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Topic: Emmons tone control usage |
Jeremy Reeves
From:
Chatham, IL, USA
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Posted 26 Nov 2020 7:20 am |
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Any insights on using the Emmons tone control?
I have been ignoring it but thinking it might be useful to have the tone control engaged, and then turn it off for leads to get a brighter sound |
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Pete Burak
From:
Portland, OR USA
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Posted 26 Nov 2020 9:14 am
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| I usually keep it bypassed unless things sound too treble-ee at any given moment. |
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Tony Glassman
From:
The Great Northwest
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Posted 26 Nov 2020 12:42 pm
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| I always use it when playing C6th. |
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Asa Brosius
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Posted 26 Nov 2020 2:32 pm
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| Beyond the fun of the boo-wah, I wish all guitars had them- great for tonal adjustments moving between necks-for the different sonic ranges, and/or different pickups/response. Or at the end of the set when the guitars mysteriously turn up. |
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Jack Hanson
From:
San Luis Valley, USA
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Posted 26 Nov 2020 2:39 pm
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| Sometimes it comes in handy for taming the highs when playing through a dirt box. |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 26 Nov 2020 9:20 pm
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Would like to use it occasionally for boo-wah licks, but it sits so low it's hard to grab on the fly on an Emmons. Problem is, raising it any higher would put it in the way playing the top neck. I engage the set screw as high as I can get it on the shaft, but that only gains me maybe 3/16". Have thought about using a piece of tubing to slip over the knob only on a song I want to use it on. Any ideas?
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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Kelcey ONeil
From:
Sevierville, TN
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Posted 27 Nov 2020 6:38 am
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| Clyde Mattocks wrote: |
| Would like to use it occasionally for boo-wah licks, but it sits so low it's hard to grab on the fly on an Emmons. Problem is, raising it any higher would put it in the way playing the top neck. I engage the set screw as high as I can get it on the shaft, but that only gains me maybe 3/16". Have thought about using a piece of tubing to slip over the knob only on a song I want to use it on. Any ideas? |
You can install a pot with a tall shaft, similar to what the old Fender 1000’s used. Also, a no load pot can be used with also gives you a bit more variety. |
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Larry Allen
From:
Kapaa, Kauai,Hawaii
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Posted 27 Nov 2020 12:23 pm
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I use it for jazz and standards, non-country....  .05 cap, put a knurled knob on to rotate with my right pinky easily...
_________________
Excel steels & Peavey amps,Old Chevys & Motorcycles & Women on the Trashy Side |
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Jim Sliff
From:
Lawndale California, USA
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Posted 27 Nov 2020 5:39 pm
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Like Asa, I wish all pedal steels had a tone control - I'd prefer a Fender style tone/volume control combination, with the 3-way switch having bypass, normal tone capacitor, and an additional fixed cap - the Esquire circuit (although I prefer a small value cap to the bypassed sound - it rolls off jut enough treble to reduce harshness without changing the fundamental PP sound.)
The tone and volume controls work together, and the volume control operates differently in the circuit that a volume pedal. This type of setup gives you a huge range of useful tonal variations. And I've never "boo-wah'd" in my lifeTo me that's an outdated, gimmicky "one trick wonder"
I wired the 1970 SD10 PP Kelcey O'Neill set up for me that way. I usually use the center switch position with a .047uf paper in oil capacitor, and a 500k ohm linear tone pot rolled back about 20% - it really warms up the sound nicely.
I keep the volume control(500 or 360k audio pot) set around 15-20% below full so I can "kick it" when needed; my volume pedal, when on full, runs whichever tube amp I'm using (the lowest output one that can be used this way in a specific venue) at the top of its clean headroom.
That way the volume knob gives me a slight clean output increase for solos; cranking it full slides the amp into mild output stage saturation (smooth, cello like distortion - or "overdrive", which is really a wrong term). And the tone control is usually rolled back slightly at this point.
Having that tone circuit I can get a range of tones from typical PP to Fender (with more sustain) to a Gibson P90 pickup-ish " raw" sound. Very useful when you don't play country - but also VERY useful if you do, especially more modern stuff - much of which sound iike late '70's/early '80's Classic Rock, honestly.
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional |
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