This is archived information from "Ask Buddy!" The only things I edited out were the "Hi, Buddy!" and " so and so says, hello!" type messages. I fixed a few mis-spelled words here and there, (not all of them...) but the content is the same. If there was any information being passed back and forth, it has been included.
"ASK BUDDY!" ARCHIVES: #1 #2 #3
Nashville Superpickers "Live from Austin City Limits"
From: Robert Rogers
Date: 27 Feb 2002
Mr. Emmons, I live an hour and a half from Nashville. Do you know where I can
get a copy of the album that you and Russ Hicks did live from Austin City
Limits? Hope I’m not bothering with this question. Robert
From: Buddy
Date: 27 Feb 2002
Robert: No bother at all. In fact, I wouldn't mind having a copy of it myself.
I'm thinking it was recorded on the Flying Fish label but I could be wrong.
Anyway, Flying Fish sold out to Rounder Records and I'm certain they have no
plans to re-release it.
From: John Gretzinger
Date: 01 Mar 2002
Buddy - Your reply sent me looking and asking questions. Rounder records
actually has it in their catalogue but it's not under any artist name - one has
to search on "Nashville Superpickers". I asked them if they had it and
yes they do and it is available in cassette and CD. Here's the link http://www.rounder.com/Album.asp?catalog_id=5732
I now have it on order. Thanks for all the wonderful music. jdg
From: Danny Kuykendall
Date: 28 Feb 2002
How often do you cross over with your thumb when you are executing some of the
fast single note runs, or are you using thumb-finger-finger, or
thumb-thumb-finger? Is this a matter of what is comfortable? Do you ever use
your index finger for fast picking? Thanks for taking our questions, Danny.
From: Buddy
Date: 28 Feb 2002
Up to a certain tempo I use the thumb, thumb, and finger, or visa versa. Beyond
that, I sometimes use the crossover if I'm going for patterns such as four notes
in succession that require a reversal at some point. One example for strings 8,
7, 6, and 5, requires both the crossover and the index finger and is as follows:
thumb, index finger, thumb, third finger. The entire pattern, which I play
forward and backward, would read: T, 1, T, 2, T, 1, T. A forward pattern with
strings 8, 7, 6, 5, 4, 3, and 2 would be played: T, 1, 2, T, 1, 2, T.
From: Ronnie Miley Bogalusa La
Date: 28 Feb 2002
Many Thanks for having this site. Will you be submitting any more Digitech
setting other than the two that are on line now.
From: Buddy
Date: 28 Feb 2002
I won't be submitting any more Digitech settings. The last time I tried to set my
2112, I had forgotten how and didn't want to go to the manual again due to its
steep learning curve. Like a lot of Digitech equipment, the 2112 does a great
job, but the company should let people that have to use it write their manuals.
From: Larry Bell
Date: 28 Feb 2002
Ronnie/Buddy You may find some useful info on the 2112 on my website -- take a
look at http://www.larrybell.org/id20.htm
. It may help summarize in a way that's more relevant than that abysmal manual.
I agree, they should have a user write their manuals, but they never asked me.
:-( LTB
From: Andy Wernicke
Date: 28 Feb 2002
I read that when Shot and you started out you built the cabinets while Shot was
responsible for the mechanics. When did you stopped building them and how many
would you say were built during your time there in Madison? All the best Andy
From: Buddy
Date: 28 Feb 2002
My guess would be around twenty cabinets before I took a job with Ernest Tubb in
late 1957. After that, Shot made cabinets while I was on the road and if he had
more than enough to fill the orders when I got back, I would help in the final
assembly. I moved to California around 1959, so the total couldn't be much more
than thirty.
From: Roger Rettig
Date: 28 Feb 2002
This has been discussed before, I know, and you've said that the unavailability
of the rhythm tracks precludes you from tackling it. I feel, however, that the
tab book alone would be a 'winner' - I wish you'd consider it. (That's three
questions from me in four days - maybe I should get out of the house more
often!) Many thanks for entertaining the Q&A project.
From: Buddy
Date: 28 Feb 2002
I haven't ruled it out yet, but the song Kicks To Boot requires a high G note on
the C6 tuning. One of the decisions I would have to make is whether to tab as is
or find substitute positions for the high G chords or notes now that some
players are using the D for the first string. My first inclination would be to
tab as is.
