Setting the record straight!!

C Dixon · From: Duluth, GA USA

I got a disturbing private message this morning. And guess what? In NO way was I disturbed at the sender. Rather, I became disturbed at myself for causing a false perception. And I am grateful the sender wrote it, so I could do the following:

So lest their be any doubt, I want to "Set the record straight".

I will begin with stating unequivocally that I LOVE the sound (amongst other things) of Emmons PSG's. I always have, since before I ever bought my first P/P in '69, and then my late '80's Lashley LeGrande in, of couse, the late '80's. Smile

IMO, the Emmons' P/P has THE sound my brain wants to hear, BAR NONE! I consider it the greatest sound to have EVER come out of an amplifier. Bar none! Remember, that is my opinion. (note: not all Emmons' P/P's have that sound. Sadly, mine didn't)

Second to the P/P's sound, would have to be the LeGrandes IMO. I would play a LeGrande today, however, in ALL cases in lieu of the Emmons' P/P , because I do NOT like the mechanics of the P/P. I hated it in '69 (because of that) the day I got mine, and the happiest day in my life was when I sold it.

And the reason I sold it was because I believe its mechanics can NOT deliver what most want. There WILL be much vehement debate about this. So flame on, but I am sticking to my feeling about it.

Thus, I was thrilled beyond words the day I received my first LeGrande, because ALL of the things I abhored about my P/P were absent. Albeit; it did not have as good a sound as MOST P/P's. But I just loved the LeGrande's pedals and Knee levers because they were velvety smooth. I could not believe what a change for the better. Particularly on the "C" neck.

So make NO mistake about it, I love Emmons' PSG's, in spite of my not liking the mechanical limitations of the P/P.

The reason I no longer own either one though, has NOTHING to do with ANY of the above. And this is the record I want to set straight.

THE reason I bought an Excel; and the reason I have ordered a second one; and the reason I sold my LeGrande; is because the Excel is the ONLY PSG in the world (that I know of) that can deliver what I want in a PSG.

I went twice to most of the more prominent PSG manufacturers over an 8yr period, to see if they could do what the Excel will do, and in EVERY case they could not.

I, in no way, hold this against them. I do NOT blame them for not wanting to build a one of a kind PSG for a "nut"! And I still love and admire all of them. And more than one of them are my personal friends.

But Mitsuo somehow built it saying only repeatedly, "I can do it". And he is doing it again, only this time it is even more WAY out!

So let there be no doubt. MY absolute top desire (when it comes to sound) IS an Emmons' P/P. NO other guitar ever made can come close to it IMO. The LeGrande is second in that scenario. I stand on that. Again it is my opinion.

But sound is not the only criteria in my case. Thus I had to settle for less sound to get all of the other things I wanted.

And I can live with that. This is one of the times in life, when I can NOT have the best of both worlds.

If Emmons built a 12 string Lashley LeGrand III PSG, that could do all that an Excel could do easily, I would order one yesterday.

If you are interested in what I mean, click on the following link, (scroll down to my post) and study the 7 copedents that my new Excel is capable of doing easily and instantly. (and gunna do when I add my "thingies" after I get it home from St.Louis.).

http://bb.steelguitarforum.com/viewtopic.php?t=138275

I hope this truly sets the record straight. And may Jesus bless you for understanding.

c.
_________________
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Bill Dobkins · From: Rolla Missouri, USA

C, anyone who can't appreciate your opinion can go stick thier head in the sand. You have that right as does everyone. To me the P/P is for the young who have strong legs. I'll take a all pull anytime, especially if sounds like the Emmons or even close.
Some people spend more time trying to find that Emmons P/P sound than they do learning how to play.
Just get a good Steel and play the damn thing.
They all sound good if thier played right. IMHO of course....BD
_________________
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Now pass the gravy.

Dick Wood · From: Springtown Texas, USA

I couldn't agree with you more Carl because everything you stated is why I have never owned an Emmons although I love the sound but to each his own I guess.

richard burton · From: Britain

For me, tone is king.

I would never sacrifice tone just because the mechanics of a steel made it physically easier to play.

Bill Hatcher · From: Atlanta Ga. USA

John McGuire · From: Swansea,Illinois, USA

You know , everyone is entitled to their opinion. I had a Legrande 1st, and I love the tone, I thought it sounded like a push/pull. Then I got a push/pull, still have the Legrande, side by side no comparison.
Push/ pull all the way for sound.
The feel of the pedals and knees,They are both smooth and easy. Maybe the push/pull is set up right.
I play a standard Emmons setup 8&5 and both guitars are set this way. I have no plans to change my setup so I feel I don't have an issue with the mechanics of a p/p. I know it stays in tune better than the Legrande, which stays in tune quite well. I have not touched a tuning screw after 5 gigs. The bottom line is in a free country, you can like and play whatever you want.If someone don't like your opinion Carl they should go out in the woods and drill for oil.

