The favored gear of our lady of jazz guitar. Den foretrukne redskaber med Our Lady of jazz guitar.

All the information available related to what she played and preferred in equipment . Alle tilgængelige oplysninger relaterede til, hvad hun spillede og foretrukne i udstyr.

Emily recorded at a time in the music industry where not as much emphasis was placed on providing the names of gear and instruments that artists preferred, as it so prevalent with today's sponsorship agenda. Emily registreres på et tidspunkt i musikindustrien, hvor ikke så meget blev der lagt vægt på at give navnene på gear og instrumenter, at kunstnere foretrak, da det så fremherskende i dag sponsorat dagsorden. All the inserts of her cd's casually list her as just playing on : Guitar. Alle skær af hendes cd'er skødesløst liste hende som bare spille på: Guitar.

But there are mentions of her favorite brands from time to time in articles and interviews and definitely lots of photos of what she constantly had in her hands, and with that we will cover what we know, what we see and hopefully provide a perspective about her gear that you will find nowhere else. Men der er omtaler af hendes foretrukne mærker fra tid til anden i artikler og interviews og helt sikkert masser af fotos af, hvad hun hele tiden havde i hænderne, og med at vi vil dække, hvad vi ved, hvad vi ser og forhåbentlig give et perspektiv om hende gear at du vil finde andre steder.

Her passion for the Gibson ES-330 is very well documented. Hendes passion for Gibson ES-330 er meget veldokumenteret. It's not hard to find out that her brother's 330 is the instrument she started playing on. Det er ikke svært at finde ud af, at hendes brors 330 er det instrument, hun begyndte at spille på. You will notice it in pictures throughout her career, Du vil bemærke det i billeder gennem hele sin karriere,
it's a marvelous cherry red model but of note Emily's guitar was modified with humbucking pickups which would today be a very rare modification on this particular vintage instrument. Det er en vidunderlig kirsebærrød model, men i note Emily's guitar blev ændret med humbucker pickups, som ville i dag være en meget sjælden ændring på dette særlige vintage instrument.


Emily's 330 was also fitted with a Gibson Lyre Vibrola tremolo system that is engraved with a Lyre (a harp-like instrument) and the Gibson logo. Emily's 330 var også udstyret med en Gibson lyre Vibrola tremolo system, der er indgraveret med en lyre (en harpe-lignende instrument) og Gibson logo. The engraving and chrome finish are largely worn away and tarnished but can just be made out on the cover photo of her Transitions album. Gravering og krom finish er i vid udstrækning slidt væk, og plettet, men kan bare udfærdiges på omslaget foto af hende Transitions album. One can also tell the tremolo arm has been removed. Man kan også fortælle tremolo arm er blevet fjernet.





From the photo and video evidence we have it's clear that around the late 80′s Emily removed the metal bar that attached to the tremolo arm and was designed to rock this very simple tremolo system and fitted a Gibson-style Stop Bar Tailpiece. Fra foto og video beviser, vi har, det er klart, at omkring slutningen af 80 Emilys fjernet metalstangen, at der er knyttet til tremolo arm og var designet til at klippe dette meget enkle tremolo system og monteret en Gibson-stil Stop Bar Tailpiece.

After this modification the tarnished and now defunct Lyre Vibrola tailpiece was left on the guitar and this often causes confusion to those trying to identify Emily's guitar as an authentic vintage 330. Efter denne ændring den anløbne og nu hedengangne lyre Vibrola tailpiece blev efterladt på guitar og dette ofte skaber forvirring for dem, der forsøger at identificere Emily's guitar som en ægte vintage 330. At this same time it appears that the original Gibson tuners were replaced by what seem to be Grover tuners. På samme tid ser det ud til, at de oprindelige Gibson tunere blev erstattet af hvad der synes at være Grover tunere. Emily once remarked in an interview that she thought her 330 was a 1962 model but she wasn't sure. Emily bemærkede engang i et interview, at hun troede, hun 330 var en 1962 model, men hun var ikke sikker. Those serious in owning one will find them periodically on auction sites. Disse alvorlige i at eje en vil finde dem med jævne mellemrum på auktionssider.