From: tstolaski@yahoo.com
Date: 28 Feb 2002
I tried to get this info from you on The Steel Forum a while back: If you would
be so kind to explain the physical aspects of the bar twirling trick. Are you
using the tip of the bar, or the axis to play clean single notes?
From: Buddy
Date: 28 Feb 2002
I could start by saying the twirling maneuver is a situation where the notes
aren't all that clean but who cares? Most of the work is done with the thumb and
first finger of the bar hand. As you push the back of the bar to the left with
your thumb, the nose of the bar will pivot to the right and slide from under
your first finger. At this point, use the first finger to pull the nose downward
toward its reversed position while using your thumb as a pivot. You'll have to
lift the third, fourth and fifth fingers of the bar hand to allow the back end
of the bar to slide under them. Just before the bar reverses, place the thumb
and fingers in their original positions. If you do it correctly, the string you
play before you started will be activated by the pivot and sound like you picked
it again. The axis or as close as you can get to it, is the safest spot for the
notes you want to use during the maneuver.
From: Jim Smith
Date: 05 Mar 2002
Thanks so much for the description Buddy. I've played with that lick for years
and never could get it right, even after watching you do it many times. I
probably still won't be able to do it, but at least I'll know what I'm doing
wrong! ;^)
From: Frank Estes
Date: 28 Feb 2002
Since the Everly Gig is off for the year, do you have any plans to play out
anywhere in addition to the Midnight Jamboree? One time you mentioned you may
retire to playing in a jazz club.
From: Buddy
Date: 28 Feb 2002
The Jamboree will be my one night out for the year with the possible exception
of Darrell McCall. It will be a test for the wrist and the outcome will
determine what I choose to do from there. If I bomb, I'll just get the rocking
chair out and think about the good ole days. I like the idea of playing jazz but
I don't believe I could commit myself to the club scene on a regular basis.
From: Frank Estes
Date: 28 Feb 2002
In your Minor Abrasions article, you mentioned how you had just moved to
Nashville from LA and expected to settle into daily studio work when the
"Pat Martino Live" album renewed your interest in the C6 neck. What
were you doing between 1974 and 1977? (I mention 1977 because of Boston and ISGC
'77 recordings.)
From: Buddy
Date: 28 Feb 2002
I did sessions in those years. The difference was instead of devoting my time
strictly to the E9th tuning, I renewed my interest in C6th. Had I went the total
session route, I would have either changed the inside neck to another commercial
tuning or went to a single 12, E 13th tuning.
From: Frank Estes
Date: 28 Feb 2002
Some parents are supportive and others resist, when a son or daughter decide to
become a musician. How did yours respond? Are they musicians? (You mentioned
that your Dad made a bar for you recently.)
From: Buddy
Date: 28 Feb 2002
My parents were very supportive. I wasn't familiar with the sound of a steel
guitar until my dad drew my attention to it on the radio one night. It was
because of his love for the steel and his want for me to play it that I said I
would give it a shot.
From: lledford@nc.rr.com
Date: 28 Feb 2002
Looking back to when you first started playing, what do you think is the most
difficult thing for a new student to learn?
From: Buddy
Date: 01 Mar 2002
I believe blocking technique would be the most difficult.
From: Tom Stolaski
Date: 01 Mar 2002
I have seen Paul Franklin and yourself, close your eyes and play very
complicated solos. Is this just a matter of ear training? Was this part of your
early practice routine?
From: Buddy
Date: 01 Mar 2002
I used to practice with my eyes closed just to see how difficult it would be to
play if I lost my sight. Other times I would wake up during the night with my
guitar in bed and play with the lights out. That was mostly because I was too
lazy to get up and flip a switch. In later years, I found that closing my eyes
while playing took away from all other distractions, so I got into the habit of
doing it when I wanted the ultimate concentration. I stray from the beaten path
time to time, but now that it has become a habit, I can't shake it.
From: tstolaski@yahoo.com
Date: 01 Mar 2002
I had the pleasure of working with Casey Clark and his daughter in Detroit
around 1982. They told me a story about you listening to jazz recordings all day
at the library, then practicing all night while drinking big pitchers of orange
juice. My question is: WHEN DID YOU SLEEP?
From: Buddy
Date: 01 Mar 2002
When I was on the bandstand.
