Steel Guitar Jazz - Buddy Emmons | Songs, Reviews, Credits | AllMusic
Dating emmons steel guitars. Find great deals on eBay for emmons pedal steel guitar. Shop with confidence. Jan 19, Does anyone know if the the serial number stamped under the bridge plate of my D PP Emmons is around production. I can't find. Can anyone advie me how to date this or point me in the direction of US forum I think they would tie it down exactly with those pics :guitar.
Any info would be appreciated.
The British Steelies Society • Dating an Emmons S10 by Serial No?
Thanks, Robert Rogers From: The Blue Box was an octave divider that when used with the Boss Tone, created a sound somewhere between a baritone sax and a bassoon. I also used a phaser and fretless electric bass combination on the tune "Warming Up The Band.
He's known for having eclectic musical taste - as far as you're aware, was having steel on the record something he wanted personally? Were the tracks done 'live', or did you overdub? Was it all on E9th it sounds as though it could have been?
For what it's worth, I think you did particularly fine work on that project - two of my favorite musicians on one record!
One morning he called and asked, "Would you like to do some Ray Charles tunes tonight? When I got to the studio, Glen was there but said nothing about the session.
Steel Guitar Jazz
About twenty minutes later, three silhouettes in a hallway came slowly toward the room until I recognized the person in the middle as Ray Charles.
My first thought was that he was there to support Glen but shortly after that, I learned that it was Ray's session. After that, it took me an hour to settle down.
The first thing after we were introduced was for him to take me to the piano and run a blues tune and explain where he wanted me to fill. I used the C6 tuning for that particular cut.
It was Ray's studio, so everything was recorded live with him at the console, singing and working the sliders. When I set up, I couldn't find a warm sound for chords without distorting the amp, so I ended up with ear splitting highs.
I made it clear to Quincy Jones up front that I knew nothing about reading music and couldn't do the album if it required it. So, I called off the list of tunes he had sent me and found the musicians weren't familiar with the changes to some of them, so we had to come up with tunes we all knew. Also, Quincy had to fly to Paris and they subbed a producer by the name of Hal Mooney. I felt that had Quincy been there, he could have supplied charts that would have gotten me through the tunes I had taken time to learn.
Hal Mooney was a producer and was married to Kay Starr at some time, but that was about the only thing I respected him for. He got hot under the collar and said, "Why in the hell don't you have charts for these tunes. Why in the hell didn't you hire somebody that knew them. I knew when we came to the tune "Any Time," we had scraped the bottom of the barrel. It was after Any Time, that I came up with Bluemmons and put us all out of our misery.
I got along well with Art Davis and Bobby Scott, and if it wasn't for Bobby's consideration, I might have eased over the edge.
It's hard to imagine them not taking notice of the boy from Indiana who could play the Hell out of that contraption, despite the circumstances.