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Topic: who played steel on these records |
Jim Keith
From:
Anna Texas, USA
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Posted 23 Jan 2006 10:28 am |
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Does anyone know who played steel on Billy Walker's Lovin' and losin' albumfrom RCA 1975, and Billy Walker featuring Alone again,RCA 1976. It sounds like BE maybe, and since these were both produced by Ray Pennington, I suspect this might be the case.
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Steve Hinson
From:
Hendersonville Tn USA
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Posted 23 Jan 2006 5:11 pm
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Jim,do those albums have"Word Games"and"Don't Stop in My World"on them?If so,it is Buddy Emmons...Billy Walker told me so.
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http://home.comcast.net/~steves_garage
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Jim Keith
From:
Anna Texas, USA
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Posted 23 Jan 2006 5:38 pm
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I thought that was the case. I think these are the best albums that Walker ever put out, and with the musicians they used, still sound up to date. Thanks for confirming that for me.
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Buddy Emmons
From:
Hermitage, TN USA * R.I.P.
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Posted 23 Jan 2006 7:21 pm
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| For the sake of trivia, I'll add that Word Games and several other songs on the album were recorded using a single neck 12 string steel with an E13th tuning. |
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Dyke Corson
From:
Fairmount, IL USA
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Posted 23 Jan 2006 9:13 pm
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Now you tell me, no wonder...  |
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Jim Keith
From:
Anna Texas, USA
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Posted 24 Jan 2006 4:20 am
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Thanks Buddy, you guys did a fantastic job on those 2 albums. I believe those will sound new for years to come, as they still do now. Hope you are enjoying retirement.
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Frank Parish
From:
Nashville,Tn. USA
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Posted 24 Jan 2006 4:49 am
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| Would that guitar be the Basket Weave Emmons guitar seen on the Rainbow album? |
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Buddy Emmons
From:
Hermitage, TN USA * R.I.P.
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Posted 24 Jan 2006 9:50 am
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Frank,
That would be the basket weave model. I used it on Billy Walker’s first session as a test to see if I could distinguish the difference in the 12 string playback sound and the sound of my D-10. I had to block the C# string between E and B on slower tunes as I played so as not to create overtones when releasing pedals A and B. That was a distraction I wasn’t too comfortable with, but I feel the guitar passed the test well on all counts.
In a way I wish I had stayed with the S-12 because the extra C# note added so much to the tuning that is impossible to find on the standard E9th tuning. Had I hung in there, I would have been a different player today, but it probably wouldn’t have affected the steel business in general because of my lack of interest in being a career studio musician. Besides, having The Blade standing in the wings as a safety net was a comforting thought and made going back to a D-10 a lot easier.
One more bit of trivia: I discovered the triplet lick in Word Games on the S-12 and later found a way to transpose it to the E9th tuning, so all in all it was a worthwhile venture.
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Roger Kelly
From:
Bristol,Tennessee
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Posted 24 Jan 2006 11:30 am
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| Quote: |
| I used it on Billy Walker’s first session as a test to see if I could distinguish the difference in the 12 string playback sound and the sound of my D-10. |
.....could you?
Here's wishing you many more years of being the Best Of The Best Steel Guitar
players in the World. Happy Birthday.
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Sonny Jenkins
From:
Texas Masonic Retirement Center,,,Arlington Tx
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Posted 24 Jan 2006 11:55 am
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| Buddy,,,since you liked the extra C# did you ever consider Zane Becks tuning???? |
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Buddy Emmons
From:
Hermitage, TN USA * R.I.P.
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Posted 24 Jan 2006 1:59 pm
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Roger,
Yes I could tell a slight difference but I could say that about going from one studio to the next with the same guitar, mainly because the sound of a steel guitar is affected by the timbre of the instruments around it. That’s where right hand technique makes up for the difference. If the signature is spot on, the sound will follow. In answer to your question, all things considered, I thought the S-12 sound was comparable to what I was used to hearing in the studio with my other guitars.
Sonny… I’m not familiar with Zane’s tuning. My reason for going with E13th was because I grew up using it on non pedal guitars. I chose to go with something I was familiar with rather than journey into the unknown, especially at that stage of my life. The only downside was skipping or blocking the C# string when I used pedals. Otherwise it was like putting on an old pair of shoes.