From: Frank Estes
Date: 01 Mar 2002
What is your take on today's "Country Music?" Thanks
From: Buddy
Date: 01 Mar 2002
I'd say it's somewhere between old country and the music level the studio
musicians are drawing from for their ideas, which makes it too sophisticated for
Joe Sixpack and something the next level has already heard.
From: Frank Estes
Date: 01 Mar 2002
Time: 14:14:48
WOW! Another brilliant example of "Brevity is the soul of wit!"
From: Frank Estes
Date: 01 Mar 2002
Buddy, You mentioned your interest in photography and I think you said you have
an interest in astronomy. What are your other interests? For example, what books
do you like to read and what type of movies/entertainment do you enjoy most?
(Thank for taking the time to answer all these questions!)
From: Buddy
Date: 01 Mar 2002
I like books that deal with history and subjects like the old west, the
pyramids, or the mafia. A couple of my earlier hobbies were model trains and
fast drawing. My favorite type of movie or documentary would be around those
same subjects, although a good love story with great musical score such as
Titanic would rank as a favorite.
From: Frank Estes
Date: 01 Mar 2002
Buddy, you have made so many important contributions to steel guitar. In your
mind, what are your five greatest accomplishments? (Thanks again!)
From: Buddy
Date: 02 Mar 2002
For accomplishing things I set out to do, designing the Emmons guitar and
playing on the Opry stage would classify because they were childhood dreams.
Having a recording contract with Columbia records at the age of nineteen was
never a goal, but for the times, it was a rare privilege for an instrumentalist
in Nashville. I've been fortunate to work with Henry Mancini and Ray Charles,
two icons I once thought were worlds apart from mine. That would also apply to
jazz musicians. I'm proud to have my first Sho~Bud guitar in the Country Music
Hall Of Fame. It's hard for me to distinguish accomplishment from good fortune
because nothing is really accomplished without the help of others. But if
something I've done changed people's lives for the better, that's something I'd
be most proud of.
From: Frank Estes
Date: 04 Mar 2002
Buddy, thank you for the insightful response. I was sort of afraid the question
might be "embarrassing" after I posted it.
From: Carlton Day
Date: 01 Mar 2002
Hi Buddy: I noted in one of your answers you mentioned your wrist. Have you
injured your wrist? I sure hope it's not serious; I want to hear your work for
years to come. But if it is I'll just try to copy "busted wrist
"licks.
From: Buddy
Date: 01 Mar 2002
Last year I found I had osteoarthritis in my right wrist and had to give up
session work. Some days I could play and some days not because of the pain under
my thumb when I spread my hand. I thought it best not to have to worry whether
I'd do well or not in the studio, so I limited my work to Everly Brothers road
dates. Besides, they're not as particular about what I play and they pay more.
From: Carlton Day
Date: 01 Mar 2002
Well, Buddy, I hope and pray all the best for you. It would be a loss to the
musical scene with you not in it. You have always been my icon in the steel
guitar world. Thanks for answering so quickly. I'll be listening at the MNJ
March 9th
From: randy@lcii.net
Date: 01 Mar 2002
Where can I find Minors Aloud?
From: Buddy
Date: 01 Mar 2002
Randy: There's a chance that Tom Bradshaw may have it. I have e-mailed him and
will let you know when I hear from him.
From: Buddy
Date: 02 Mar 2002
I checked with Tom Bradshaw and he reminded me he had sent me around 10 or 15 of
Minors Aloud but they are in cassettes, which is all he stocked. They retail for
$11.00 and if that will do, the address is: Buddy Emmons Music - PO Box 415 -
Hermitage, TN - 37076. I won't charge you shipping.
From: Mike McGee
Date: 01 Mar 2002
Buddy, do you give private lessons? If so, how can they be scheduled?
From: Buddy
Date: 02 Mar 2002
I'm not giving private lessons now but may consider it later. Much will depend
on my job with the Everly Brothers and whether I'll go back out with them. I
have a year to decide.
From: Frank Estes
Date: 04 Mar 2002
Buddy, I think that if you did the seminar/classroom format charging several
students by the day or week, then you would be booked for many weeks making a
nice chunk of change. I am sure certain times of the year would be busier than
others. Just my opinion.
From: Tony Palmer
Date: 02 Mar 2002
Hi Buddy, What neck did you use for Oklahoma Stomp on the Ray Pennington CD? It
sounds like C6th of course, but I have your course which tabs this out in E9th.
Also, are there any other recordings you've done on E9th that intentionally
sound like C6th?