The Gibson ES-330 was intended to be a student instrument when first released. Gibson ES-330 var beregnet til at være studerende instrumentet, når først udgivet. It was in fact referred to as the “poor man's dot marker” because so many owners were able to buy and customize the 330 to the specs of the top line 335′s at the time, for far less the price. Det var i øvrigt er nævnt som "fattige mands prik markør", fordi så mange ejere var i stand til at købe og tilpasse 330 til specs på den øverste linje 335's på det tidspunkt, for langt mindre pris. It was never as ornamented, missing the crown motif on the headstock, used single coil P90 pick ups instead of humbuckers, and had the fretboard join the body at the 16th fret not the normal 19th, which caused a repositioning of the bridge, but being labeled a student guitar didn't effect it's sound quality or expert build. Det var aldrig som dekorerede, mangler kronen motivet på hoved, brugte single coil P90 pick ups i stedet for humbuckers, og havde gribebrættet slutte sig til kroppen på den 16. fret ikke den normale 19. hvilket forårsagede en repositionering af broen, men er mærket en elev guitar ikke effekt det er lydkvaliteten eller ekspert bygge. The 330′s superb performance proved to be appealing beyond the novice player. De 330's fremragende præstation viste sig at være tiltrækkende end nybegyndere spiller. And in the end, aren't we all perpetual students when it comes to learning and music anyway? Og i sidste ende, er vi ikke alle tidsubegrænsede studerende, når det kommer til indlæring og musik alligevel? The biggest change from the well established ES-335 to the thinline 330 was the absence of the wooden center block that enabled a deep, full sound from the guitar that was more commonly associated with the bigger bodied acoustic/electric models. Den største ændring fra den veletablerede ES-335 til Thinline 330 var fraværet af træ center blok, der muliggjorde en dyb, fyldig lyd fra guitaren, der var mere almindeligt i forbindelse med de større rørige akustiske / elektriske modeller. The tailpieces of the early releases were not exactly elegant, but the rich tone it imparted, the comfortable size, fretboard dimensions and accessibility made it a dream to play. The udv af de tidlige udgivelser var ikke ligefrem elegant, men de rige tone det bibringes, den komfortable størrelse, gribebræt dimensioner og tilgængelighed gjort det til en drøm at spille.

She tried the Hun forsøgte Gibson ES-175 Gibson ES-175 early on but reported that: tidligt, men rapporterede, at:

” It was too fat and restricted my right arm in such a way that my picking, which is my strongest point, would get tired. "Det var for fedt og begrænset min højre arm på en sådan måde, at min picking, som er min stærkeste side, ville blive træt. The 330 has a nice thin body, so I don't have the problem.” De 330 har en flot tynd krop, så jeg har ikke problemet. "

Emily's 330 is showcased on her very first two albums, Firefly and Take Two, and again later you will see it in the promo photos for Transitions and is pictured in the inserts for This Is Me, so she never traded it in, from the beginning to the end, the 330 was clearly one of her favorites. Emily's 330 er fremvist på hendes allerførste to albums, Firefly og Take Two, og igen senere vil du se den i promo fotos til Overgange og er afbilledet i indsatse til This Is Me, så hun aldrig handlet det i, fra starten til slutningen, var de 330 helt klart en af hendes favoritter.

