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I've fallen in love with emily's tone on firefly recording. To me it's got the perfect warmth,sustain, high/mid/treble ratio. I know there's a lot of her gear on allthingsemily.com but i can't wrap my head around what she exactly used for that recording. I know tone it's in the hands and whatever, but i'd really like some hints and suggestion on how to get there in terms of sound.
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10-22-2017 10:30 AM
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That would have been her early 1960s cherry red ES-330 on which she swapped the original P90’s with Gibson humbucking pickups
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Her Borys B-120 didn't hurt her tone!
Last edited by helios; 10-22-2017 at 01:16 PM.
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Emily's tone on either the 330 or the Boys was superb. On the Ovation, meh. She sure could play, though.
In Emily's defense, nobody sounds great on an Ovation.
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Thanks for the replies guys. Es330 with gibson humbuckers sounds so generic though...why does she sounds so juicy? So little trebly? I hate medium high frequencies but still I appreciate when the tone has a strong body without being a muddy mess and pinnacle of what I'm trying to achieve to my ears is Emily s tone and some jim hall recording, namely ATTYA with metheny is a good example...any fan of that tone? Check it out
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Emily was a great player and her later recordings inspired me to get a Borys B120 - which I feel certainly helps with emulating her tone.
Be sure to use at least a 1.5mm thick pic , plug into a small fender amp - pick location should be around end of fingerboard .....and your all set .
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but at the time of that record, she didnt have the Borys yet. So very likely the ES330
Originally Posted by helios
Her Borys B-120 didn't hurt her tone!
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I believe this is her Borys B-120 with Guild HB-1 pickups:
Last edited by helios; 10-23-2017 at 03:06 AM.
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Not generic at all. Originally Posted by benjaminjoe
Let's assume that it's not the early 70s anymore so unlike Ms. Remler you aren't going to hack holes in a P90-built guitar.
Very few Gibson guitars are specced @ 24.75" scale / thin / full-hollow / humbucker-equipped. AFAIK there's only the ES-175T and the ES-350T (some of which have the long scale). Both are uncommon and costly. The Epi Sorrento is hollow but has mini-humbuckers -- a nice sound but not quite on the mark.
Then factor in double-cutaway and it's a total non-starter. The 335 has a block. The Epiphone Riviera has a block.
I think she did good. Maybe it's time for Gibson to release an Emily Remler Model?Last edited by Sam Sherry; 10-22-2017 at 06:27 PM.
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That would be great --a Emily Remler model.
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Really? I think her Ovation tone is quite nice. If your entire frame of reference is the midrangy electric archtop tone (and I don't know whether it is), no flattop will cut it. Originally Posted by Greentone
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Emily could make a Teisco Del Rey sound great......I feel lucky to have seen her perform live. One of the greats.
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I think a Heritage 530 can be had with humbuckers, as well as P-90's.
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Different guitar. More of a 330L than a 330. They have different tones.... Originally Posted by goldenwave77
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Emily seemed a fine instructor too. What a loss.
Last edited by 2bornot2bop; 10-23-2017 at 06:33 PM.
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Originally Posted by Stringswinger
So the 330 was produced in (I) a model where the body joins at the 16th fret, and (II) a model where it joins at the 19th fret. The 19-fret join model is the one you're calling the 330L.
Emily R. played a 16th fret join model, and you can see her playing "Tenor Madness" in Australia doing this.
The 1959 reissue put out by Gibson fairly recently is a 19-fret join model.
(I guess that Grant Green played the 16-fret join model ?!)
Not sure what the deal is on Epiphone Casinos, both original and re-issues.
So bottom line....you think the 16th fret join model is the better jazz tool, with maybe the 19 fret model being more bluesy, in tone ?!
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The 59 reissue (along with the 61 reissue Grant Green's and Emily Remler's 330) were all 16 fret joins. Better jazz tone (warmer) and better balanced. The 19 fret model is more 335 like in tone. The Beatles Casinos were all 16 fret joins. The 19 Fret join is a late 60's/narrow nut/14 degree headstock thing. Originally Posted by goldenwave77
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Good grief, she had superb time. Which is something she worked on very, very hard with a metronome according to an interview with her (which I might have seen on the allthingsemily.com site, now that I think about it). And she had her own voice, especially around the Softly recording linked above. There are influences, but in the end she's Emily. And criminy could she build a solo!
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I even liked her playing an Ovation. I couldn't care less what guitar she played, just love to hear her play. Originally Posted by Stringswinger
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She passed on at a relatively young age, and at that played better than a lot of dudes in the jazz guitar community. One can only ponder what the effect of additional experience and maturity would have added to her abilities had she not had her untimely transition!
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Yes, Grant Green played a '59 ES-330 with 16th fret neck joint, Emily's 330 also was the 16th fret neck joint model as stated above. Gibson's '59 reissue is a 16th fret model, only the ES-330L reissue has the 19th fret neck joint. Originally Posted by goldenwave77
The Asian Casinos originally had the neck joint at the 17th fret, small difference but arguably different non the less, also because of the different 'after length' of the strings between bridge and tailpiece. Recently - some years ago, I don't know exactly when - Epiphone switched to the 16th fret neck joint. In an Emily-Remler-tone-quest-on-a-budget one could get a Casino and widen the pickup cutouts for humbuckers. (But of course you would end up with the old Epiphone vs Gibson discussion).
To my knowledge Emily played mainly Polytone amps, but she preferred (Fender) tube amps, so probably she used a Fender tube amp in the studio?
Picks, strings and tone-knob settings also play a big role in tone-shaping! Even the height of the pickups and pole pieces can greatly alter your tone for better or worse.Last edited by Little Jay; 10-23-2017 at 04:50 AM.
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Great sounding jazz box!
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Thanks for the excellent responses and the time spent pondering the answes. Why has gibson made so hard to replicate such a beatiful tone with modern production is a mistery to me, I guess my best bet is finding something already modified like a 330 or 335 with humbuckers on it
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Remembering the life and music of legendary jazz guitarist Emily Remler
Great site about Emily!
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Yeah time for a Gibson ES-330 Emily Remler Tribute! With 'buckers and vibrola-tailpiece without the handle. In red of course! Originally Posted by benjaminjoe
Jim Hall liked it too:
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