From: Buddy
Date: 02 Mar 2002
Both versions of Oklahoma Stomp were played on the E9th tuning. The song
"Wills Point" and Larry Gatlin's "Houston" emulated the E
13th and A 6th tunings Noel Boggs used, but I can't think of any other tunes
that relate to the C6th tuning.
From: Buddy
Date: 02 Mar 2002
I stand corrected thanks to Ernie bringing it to my attention. The original
version on 40s thru the 80s was not all E9th.
From: John Swain
Date: 02 Mar 2002
Buddy, I've seen on your copedents this change is over Left leg. On my Carter,
because the Vertical pivots from the right, I have trouble engaging it with the
LKR E-Eb lever(I finally moved Bb to RLL) How do you manage, or don't you use
these changes together? JS
From: Buddy
Date: 02 Mar 2002
I don't use those changes together. If I did it would be difficult on my guitar
too because my vertical also pivots from the right.
From: Harold Wessinger
Date: 02 Mar 2002
Buddy, Since you are off the road I was wondering if we could talk you and Ray
Pennington and The Swing Shift Band into getting together again and making some
CDs? You folks made some of the best music ever recorded. Please hurry. Thanks,
Harold
From: Buddy
Date: 03 Mar 2002
Harold: The thought is a good one. I've had some of my most enjoyable times
working with Ray and the Swing Shift band. The down side is that there is no
longer a record company to foot the tab or distribute the albums. Between the
basic musicians, brass section, and arrangements, a lot of expense is involved
in producing that type of music and something a couple of retirees would have to
think twice about investing in. If we did decide to plow the money into another
album, then I'd be concerned about my performance, which is running on four
cylinders these days.
From: Harold Wessinger
Date: 02 Mar 2002
Buddy, Since you are off the road I was wondering if we could talk you and Ray
Pennington and The Swing Shift Band into getting together again and making some
CDs? You folks made some of the best music ever recorded. Please hurry. Thanks,
Harold
From: Bill Maynard
Date: 02 Mar 2002
I concur with the rest of the world who are Buddy Emmons fans, we are waiting
patiently for you all to get together and make some more beautiful music. You
and Ray are fantastic together. I hope your wrist will get better to allow this
to happen. I still remember the night many years ago when you and I had a pop or
two in Tootsie's. I sure enjoyed the pleasure of meeting you and having most all
of your albums...Good Luck you are the greatest. Bill.
From: Greg McGarvey
Date: 02 Mar 2002
Buddy - First of all, I want to say that I've seen you a few times in the
Everlys' show and your playing was very inspiring to me. I am an 18 year old
guitar player and I have to say that I pick up my slide a lot more than I used
to after seeing you play in Atlantic City. :) But anyway, do you have a personal
favorite among your albums? I am trying to decide which to put on my "CD
want list." Hey, thanks! Greg McGarvey
From: Buddy
Date: 03 Mar 2002
Thanks Greg. That is always a tough question for me because I rarely listen to
my albums over once or twice after I record them, so I have nothing but vague
recollections of the tunes. For variety, I would suggest "It's All In The
Swing" or "Swingin' Our Way," which have a mixture of both swing
and E9th type pedal steel.
From: Tom Stolaski
Date: 03 Mar 2002
I was wondering about your time spent with Pat Martino. Did you take your steel
guitar into his seminar and pick out things by ear, or did you bring home scales
and exercises written out in notation and transcribe them to steel tablature?
From: Buddy
Date: 03 Mar 2002
I took notes and recorded his seminar. Unfortunately, my tape recorder was
sitting near a door where a stiff breeze was blowing through, so I salvaged
about half of it. I had the pleasure of sitting down with him at guitarists
Bucky Barrett's house in Nashville for a one-on-one exchange. I got much more
out of that, including a piece of manuscript paper with five different ways to
play his alternating chromatic octave lick. I found him very cordial and
genuinely interested in helping others find their way. But in answer to your
first question, I didn't have my steel guitar either time.
From: Dennis Detweiler
Date: 03 Mar 2002
What are the approximate settings you use on the MXR Envelope on Witch's Brew..
Full off being 7 o'clock and full on being 5 o'clock (threshold and attack
knobs)?
From: Buddy
Date: 03 Mar 2002
Dennis: I don't have my old MXR envelope filter and haven't played Witches Brew
since Clinton was a cub scout, so I can't help you there.