The first we see of the Ovation acoustic was around the mid 80′s. Den første vi ser af Ovation akustisk var omkring midten af 80's. Emily was gearing up for her recording with Larry Coryell in Charlottesville, Virginia and Ed Deasy took several black and white photo's showing her in trance with a 1984 Collectors Series Ovation (some of my absolute favorite images of her). Emily var at geare op for hende optagelse med Larry Coryell i Charlottesville, Virginia og Ed Deasy tog flere sorte og hvide foto's viser hende i trance med fra 1984 Collectors Series Ovation (nogle af mine absolutte favorit billeder af hende). Indeed, the credits for the album, Together , lists Larry playing a '67 circa Gibson Super 400 electric and Ovation Adamas acoustic and Emily playing the Ovation Adamas acoustic and Borys B120 electric. Faktisk kan de kreditter, for albummet, sammen, lister Larry spille en '67 ca Gibson Super 400 elektriske og Ovation Adamas akustiske og Emily spille Ovation Adamas akustiske og Borys B120 el. She also used that Ovation for the 3 standout solo performances captured on The Guitar Show JazzMasters series. Hun har også brugt at Ovation til 3 standout soloforestillinger fanget på The Guitar Show JazzMasters serien.

It's a gorgeous, dark walnut finish guitar with a leaf motif around the soundholes. Det er en smuk, mørk valnød finish guitar med et blad motiv omkring soundholes. ADAMAS II Models were introduced in 1981 with the standard Ovation neck and bridge, and was available as acoustic electric only. ADAMAS II modeller blev introduceret i 1981 med den standard Ovation neck og bridge, og var til rådighed som akustisk udelukkende elektrisk. The Collectors Series followed in 1982 with the wood-top Adamas prototypes named Elite, and labels that were marked with N-19-82WTSL ( the WTSL for Wood Top Super Legend). Disse indsamlingsselskaber serien fulgte i 1982 med træ-top Adamas prototyper opkaldt Elite, og etiketter, der var mærket med N-19-82WTSL (den WTSL for Wood Top Super Legend).

2,637 were made for that year and if you are patient, you can still find them up for sale now and again. 2.637 blev foretaget for dette år, og hvis du er tålmodig, kan du stadig finde dem til salg nu og igen. The collectors series was a super shallow body, spruce top with an ebony fretboard, inlaid at the 12th fret with hard maple and the year 1984 contrastingly set into that. Den indsamlere serien var en super lavvandet krop, grandæk med en ibenholt gribebrættet, indlagt på den 12. fret med hårde ahorn og året 1984 contrastingly sat i det.

It has a beautiful acoustic sound plugged in, with the classic ovation overtones and the super low action coupled with wide frets gives it an electric fretboard feel. Den har en flot akustisk lyd tilsluttet, med den klassiske ovation overtoner og super lav action, kombineret med brede bånd giver det en elektrisk fretboard føler.

She really played it to all it's perfections in the JazzMasters show. Hun virkelig spillet det til alle, det er fuldkommenheder i JazzMasters show. You can check a few of those solos out on the Em-cast page. Du kan tjekke et par af dem soloer ud på Em-cast side.

Korocusci Classical Guitar Korocusci Klassisk Guitar

If you ever heard Emily playing some of her Brazilian style jazz (and it's very apparent on her version of Afro Blue) and thought hey, that sounds like a nylon string guitar, it was. Hvis du nogensinde har hørt Emily at spille nogle af hendes brasilianske stil jazz (og det er meget tydeligt på hendes version af Afro Blue) og tænkte hey, det lyder som en nylonsnor guitar, det var. This is the least searchable of all her guitars but she does talk about it in a few articles around '80 – '81 , where she says: Dette er den mindst søgbare af alle hendes guitarer, men hun gør tale om det i et par artikler omkring '80 - '81, hvor hun siger:

” I recently bought a new Japanese classical guitar called a Korocusci. "Jeg har for nylig købt en ny japansk klassisk guitar kaldet en Korocusci. I got it because I do a lot of work with Astrud Gilberto, and she does a lot of bossa nova tunes. Jeg fik det, fordi jeg har en masse arbejde med Astrud Gilberto, og hun gør en masse bossa nova melodier. So the classical guitar is a necessity. Så den klassiske guitar er en nødvendighed. I used to borrow one every time I worked with her, but because we were going into the Brecker Brothers' club, Seventh Ave. Jeg plejede at låne en, hver gang jeg arbejdede sammen med hende, men fordi vi skulle ind i Brecker Brothers 'klub, Syvende Ave. South, I wanted a new guitar for the job. ” Syd, jeg ville have en ny guitar til jobbet. "

It appears to be a virtually unknown guitar model name or manufacturer so I have no further info to offer, but if you know this guitar or have pictures, feel free to use the contact page and share your knowledge. Det synes at være en næsten ukendt guitar modelnavn eller producenten, så jeg har ingen yderligere info at byde på, men hvis du kender denne guitar eller har billeder, er du velkommen til at benytte kontakt siden og dele din viden.

Could this be a picture of the elusive Korocusci ?? Kunne dette være et billede af den undvigende Korocusci?

Peroria, Illinois, 1981 Emily, Monty Alexander & Paul Berner Peroria, Illinois, 1981 Emily, Monty Alexander & Paul Berner

Casio PG-380 Synth Guitar Casio PG-380 synth Guitar

Early on, Emily leaned toward being a traditional player with a straight ahead, hard bebop style and no desire to alter those pure tones. Tidligt, Emily lænede sig mod at blive en traditionel spiller med en ligeud, hård bebop-stil, og intet ønske om at ændre disse rene toner. She had a great respect for the music she was trying to convey from such Masters as Clifford Brown, Sonny Rollins, Wes Montgomery and Bobby Timmons, and felt it would be wrong to “wash” the delivery of their songs with any guitar or amplifier effects. Hun havde en stor respekt for den musik hun prøvede at formidle fra sådanne Masters, som Clifford Brown, Sonny Rollins, Wes Montgomery og Bobby Timmons, og følte, at det ville være forkert at "vaske" levering af deres sange med en guitar eller forstærker virkningerne . But near the end of her career, as she was establishing her own style and playing with the new technology of the times, she did begin to venture into the electronic side of jazz music and her instrument of choice was the Casio PG-380 Synth Guitar. Men tæt på slutningen af sin karriere, da hun var oprettelse af sin egen stil og leger med den nye teknologi i de gange, hun begynder at vove sig ind den elektroniske side af jazz musik og hendes instrument valg var Casio PG-380 synth Guitar . The only commercial album that featured her Casio was her last, This Is Me , and is so prominently displayed on the song, Simplicidaje, but you will immediately notice that the entire album has a different feel and attitude from her previous releases, due in part from the inclusion of her new found special effects. Den eneste kommercielle album, der fremhævede hendes Casio var hendes sidste, This Is Me, og er så fremtrædende plads på sang, Simplicidaje, men du vil straks se, at hele albummet har en anden mening og holdning fra hendes tidligere udgivelser, dels på grund fra optagelse af hendes nye fundet special effects.
It's too bad for us that most of her playing and experimenting with this guitar's limitless sounds was done in her home studio without the benefit of a recorder but some of her friends remember enjoying many jams and soloing out of the Casio that we will unfortunately never know. Det er for dårligt for os, at de fleste af hendes lege og eksperimentere med denne guitar er ubegrænsede lyde blev gjort i hendes hjemmestudie uden gavn af en optager, men nogle af hendes venner kan huske at nyde mange syltetøj og solo ud af Casio, som vi desværre aldrig vil vide .



