I was borrowing Greg Leisz's bolt on for gigs out in LA and his steel had the same caracture. I toured and recorded with my bolt on for quite a while and never had any weird tuning issues with it. To my ear there is a bit of a difference. He said he felt the bolt-on got an undeserved reputation for tuning touchiness, which I believe it has. That guitar is a good one and had no more problems with thermoexpansion than most guitars I've owned.

He also asked if I had any intonation problems. I was playing a 66 bolt-on at the time and Ron stated quite plainly he felt the bolt-on was his favorite model of Emmons guitar for *THAT* tone. and I had this very conversation about 15 years ago. I own a pull-release steel, with a bolt-on changer. The downside is that it will also have more tuning instability due to temperature fluctuations. I'll stick my neck out and say that the bolt-on will have the better tone. Maybe Buddy will step in and tell us the story about Randy Reinhard's 'horn of plenty'. The 'wrap' was the guitar that Buddy originally designed, and that's the one I like best! Both the bolt-on and the cut-tail were Ron Lashley re-designs. That said, I prefer the original 'wrap around' better than either the 'bolt on' or the 'cut tail' ('split tail'). I'm not really an Emmons' guitar afficianado. You can see the screws that hold the changer axle supports and the gaps next to them where the end of the neck is 'cut.' Here are some really good shots of a bolt-on changer:ДЄnd there is a fairly good shot of the end of a cut-tail changer in this thread (8th post in): One is great and the other is just as good. If someone can post a couple of close-up pics showing the difference in what the two types look like I would appreciate that. What are the perceived differences in sound and/or playability/mechanical function? I've seen a lot of references to Emmons bolt-on guitars and they seem to be a preferred era. Your profile | join | preferences | help | search Thank you Buddy for being my hero.Classic country shuffle styles for Band-in-a-Box, by BIAB guru Jim Baron. He will always be someone that I look up to and admire. Every steel player admires his talent and loves to hear him play. Sonny Curtis of the Crickets once said: вЂњBuddy is the main person that has brought the steel guitar to where it is today. His songwriting has been newly recognised by current country favourite Kacey Musgraves, whose вЂњhidden trackвЂќ at the end of her recently-released вЂPageant MaterialвЂ™ album is a version of Emmons and Willie NelsonвЂ™s song вЂAre You Sure,вЂ™ on which Nelson sings. Later, he worked with George Strait, Ricky Skaggs and others, and in the early 1990s, he began touring with the Everly Brothers. In the early 1960s, Emmons left Tubb to replace Jimmy Day in Ray PriceвЂ™s Cherokee Cowboys, appearing on such singes as the 1963 hit вЂYou Took Her Off My Hands (Now Please Take Her Off My Mind).вЂ™ He played the evocative, moody steel intro and solo on PriceвЂ™s early version of Willie NelsonвЂ™s вЂNight Life,вЂ™ which became his signature hit and was later covered repeatedly.Д®mmons worked for six years in California with Roger Miller, returning to Nashville in the mid-1970s to appear on sessions for stars such as Mel Tillis and Donna Fargo, and he played on Gram ParsonsвЂ™ much-revered вЂGPвЂ™ album.

In вЂ™57, Buddy became a member of TubbвЂ™s group, the Texas Troubadours, and played the striking steel guitar on his top ten country hit вЂHalf A Mind.вЂ™ 2 country hit version of вЂSweet Dreams,вЂ™ also a success for Don Gibson that year and later closely associated with Patsy Cline.

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