking in depth like NO other about what had just been said. His mind was like the most refined and honed instrument ever created.

When he finally did make a comment (sometimes he didn't) it was pure genious coming out of his mouth. And ya better not argue with him, cuz bubba you were gonna be dead wrong. When that man spoke, every eye WAS dotted and EVER tee WAS crossed. That is why he often took forever (it seemed ) to answer!

I said all this to say that the Emmons' P/P guitar was built by a genious. With the help of Buddy Emmons, they built the finest steel guitar ever built (for sound and tone) IMHO. And the physics/engineering were like NO other guitar.

I used to talk to Ron for hours at a time. Many times he and I would sit at that little self serve grill in the low building at the ISGC and talk half the night. And then pick it up the next day again. It was ALL deep and highly tecnical and I was like a sponge.

His knowledge captivated me like nothing I have ever experienced. He was sheer brilliance. Yet he had the appearance often of a..... But that was just a fooler.

His guitar speaks for itself. With the help from Buddy and his brain, it will always set the standard for the most unique PSG ever built.

IF (and a very big if), Ron had ever figured out a way to remove the slop on string pulls that were raised AND lowered, it would have lasted forever in my opinion. But that was not to be.

God rest the soul of my dear dear friend and mentor. and God bless all of you,

carl

What Herb and Carl said! Plus!
ALL Emmons P-P guitars are great, the eightys models are wonderful, maybe even the best, but I don't really see how this could be.But then-----------> An elephant because a monkey can't ride a bycycle ( very far anyway.)

Thanks guys for all the input, and Bobby, I ordered your 2 knee lever tape today and looking forward to seeing that. Thanks again.
Henry

Henry, if you want to see a pictorial history of the Emmons necks, check out my website. Thanks again, Herb. http://www.cadvision.com/laceyj/

John
Great web site,,,I learned much from it,,many thanks to you my friend,,yes Ron was
a special guy..I spent much time with him and
got to know him quite well,,I knew of no one
that didnt like Ron Lashley. We who knew him
miss him.
Thanks for your nice and informative website.
I have a 69, 9 and 6,,Ron had Fred Trogden do it all for me from scratch,,Ron himself was in NY years ago (first time) and he was at my home and delivered it to me..fun guy...

Thanks again my friend

Jody Carver

For me, there is nothing that sounds quite as good as an Emmons push-pull. I bought John Swain's 1978 Rosewood D-10 8+6 with 17.5 single coils and it is wonderful in tone and action. It is now the only steel guitar I own: http://frankestesmba.com/setup.htm

After briefly going insane and owning a few all-pull guitars, I soon realized that I had fallen in love with the mechanics of the Emmons push-pull guitars in addition to their monster tone.

My experience with push-pulls (I have owned 4 over the years: 1980, 1979, 1978, and now another 1978) is that I NEVER had to tune the pedals when setting it up for a "gig." I would just have to tune the open strings (and not very much at that) and the thing was ready honk! I regularly pack the thing to and from church.

I recently owned a Carter and a Mullen and I found that I had tweak the nylons for some of the pedals during tune-up. I found that annoying in addition to being dissatisfied with the tone.

There are many very well-made all-pull guitars out there, but the benchmark for tone is the Emmons original. The few disadvantages are nothing compared to the tonal advantages gained, IMO. The mechanics are really not that bad. Push-pulls have received a bum rap with all the uninformed criticism.

I just need that big heavy cabinet and all that solid hardware connecting the pedals and knees to the changer. Just face it--Emmons push-pulls are a man's guitar!

Sorry folks, the all-pulls just do not quite cut it! Pun intended.

Your own tastes and mileage may vary.

Frank

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Frank Estes - 1978 Emmons D-10 8+6 #2441D

Every push/pull I've had (or tried) had
it's own character but definitely were
all in the same "family" tonewise.
I've never played an 80's model, but
one of these days......

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<a href=http://members.localnet.com/~jsganz/66EmC6.mp3><font face=BinnerD>Push/Pull audio</a></font><font size=1> (C6th mp3)</font>

<a href=http://members.localnet.com/~jsganz/Wra ... .jpg><font face=BinnerD>Old Wraparound </a> </font>
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Great looking wraparound Jay!!! I have been trying to find one. Any time you want to get rid of that baby let me know.
Louis