Casio PG-380 Casio PG-380

Initially released in 1987, this series of synth guitars were based on a “Strat” style Ibanez design and featured an easy transition from normal electric vocals to well over Oprindeligt udgivet i 1987, var denne serie af synth guitarer baseret på en "Start" stil Ibanez design og fremhævede en let overgang fra den normale elektriske vokal til et godt stykke over
60 preset sounds 60 forudindstillede lyde . .
Casio introduced five MIDI guitar models in '87: The MG-500 and MG-510, and the PG-300, PG-310, and PG-380 that were part of their second generation of professional instruments (which also included the VZ-series synthesizers and the FZ-series samplers). Casio indført for fem MIDI guitar modeller i '87: The MG-500 og MG-510, og PG-300, PG-310, og PG-380, der var en del af deres anden generation af professionelle instrumenter (der også omfattede VZ- serie synthesizere og FZ-serien prøvetagere).
The guitars themselves were produced under contract for Casio by Fuji Gen Gakki, who also built the Roland and Ibanez MIDI guitars. Guitarerne selv blev produceret på kontrakt til Casio af Fuji Gen Gakki, som også byggede Roland og Ibanez MIDI guitarer.
The PG-380 was Casio's top of the line guitar listing for about $1500 and sported an Alder body longer than a Strat's and without the tummy cut and armrest contouring of a Strat, due to the numerous cavities routed in the body to accommodate the electronics. PG-380 var Casio's top of the line guitar notering for omkring $ 1500 og legede en Alder organ længere end en Strat's og uden maven skåret og armlæn profilstyring af en start, der skyldes de mange hulrum dirigeres i kroppen for at imødekomme elektronik. The neck and bridge pickups were both a single-coil humbucker splittable by a push-pull switch on the tone control and a Gotoh Floyd Rose-style locking vibrato. Hals og bro pickupper var både en single-coil humbucker splittable af en push-pull tænde tone kontrol og en Gotoh Floyd Rose-stil låsning vibrato. The neck was made of maple with a 22-fret ebony fingerboard and locking nut. Hals var lavet af ahorn med en 22-fret ibenholt gribebræt og låsemøtrik.
It gets very good reviews from current owners and is one of those guitars that will pop up from time to time on auction sites for less than half of it's original price. Det bliver meget gode anmeldelser fra de nuværende ejere og er et af de guitarer, der vil poppe op fra tid til anden på auktionssider for mindre end halvdelen af det oprindelige pris.

The beloved B120 HollowBody Electric was maybe her favorite choice toward the end of the 80′s. Den elskede B120 Hollowbody Electric blev måske hendes foretrukne valg i slutningen af de 80's. It appears in many of the pictures you can find of her, and most notably on her two excellent lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation . Det ser ud til i mange af de billeder, du kan finde af hende, og især for hendes to fremragende lektion videoer, Bebop & Swing Guitar og Advanced latin & Jazz Improvisation. It is also mentioned as her electric choice for the Together album with Coryell and you can see in Ed Deasy's photo's of the Charlottesville sessions, it was already her guitar of choice before recording the duo album. Det er også nævnt som hendes elektriske valg for Sammen album med Coryell, og du kan se i Ed Deasy's foto's af Charlottesville sessioner, var det allerede sin guitar valg før optagelse duoen album.

Even without seeing the inlaid name in the head stock, you will always know a Selv uden at se indlagt navn i hovedet lager, vil du altid kende en Borys Borys by the unusually thin and angular pick guard (Emily's was made of a dark wood, either walnut or one of the tropicals, but this was probably an extra option). af den usædvanligt tynde og kantede pick vagt (Emily's var lavet af en mørk træ, enten valnød eller en af de tropicals, men det var nok en ekstra mulighed). He began building guitars in 1974 in Burlington, Vermont, eventually evolving to a series of guitars with jazz musicians in mind. Han begyndte at bygge guitarer i 1974 i Burlington, Vermont, i sidste ende udvikler sig til en række guitarer med jazzmusikere i tankerne. Ken Armstrong developed a special pick up just for them, that induced a rich tone from the trebles while retaining a crisp edge in the bass. Ken Armstrong udviklet en speciel pick up bare for dem, at inducerede en rig tone fra tripler og samtidig bevare en sprød kant i bassen. They came with ebony pickguards and knobs, mother of pearl markers and one of the finer adjustments was the ability to change string tension by raising or lowering the solid brass tail piece. De kom med ibenholt pickguards og drejeknapper, perlemor markører og en af de finere justeringer var evnen til at ændre strengen spænding ved at hæve eller sænke den solide messing halen stykke. It's a beautiful guitar and the tone speaks for itself. Det er en smuk guitar og tonen taler for sig selv.

