Buddy Emmons copedent circa 1965?

Alex Cattaneo · From: Quebec, Canada

I'm trying to lift as much as I can from the Ray Price album "The Other Woman" so I was wondering what his setup was at the time. Cheers!

Jim Bob Sedgwick · From: Clinton, Missouri USA

Alex... If you have a modern E-9 set up on your steel, it's possible to play note for note everything you hear on that album. The tuning has not evolved into a different animal since that era of music. Smile

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

Buddy was for sure lowering his 4 and 8 strings to D#, and lowering his 2 string a whole tone to C#. I'm not certain if he had 4 knee levers at that time.
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My rig: Infinity and Telonics.

Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?

Alex Cattaneo · From: Quebec, Canada

Thanks guys. I probably have more options than he did back then, and the reason I'm asking is not because I think I might be missing a change, but rather to maybe rule out some options in order to better pinpoint how he did certain moves. For example, I'm guessing he didn't have the 6th string G# to F#.

Bo Legg · Posted 29 Feb 2012 9:48 am

I'm not sure but I think he had a raise on the 7th string that went from F# to G#.

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

As far as being able to play what Buddy recorded in 1965, don't worry about a thing. A Carter Starter has more changes on it than his Emmons had, I'll bet.

Hey, hit records of those days were recorded on Fenders and Bigsbys. "The Bridge Washed Out" was cut on an 8-string Bigsby. Great solos we now revere were recorded on guitars with cabinet drop flexing all over the place. The players simply knew how to play the instrument.
_________________
My rig: Infinity and Telonics.

Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?

Bill Ford · From: Graniteville SC Aiken

This is from Tom Bradshaw's book "Anatomy of the Pedal Steel Guitar" 1971, when BE was with Roger Miller. I think this was before Price. Seems like I heard/read somewhere that when he left Roger,BE played bass on his steel with Price to get back to Nashville. Bill

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Bill Ford S12 CLR, S12 Lamar keyless, Misc amps&toys Sharp Covers
Steeling for Jesus now!!!

Bud Angelotti · From: Larryville, NJ, USA

Herb said : "Great solos we now revere were recorded on guitars with cabinet drop flexing all over the place. The players simply knew how to play the instrument."

Now There is wisdom!

Mark Durante · From: St. Pete Beach FL

So Buddie did not lower the 2nd string at all then?

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

I disagree with Tom's published copedent for a couple of reasons.

First, the 1971 date is incorrect. I got Tom's original printing of the book in 1968, which is where that copedent initially appeared. It was probably reprinted in 71 but it comes from an earlier time. I believe Tom's copedent was either a typo or an oversight.

Secondly, if one listens to Ray Price's "Touch My Heart" from 1966, you can hear Buddy lowering the 2nd string plainly.

Thirdly, I have a letter from 1964, written by Ron Lashley to Paul Graupp, in which Ron positively states that Buddy was lowering s.2 to C#. So Big E had that change in 1964.

Guys were changing pedal setups all the time back then, it was a period of experimentation. What the changes were at the moment Tom contacted the player could have been anything, or something that went away a few days afterwards.
_________________
My rig: Infinity and Telonics.

Son, we live in a world with walls, and those walls have to be guarded by men with steel guitars. Who's gonna do it? You? You, Lt. Weinberg?

Henry Matthews · From: Texarkana, Ark USA

I asked Buddy (in late 80's) at one time about his setup during his early days, around the early sixties. If I remember corectly, he said it was just a standard 3 pedal, 4 knee lever copedent with second string whole tone lower and I believe he said he was also raising the 7th string at one time. I am still amazed how Buddy could take a simple setup and a simple tune and make it soooo big and so enjoyable to listen too. His notes were as wide as a football field and intonation perfect.
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Henry Matthews

D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes.

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