C Dixon · From: Duluth, GA USA

Bill Hatcher · From: Atlanta Ga. USA

[quote=" C Dixon "NO way does an Excel sound like an Emmons. Be it P/P or ALL/Pull."

Carl.

I understand that now thank you, so how do you perceive the sound of the Excel then, knowing that you feel that the Emmons PP has what you describe as the greatest tone. Do you just accept the tone it has in comparison to the Emmons?

I have had to do just that in my electric bass playing. I used to have a 1962 Jazz Bass that I played through a nice set up. To me it was a great tone, but I needed to physically move on to another instrument that Fender was not able to supply to accomodate where I was growing to musically. I had to actually build it myself. It fit all my technical needs perfectly, but I never was able to get the sound that I had in the Fender. I just had to find some new tones that IT had and then build from that.

C Dixon · From: Duluth, GA USA

Bill Hatcher · From: Atlanta Ga. USA

My pleasure Carl.

Since you say the guitar is very "brite" sounding with a humbucker in it. I would almost think that the single coil TT pickup would accentuate that brightness even more unless it is wound up with so much impedence that the highs are clipped a bit.

Please post what your findings are when you install the TT in the Excel.

chris ivey · From: california (deceased)

carl...nobody has to explain why they don't necessarily go along with the herd of sheep! you found a steel that does and 'is' what you want. that makes it more special than anything else. and when you own a special instrument, you can make beautiful music!!

Michael Douchette · From: Gallatin, TN (deceased)

Carl, I don't know you, nor do I know who would give you a hard time. You play what YOU want, for the reasons YOU want. You don't owe an explanation to anybody.

(Personally, I prefer the Sho-Bud tone over the P/P. Just my preference. Anybody wanna be a wiseacre and call me names for it? I didn't think so!) Laughing

_________________
Mikey D... H.S.P.
Music hath the charm to soothe a savage beast, but I'd try a 10mm first.

http://www.steelharp.com
http://www.thesessionplayers.com/douchette.html

(other things you can ask about here)
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C Dixon · From: Duluth, GA USA

Scott Swartz · From: St. Louis, MO

Carl,

You have posted so much good info over the years, I would like to suggest something that might help you for the bright issue.

Nothing top secret but maybe you haven't tried it....

In a lot of cases, the resistive and/or capacitive load in parallel across the pickup is not optimized on steel guitars due to the mixing and matching of pickups, volume pedals, buffers and the order they are hooked up.

This can result in a big peak at the resonant frequency of the pickup, that amp tone controls will never dial out, they are not selective enough in most cases.

The Sarno black box builds in control of this load, but you can also change it by different pot value in a passive VP, solder a pot or resistor across the jack on the steel, changing a component in your buffer or active VP, etc.
_________________
Scott Swartz
Steeltronics - Steel Guitar Pickups
www.steeltronics.com

C Dixon · From: Duluth, GA USA

Bill Hatcher wrote:

Al Vescovo · From: Van Nuys, CA, USA * R.I.P.

I just know the 14str. Excel, Mitsuo built for me is the best steel guitar I've ever owned. Over the years I,ve had Gibson,National,Fender,Emmons,Mci and Multi-Kord. Mitsuo in my humble opnion builds the best. AV

Tracy Sheehan · From: Fort Worth, Texas, USA

I have always wondered about this and have commented on it before.I wonder if tone is in the amp and what your ears hear?I have listened to Curly Chalkers playing since he played on Hank Thompsons Wild side of Life back in the early 50s.
He always had the same great tone on any brand of steel steel he played.
He could have got that same tone out of an electrified 2/4.IMHO

Michael Johnstone · From: Sylmar,Ca. USA

All the things Carl says about the mechanical capabilities of Mitsuo's guitars are true and then some. I've been playing one for about 5 years now and I can't imagine a better engineered guitar. The only thing the Excel does not have and should have is quick-change pickups altho Mitsuo told me he is thinking about adding that feature. So when I change pickups they tend to stay on a while. I've tried em all and these days I vascillate between a 17.5 TT and a Tonealigner humbucker strictly for hum reasons. With the TT,the Excel Superb sounds to me like a Kline w/a stock single coil - which is to say "Emmonsy" and with the humbucker it's right up there with any other good modern humbucker equipped Nashville toned guitars - Zum,LeGrande,Franklin,Carter,Mullen,Fessy,etc.
My criteria in selecting a pedal steel definately includes mechanical design and tone at a ratio of around 50-50 because with all the pickups available and the tonal palette of modern steel amps,much is possible to alter the tone of an instrument. In short it's easier to make a good sounding guitar sound great than it is to make a 'taters 'n gravy engineered guitar do a lot more than it was designed to do. In the case of the Excel Superb guitar however,no such compromises are necessary - it's just variations on greatness in any respect you want to talk about.
PP Emmons sound great but they're engineered like old Harleys whereas Excels sound equally great and are engineered like new Ducatis. So take your pick.

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