Borys apprenticed with Jimmy D'Aquisto and made laminated body plates for Jimmy's jazz electric guitars ( the Jim Hall – D'Aquisto guitar) into the 1990′s. Borys lære med Jimmy D'Aquisto og lavet lamineret krop plader til Jimmy's jazz elektriske guitarer (Jim Hall - D'Aquisto guitar) i 1990's. The BG series was designed in collaboration with Jimmy D'Aquisto and Barry Galbraith, hence the “BG” in the name. BG serien er designet i samarbejde med Jimmy D'Aquisto og Barry Galbraith, derfor "BG" i navnet.

I understand Roger Borys is still building (with limited production) and repairing guitars but has moved his operation from northern Vermont to Hoboken, New Jersey. Jeg forstår Roger Borys er stadig bygningen (med begrænset produktion) og reparation guitar, men har flyttet sin drift fra det nordlige Vermont til Hoboken, New Jersey. After all this time they are still made by hand, one at a time. Efter al denne tid er de stadig lavet i hånden, et ad gangen. Visit his website - Besøge hans hjemmeside - RogerBorys.com RogerBorys.com for more information. for mere information. Good luck in finding a used model at vintage guitar sites or ebay and if you do, expect to open your wallet a little wider than normal. Held og lykke med at finde en brugt model på vintage guitar websteder eller ebay, og hvis du gør det, forventer at åbne tegnebogen lidt bredere end normalt.

see the se special collections page særsamlinger side for more vintage Borys brochures and literature. for mere vintage Borys brochurer og litteratur.

Of interest, in one interview Emily spoke of owning an Af interesse, Emily i et interview talte om at eje en Ibanez GB-10 Ibanez GB-10 (early on in her New Orleans experience ) , a signature series George Benson model, which is a little like the Gibson ES-175, Here's what she had to about it. (Tidligt i hendes New Orleans erfaring), en underskrift serie George Benson model, som er lidt ligesom Gibson ES-175, Her er, hvad hun havde til omkring det.

It was good because it was thin enough, but I found that it was good only if you wanted to sound like George Benson. Det var godt, fordi det var tynd nok, men jeg fandt at det var godt, hvis du ønsker at lyde som George Benson. the top strings were very chinky and trebly, the low strings were warm and bassy, but they didn't sustain at all. den øverste strenge var meget chinky og trebly, den lave strengene var varme og BASSY, men de gjorde ikke bære på alle. It got a very percussive sound, like the way George plays. Det fik en meget percussive lyd, kan lide den måde George spiller. It was perfect for me in some ways, but I wanted a guitar that I could use for rock work, and it was terrible for that. Det var perfekt for mig på nogle måder, men jeg ville have en guitar, som jeg kunne bruge til rock arbejde, og det var forfærdeligt for det.

Other Gear Andre Gear

Amplifiers Forstærkere

On the list of amps Emily is known to have liked are: Roland Chorus, Walter Woods, Music Man, Polytone and Fender . På listen over forstærkere Emily er kendt for at have ønsket, er: Roland Chorus, Walter Woods, Musik Man, Polytone og Fender. Besides of course the tone, one of her biggest considerations for an amp was related to the weight. Udover selvfølgelig den tone, var en af hendes største overvejelser om en amp relateret til vægten. When you schlep your own gear, how much you have to lug is a factor. Når du schlep din egen gear, hvor meget du nødt til at slæbe er en faktor.