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Roger Kelly
From:
Bristol,Tennessee
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Posted 24 Jan 2006 6:45 pm
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| Thanks for the reply Buddy. Hope to see more of your comments on here. |
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Sonny Jenkins
From:
Texas Masonic Retirement Center,,,Arlington Tx
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Posted 25 Jan 2006 7:13 am
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Yes,,thank you so much for your response,,and sharing your thoughts, opinions and experiences with us,,,you are truly an icon!!
If C# was one of the additional strings to the E9th,,what was the other string that was added?? |
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Frank Parish
From:
Nashville,Tn. USA
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Posted 25 Jan 2006 1:58 pm
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| A guy came in the bar I used to own on lower Broad (The Hitchin' Post) and had a single neck 12 string Basket Weave Emmons and I always wondered if that was the same guitar. I only seen one more Basket Weave that was a D-10 at Scottys in 1986. |
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ebb
From:
nj
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Posted 25 Jan 2006 3:24 pm
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| i took the cue from buddy on this added 13th and stuck with it but took the tuning down to d. i don't percieve the overtones from it and it does open the tuning way up especially with splits |
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Bobby Boggs
From:
Upstate SC.
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Jim Keith
From:
Anna Texas, USA
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Posted 26 Jan 2006 7:53 am
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| Bobby, send me your e-mail address, and I will try to e-mail you that lick.I have never dont that, but I don't see why it won't work. |
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Bobby Boggs
From:
Upstate SC.
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Posted 26 Jan 2006 8:10 am
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| Jim, Thanks. I e-mailed you.Be sure to look in your spam or bulk folder. Not sure why.But sometimes my E-mails get sent to the above mentioned places....Regards...bb |
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Dyke Corson
From:
Fairmount, IL USA
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Posted 27 Jan 2006 7:10 pm
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| I worked a show with Billy Walker last summer and tried to make the lick work on a 10 string...I could only get it at about 1/2 speed! |
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Dean Parks
From:
Sherman Oaks, California, USA
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Posted 29 Jan 2006 10:51 am
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Buddy-
quote:
I had to block the C# string between E and B on slower tunes as I played so as not to create overtones when releasing pedals A and B. That was a distraction I wasn’t too comfortable with, but I feel the guitar passed the test well on all counts.
In a way I wish I had stayed with the S-12 because the extra C# note added so much to the tuning that is impossible to find on the standard E9th tuning.
Have you considered (or tried) the sacred steel "D" string? It bridges that gap in E9, but does not resonate with the A pedal. I've not tried it, but am now beginning to see that E9 gap can be a problem, which a bridging string would solve. (tho as a guitarist, E9 strings 4, 5, and 6 are a comfort zone).
-dean- |
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Bobby Boggs
From:
Upstate SC.
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Posted 30 Jan 2006 9:02 pm
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| Jim tried to send me a MP3 of this.However his mail connection times out before the file is sent.Anyone else care to e-mail it to me. Or better yet.Post a download of the triplet Buddy mentioned for all to enjoy.Thanks in advance.............bb |
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Bobby Boggs
From:
Upstate SC.
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Posted 2 Feb 2006 6:28 am
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| Will anyone send me an MP3 of the triplet lick Buddy mentioned?? If I figure it out? I'll be happy to teach you what I learn. I don't do tab.But I think I can talk you thru it via E-mail......bb |
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Buddy Emmons
From:
Hermitage, TN USA * R.I.P.
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Posted 2 Feb 2006 8:05 am
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Sonny… The other string was a low E, but over the years I’ve found that the money end of a tuning is the top end; so with the 11th string being a B, the low E was good for supplying the root note and maybe a four over five chord, but that's about it.
Today I have a low G# on string 12 of my Sierra, with pedal B pulling the three G#s to A and a RKL that lowers it and the sixth string to F#. This expands the sound of the first, second, and third inversions of a chord by placing one of their notes an octave below its normal position. I don’t know how it would fare commercially but it works great when applied to instrumentals or used as a string type pad.
Dean… I’ve never used the tuned D note between E and B but do raise the C# to D on the 12 string tuning, which would be the equivalent. When engaged, it helped cancel the C# overtone but I found the safest way was using the finger to block.
[This message was edited by Buddy Emmons on 02 February 2006 at 05:40 PM.] |
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