Since that time many guitars have come and gone. In all fairness, the Franklin and Mullen guitars came out at about the same time, although the early Mullen guitars were much more like a Sho-Bud than an Emmons.
That year, I came out with that very guitar. a compact body, mica covered, with an aluminum neck, but with an all-pull scissor-like changer that provided shorter and easier pedal action, and that allowed easier set-up changes and additions. In 1976, before the Emmons LeGrande was in the picture, the market was clamoring for an Emmons style and size guitar, i.e. However, I really feel that you left out a chapter. I’m so glad you are documenting and sharing all of the vast history of our instrument and its players that you have accumulated over the years. I just read your article in the latest issue of the Pedal Steel Guitar Newsletter (May 2012) on the history/evolution of the steel guitar/pedal steel guitar. He is an astounding person, friend and designer. His guitars definitely deserve more than an honorable mention. I would like to share with all my readers the letter which Bruce has sent to me. He is extremely tasteful person when it comes to building as fine a steel guitar as one could build in this day and time. I have sold many Zumsteel guitars over the years and have always found them to be of the highest caliber.īruce Zumsteg is a very deep thinker and great designer. There are many of them being played today by famous players we have all heard play. His guitars are of excellent quality in design, workmanship and have been played at one time or other by almost every great player in the world. Getting to know Bruce personally over this time, he has become a very close personal friend that I certainly do not mean to slight. Bruce is a pretty historic builder and has built outstanding steel guitars on a one by one basis over the past 36 years. I received this letter and feel pretty bad that I slighted Mr.
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