” I owned a Polytone, which is kind of like a Fender Twin Reverb, except the Twin is much too heavy for me. "Jeg ejede en Polytone, som er lidt ligesom en Fender Twin Reverb, undtagen Twin er alt for tung for mig. I can't pick one up, so I use the Polytone. Jeg kan ikke hente en op, så jeg bruger Polytone. I'd much rather use a tube amp, though. Jeg vil meget hellere bruge en rørforstærker, selv om. I buy amps that i can pick up, otherwise I have to get strange men from the street to help me take it out of the car.” Jeg køber ampere, at jeg kan afhente, ellers har jeg for at få mærkelige mænd fra gaden til at hjælpe mig tage det ud af bilen. "

Of note, she was a proud owner of a VW Rabbit, Volkswagen of America headquarters was located on the industrial side of her hometown, Englewood. At bemærke, var hun en stolt ejer af en VW Rabbit, Volkswagen of America hovedkvarter var placeret på den industrielle side af hendes hjemby, Englewood. Try stuffing a Twintube into the back of that! Prøv fyld en Twintube på bagsiden af det!

Strings Strings

The only strings I've ran across her endorsing were D'Addario Half Rounds of which she said she wasn't fussy about the exact gauge and would use .011 gauge for the top but didn't care what the rest of the strings were. Den eneste strenge, jeg har løb over hendes støtter var D'Addario Halvdelen runder, som hun sagde, hun var ikke nervøs over den nøjagtige sporvidde og ville bruge 0,011 målestok for toppen, men var ligeglad med, hvad resten af strengene . The advertisement below says it best. Reklamen nedenfor siger det bedst. She also mentions later to leaning toward D'Addario Jazz Lights and loved them because they were free. Hun nævner også senere hælder mod D'Addario Jazz Lys og elskede dem, fordi de var gratis.

Half round guitar strings are round wound with 430 stainless steel, then precision ground, leaving the outer surface semi-smooth. Halvrunde guitar strings er runde såret med 430 rustfrit stål, så præcisionsslebne, der forlader den ydre overflade semi-glat. They retain the flexibility and tonal characteristics of round wound strings, but provide a smoother feel. De bevarer fleksibilitet og tonale karakteristika runde sår strenge, men giver en glattere føler.

Right Down To The Pick Helt ned til Pick

As her fans know Emily played a majority of her style without a pick, thus the comparison to Wes Montgomery for the use of her thumb. Da hendes fans Emily kender spillet et flertal af hendes stil uden en pick, således sammenligning med Wes Montgomery for brug af hendes tommelfinger. She was masterful with it. Hun var mesterlig med det. But when she wanted to accent a lead she would grab a pick she had been holding between her teeth and casually use it for a few minutes, then store it again. Men da hun ville accent et forspring hun ville snuppe en pick hun havde været i besiddelse af mellem hendes tænder og henkastet bruge det til et par minutter, og derefter gemme den igen.
Emily was especially annoyed at a prominent critic who had objected (in print) to her habit of intermittently holding the guitar pick in her mouth whenever she switched to bare-finger playing. Emily var især irriteret over en prominent kritiker, der havde gjort indsigelse (i print) til hendes vane med mellemrum at holde guitaren pick i munden, når hun skiftede til bare-finger spil. The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied: Kritikeren tilstod, at han foretrak at kigge væk, når hun gjorde det, som Emily testily svarede:

Good ! Godt! I wish he'd look away the whole time and picture me as John Coltrane ! Jeg ville ønske han ville se væk hele tiden og billede mig som John Coltrane!

The only pick she ever mentioned using was the Fender Extra Heavy 1.21mm and before that she states, ” I used bits of Tupperware and pieces of wood…”. Den eneste pick hun nogensinde nævnt ved hjælp blev Fender Ekstra Heavy 1.21mm og før, at hun siger: "Jeg brugte stumper af Tupperware og stykker af træ ...".
Enough said. Nok sagt.