Emmons S-12 p/p

Steve Dodson · From: Sparta, Tennessee, USA

Did the Emmons Company build many of the S-12 p/p guitars, like the one Buddy used on the rainbow album? Never see one come through.

Bobby Lee · From: Cloverdale, California, USA

I bought one with a wooden neck in 1978. 4 pedals and 5 knee levers.

Mylos Sonka · From: Larkspur CA USA

I now own b0b's Emmons S-12. I know that Pete Grant owned it for awhile after b0b.

I have it set up with 5+5 now.

Does anybody know what this guitar might be worth? There is a good chance I will be moving back to Europe and I'd have to lighten up drastically on possessions.

Mylos

Larry Bell · From: Englewood, Florida

I play one. Mine is on a D-12 frame and it currently has my variation of the E9/B6 universal tuning. I have known of a half dozen or so of these guitars through the years, some with E9U and others with Ext E9, some on single frames and others on a double-12 body. I have no idea about production numbers, but I suspect there are several hundred out there.

I wouldn't sell mine for any amount of money, but I have seen them from $1000 to $1500 or so.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 21 November 2004 at 09:24 AM.]

Glenn Suchan · From: Austin, Texas

I have an S12 P/P on a single body. The cabinet is gloss rosewood mica with an aluminum neck and kluson "keystone" tuning keys. It's set up with 7p/4k in a basic E9/B6. I'm not sure if the "uni" tuning was a factory build. I've had the copedant modified (thanks Bobby Bowman

) and it currently is: pedals 1 through 3 (Emmons E9th); Pedal 4 (Boowah); Pedals 5, 6 and 7 (standard 6th tuning but in B6th); Left-knee-left raises strings 4 and 8 from E to F; Left-knee-verticle (extended) lowers string 5 from B to Bb; Right-knee-left lowers string 2 D# to D and string 8 E to D; Right-knee-right lowers strings 4 and 8 E to Eb. I played this guitar for about a year and a half as my main stage rig. It was built sometime around 1981 and has s/n 190 S12. I'm guessing the 190 means the 190th S12 cabinet made through approximately seventeen-years of production (pretty rare birds). I feel very fortunate to own one.

Keep on pickin'!
Glenn

[This message was edited by Glenn Suchan on 21 November 2004 at 06:54 AM.]

Ron ! · Posted 21 Nov 2004 6:54 am

Mylos.

Check your mail.

Ron

Nikaro SD10 4x6

Glenn Suchan · From: Austin, Texas

An additional note: Forum member and ace picker, Glenn Shankle plays a great sounding S12 p/p with Texas artist Cory Morrow. It's an extended E9th on a single body.

Keep on pickin'!
Glenn

Jon Light · From: Saugerties, NY

I own a guitar that Larry is well familiar with that, if I'm not mistaken, is close to being a twin of his.

richard burton · From: Britain

Is the string spacing narrower on a 12 than on a 10? I would imagine that axle flex could be a problem on an Emmons 12 with standard string spacing.

Larry Bell · From: Englewood, Florida

Richard,
I'm pretty sure it uses the same changer parts, so I believe the 12's have the same string spacing and axle diameter.

But VERY LITTLE FLEX.
Detuning is much less on my Emmons than on my Fessy or any of the all pull guitars I've played. It does have some -- maybe 4 cents on the plain 6th with the A pedal down -- and 2 cents or less on the 4th with A+B.

Jon,
You got the good 'un. Much prettier face than the Beast.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 21 November 2004 at 01:00 PM.]

Jimmy Douglas · From: Raceview, Queensland, Australia

I have SN195 Rosewood mica, tulip keys on a single frame ext E9 3x4 and it is a boss guitar that sounds great and stays in tune. My only peeve is the newer pedals, I would prefer the older style. Anyone have an old 12 rack they will let go?

Once had a black s12 Universal 7x4 on a single frame and sold it to a gentleman in Japan. It was also a marvelous sounding guitar.

I am loathe to add pedals to my current guitar as it may compromise the integrity of the instrument and I miss the C6 so I am thinking of returning to the Double Neck format to the point of going with a D12. Yikes! BTW, Some of the 12string C6 threads in the archive are really interesting reading.

PS:I saw a basket weave D10 in Japan, I thought that the guitar Buddy used had this kind of finish.

Peace Out

JD

George Kimery · From: Limestone, TN, USA

I have an Emmons black Mica PP 12, extended E-9, on a Double Body. I bought it about a year ago for $1500.00.

Dave Ristrim · From: Whites Creek, TN

I had a single 12 black Emmons, sold it in CA. The ax on the "rainbow" album was a Buddy Emmons custom order. Lovely basket weave finish ( I own a D-12 basket weave), and three pickups the neck. Two at the bridge end and one at the first fret. Plus, I think he has those wacky single string pickups on the steel too.
I was lucky enough to be able to buy Johnny Fields D-12 Emmons that has three pickups on each neck like the S12 on the cover. I am told Buddy ordered this guitar after using the S12 for a while, but never took delivery of it. Johnny got it and used the heck out of it. I have rebuilt the E neck and am in the process of rebuilding the C neck. 10 pedals and 9 knee levers. WOW!
Dave Ristrim

David Doggett · Posted 22 Nov 2004 6:38 am

I have a red mica S12 p/p 3&4 made in the mid '80s. It was tuned extended E9 when I got it a couple of years ago for $1000 (a real bargain). I now tune it E9/B6, with RKL lowering string 8 to a D# and LKR taking it down to a D, but I haven't added the other pedals yet. Since LKR acts as the all-important pedal 6 on C6, it's amazing how much B6 you can play on this thing.

I replaced the stock single coil pickup with a TrueTone, and there was not a whole lot of difference. I doubt if there are many other pickups you could say that about. Originally this guitar sounded pretty good, but not noticably better than an all-pull. Then I read some posts on the Forum about the importance of not having the screws too tight that hold the aluminum neck to the body. Mine were screwed tight. I loosened them up a little, and the tone came alive - rich overtones low and high, gorgeous mids, great string separation, and sustain forever. I was forced to improve my finger and palm blocking. It's a keeper.

[This message was edited by David Doggett on 22 November 2004 at 06:41 AM.]

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