Emmons GS10 Student Guitar Dumb Question

Fred Wright · From: Minocqua, Wi USA

What is it that gives the Student Emmons GS10 the unique (Emmons) sound it has? Specifically, I'm talking about a 74 model with push-pull, maple cabinet and 3 & 1. I can understand that a double neck would have that distinct sound possibly due to width, but why the single cabinet? Confused

I have researched every "Emmons" question on the Forum and found some answers. However, can someone please put it in more simpler terms for me.
Thanks, Fred

richard burton · From: Britain

The changer mechanism.
One part of the changer finger (the lowering segment) is held tight against the body of the instrument by a strong spring, and has a metal bolt screwed through it, on which the raise finger rests.

The raise finger is also insulated slightly from the raise rods by means of a thin wire hook, which minimises loss of vibration.

Fred Wright · From: Minocqua, Wi USA

Thanks Richard. So my theory about cabinet width has nothing to do with it? If you don't mind, in reaction to your answer I have another question. Have other PSG companies tried to copy it to get that distinct sound? Or, have they elected not to in order to have their own "distinct" sound, or, possibly to avoid infringement on pattern rights?
Fred

Lane Gray · From: Topeka, KS

Patents expired long ago on the Emmons changer, so others would be free to make them.
Lone Star in Texas and Promat in Serbia both make a push-pull, but I think that's it.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Jim Pitman · From: Waterbury Ctr. VT 05677 USA

I think the issue for manufacturers is push/pull vs all pull changer.
The all pull is generally considered more versatile.
One can put more changes on an all pull. Also when one presses a pedal that does a two step raise and knee levers a one step lower affecting the same string they add up to create a net one step raise. (Needs a half step tuning mechanism). Push pull does not do this. I believe the raise dominates.
I had a universal tuned push pull 12 string Emmons guitar and not only did I struggle to make it work/tune right but had to give up some favorite changes.
It did sound damn good though.
On the other hand my current S12U Fessenden all pull sounds real good too.

Fred Wright · From: Minocqua, Wi USA

Thanks Richard, Lane and Jim for addressing my question. Now I understand. Fred

Lane Gray · From: Topeka, KS

Fred, there are some who believe the student model actually has better tone than any of the pro models. And I think you can add more knees to 'em
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Most of the sound differences in guitars (and they are slight) come from changer design and mounting. No one can listen to a guitar and tell if it's a single neck, single/double, or a double neck, there are just too many other factors involved. I've owned a p/p for over 10 years, but rarely play it, preferring one of my other guitars. The only way I can characterize the sound difference in Emmons guitars is that they seem to have more inherent high-mid and treble than most brands (their "cutting ability" referred to by some). I prefer a fuller, richer sound, so the Emmons spends most of it's time in the case.

Many modern brands have copied the "Emmons sound" because a significant amount of players prefer it. But in truth, many modern guitars, including the Emmons, sound remarkably similar nowadays...

"I have two Legrande III models, one of which I used on Gene Watson's last album. Just for the record, I used a Carter D-10 on Gene's Gospel album and for all practical purposes, I can't tell a dime's worth of difference, but what do I know?"

Buddy Emmons, 2/17/02

Fred Wright · From: Minocqua, Wi USA

Donny,

Thanks for your insight and important input. Obviously I'm fascinated with the Emmons "sound" and construction. Fred

Philip Mitrakos · From: The Beach South East Florida

That tone on the student model is from the "BOLT ON"changer
PERIOD.

Fred Wright · From: Minocqua, Wi USA

Thanks Philip. Fred

Clyde Mattocks · From: Kinston, North Carolina, USA

I get one thru here for servicing every now and then. I'm always amazed at how good they sound.
_________________
LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro

Eric Philippsen · From: Central Florida USA

I have a lot of push-pulls. A lot. So, Naturally I compare them to each other.

The best sounding push-pull I have is a '66 bolt-on D10. It's the one I practice on every day.

My gigging workhorse is an '81 D10. (You know the color). It doesn't sound as good as the bolt-on but it's really smooth.

If I didn't need a D10 for gigs then I'd probably take a student model. I say that owning three S10 p/p's, too. Either of the two student models i own have got the tone big time. Big time. I added 3 knee levers to each of them, so they're now 3x4. Dave Peterson of Wheeling IL, just north of Chicago, does all the work on all my steels.

The only reservation I have about them is that they are a little wobbly. But really not too bad.

A good idea is to pick up a student model and then add at least one more knee lever to raise your E's.

Bill Moore · From: Manchester, Michigan

I'll agree with Eric, I also have a Student model with 4 knee levers. It sounds great and just weighs just over 40 lbs in the case. I am also using a set of adjustable legs, which takes care of the slight wobble problem. It also raised the guitar about and inch which suits be better. My levers were added by Tommy Cass and the guitar plays super smooth.

Jeremy Steele · From: Princeton, NJ USA

I also prefer my Emmons student model to my Pro Emmons S-10...it has been upgraded to 3 X 4, with adjustable legs...both guitars sound great, but the little one just has something extra...plus, it's easier to lug around.

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