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Topic: Emmons Steel Guitars |
Wayne Ledbetter
From:
Arkansas, USA
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Posted 20 Nov 2018 9:48 am |
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Hello. Back in 2014 I bought a Sho Bud guitar after getting out of hospital. I quit playing steel in 1988 for different reasons. Some was life issues and etc. As far as steel guitar, my first one was a MSA S10. I later acquired an Emmons push/pull D12. This was mainly in the 80s. Back then I didn't know anything much except how to play it in general. There wasn't all the information available like now. I found out how to tune them the best I could.
After getting this Sho Bud and other things, I've learnt much more.
I remember the owner of the Emmons P/P was going to get a Legrande. While reading Mickey Adams posting of the Emmons SKH, I didn't see Legrande label on the front. Is there a Legrande, Legrande II, and then a SKH?
What's make a SKH a tone monster?
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Sho Bud Super Pro, Fender Twin Reissue, Martin HD-28, Gibson J-45, Gibson RB-250,Stelling Bellflower,Regal Dobro, Takamine and Alvarez Classical, Fender Telecaster, Peavey Studio Pro 112. Mainly played Gospel and some bluegrass. |
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Dave Diehl
From:
Mechanicsville, MD, USA
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Posted 20 Nov 2018 3:01 pm
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| The Short Key Head (SKH) was the very first LeGrandes. A shorter keyhead than the Push Pull or the LeGrandes and a different changer. Then came the LeGrande, LeGrande II, and then LeGrande III. |
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John Goux
From:
California, USA
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Posted 21 Nov 2018 9:17 am
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I am also curious why the SKH is considered a special instrument.
As an all pull design, it is not going to sound like the classic Emmons PP.
Can you describe the tone of an SKH? How does it differ in sound from the later LeGrandes, 2, or 3? Or other company’s All Pull?
John |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 21 Nov 2018 3:16 pm
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John, I’ve owned a couple SKH Emmons and their tone is different. They seem to have more mids than a Legrand but not quite as bright as a push pull. This my be due to the changer design or the shorter body, don’t really know. This is just my opinion on the SKH. All in all, great sounding guitars, better than Legrand, not necessarily but still great.
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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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Wayne Ledbetter
From:
Arkansas, USA
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Posted 21 Nov 2018 4:07 pm Skh
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I also would like to know what makes SKH a tone monster or is Mickey Adams SKH a freak of nature.
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Sho Bud Super Pro, Fender Twin Reissue, Martin HD-28, Gibson J-45, Gibson RB-250,Stelling Bellflower,Regal Dobro, Takamine and Alvarez Classical, Fender Telecaster, Peavey Studio Pro 112. Mainly played Gospel and some bluegrass. |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 21 Nov 2018 8:30 pm
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Wayne, best way I can answer that is all guitars of the same make and style sound different. One of the SKHs I had sounded great and the other not so good. If Mickey says his is a tone monster, he probably has an exceptional guitar. Look on YouTube at Ray Price live singing Night Life. Buddy is playing a SKH that I would say is a tone monster. Just my personal opinion which probably not worth much, lol, SKHs as a whole aren’t tone monsters but most of them are and the same with other guitars. I’m sure a lot depends on pickup, amp and other factors.
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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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Bill C. Buntin
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Posted 22 Nov 2018 4:23 am
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Both SKH that I owned were tone monsters because, they had similar overall body vibration and feel to the push pull. Not the SAME, but similar. There were some little things that make the difference I think. I once had a lengthy conversation with Bobbe Seymour about this. One was some of the Legrande changers were unique as I recall. The other was its tone and sonic characteristics could be enhanced by really tweaking on the split tuning screws, thinking of it like you would a push pull. Bob Rains taught me how to get the MOST from that Legrande changer. It made a HUGE difference, and caused me to just LOVE how my SKH Legrandes sounded and played.
~Bill |
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Wayne Ledbetter
From:
Arkansas, USA
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Posted 22 Nov 2018 6:43 am Skh
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Thanks Henry, Dave, Bill for that information and comments. Bill that split tuning technique sounds interesting. Where can a guy find out about that?
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Sho Bud Super Pro, Fender Twin Reissue, Martin HD-28, Gibson J-45, Gibson RB-250,Stelling Bellflower,Regal Dobro, Takamine and Alvarez Classical, Fender Telecaster, Peavey Studio Pro 112. Mainly played Gospel and some bluegrass. |
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Dave Diehl
From:
Mechanicsville, MD, USA
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Posted 22 Nov 2018 7:11 am
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| Buddy's comments in 2002....The first Legrande prototype had a sound similar to a push/pull but the parts were hand made and the hardware was mounted on a P/P length body with a short keyhead. When we extended the body a couple of inches to bring the guitar back to it's original or more proportionate symmetry, the clarity was lost and no Legrande since then has sounded like the prototype. Even at that, the distinct quality or timbre remains consistent with the trademark sound. So I believe that consistency is due to the sum total of the parts, placement, and the mounting of them, which clones can only integrate a portion of into their guitars for various reasons. Or to put it another way, looks aren't everything. |
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Dave Diehl
From:
Mechanicsville, MD, USA
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Posted 22 Nov 2018 7:12 am
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| Buddy's comments in 2002....The first Legrande prototype had a sound similar to a push/pull but the parts were hand made and the hardware was mounted on a P/P length body with a short keyhead. When we extended the body a couple of inches to bring the guitar back to it's original or more proportionate symmetry, the clarity was lost and no Legrande since then has sounded like the prototype. Even at that, the distinct quality or timbre remains consistent with the trademark sound. So I believe that consistency is due to the sum total of the parts, placement, and the mounting of them, which clones can only integrate a portion of into their guitars for various reasons. Or to put it another way, looks aren't everything. |
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Paul Wade
From:
mundelein,ill
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