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I’m considering buying a 1940’s Gretsch Synchromatic very seriously and I have two questions. As my name implies, I’m a blues player, mostly slide, and I’m wondering if people feel these ’40’s era Gretsch’s can make good blues instruments. My second question is about the clearance between the surface of the body and the neck just beyond the end of the neck. I’d like to affix a floating pickup of some kind — either a floating P-90 or a DeArmond — but I am wondering if there’s enough clearance in the neck position to do this.

Synchromatic Info:

Roughly speaking, vintage Synchros can be broken into three periods: 1939 - early World War II, late wartime - 1951 and 1951 - 1953.

The later period started losing some of the more opulent features, including the cat-eye soundholes.

While it’s life was short and few were built, the Synchromatic quickly became (and remains) a legend among acoustic archtops.

Gretsch musical instrument production began in 1883 when Friedrich Gretsch, a German immigrant, set up a shop in Brooklyn for the manufacture of banjos, tambourines and drums. The company was immediately prosperous, but in 1895 Friedrich Gretsch died at 39 and his 15-year-old son, Fred, took over.

By 1916 Fred Gretsch had moved the company into a 10-story building at 60 Broadway in Brooklyn and become one of America’s leading importers and manufacturers of musical instruments. At this time, Gretsch still produced very few guitars, because there was little market for guitars. The banjo reigned supreme until well into the big-band era, when the archtop guitar came to the fore. Gretsch responded with the Synchromatic line.

When Fred Gretsch retired in 1942 his son William took over until Fred Gretsch, Jr. took the helm in 1948. Fred Jr. went on to lead the company through its guitar heyday.
The golden years…

Gretsch had dabbled in electric guitars prior to 1955, producing a limited number of Hawaiian lap steels and the Electromatic arch-tops, among other models, but around 1954 the Golden Age of Gretsch guitars began. In quick succession the Electromatic evolved into the Country Club, the Jet solidbodies were introduced and two of Gretsch’s best-loved models, the 6120 Chet Atkins model and the White Falcon hit the market.

Retailing for $385 new, the 6120 featured twin DeArmond pickups, a Bigsby vibrato, and a big G brand on the top. Although the 6120 was originally directed at the country market, it has been favored by rock and rollers from Eddie Cochran to Pete Townshend to Brian Setzer.

The 6121 Chet Atkins model, released at the same time, looked like a solid body, but was actually more of a small, semi-hollow version of the 6120. Underneath the cap, the mahogany body was extensively routed.

By 1959 western trim had gone off into the sunset. Both models had switched from block markers to “humped block” markers in 1957 to semi-circle markers (also called neo-classic or thumbnail markers ) thereafter. Pickups changed from DeArmonds to “FilterTron” pickups and the G brand was gone. Other than the Chet Atkins models, the 1955 line-up consisted of:

* The 6136 White Falcon and Country Club two-pickup hollow bodies
* Three single-pickup hollow bodies; the Convertible (Ivory and Copper with a Lucite pickguard), a hollow Corvette model and the Streamliner
* The black Duo-Jet, the Jet Fire Bird (Oriental Red), the Silver Jet (silver sparkle finish) and the Round-Up solid bodies

The Gretsch Building

The biggest news of 1955, besides the Atkins guitars, must have been the 6136 White Falcon. Initially intended to be a strictly promotional item, it was dubbed “The Guitar of the Future,” and proved so popular at trade shows it found its way into the model line. The Falcon was like a six-string General Motors Motorama dream car: pure flash. It had a 17-inch body, four knobs, one switch, a Melita bridge, 24 karat gold plating, two DeArmond pickups and a special “Cadillac G” tailpiece with a V shaped crossbar and a metal G suspended between two metal rods. Falcons cost $600 new, $200 more than a 6120. Think five figures for one nowadays. The Falcon created enough of a stir that the entire line remained relatively stable until about 1958:

* The Chet Atkins range expanded to four models, the 6120, the 6121, the 6122 Country Gentleman and the 6119 Tennesseean.
* The White Falcon was available in Project-O-Sonic stereo and non-stereo versions, as were the Anniversary models.
* The Round-Up was dropped.

Sal Salvador and Clipper models also joined the lineup by 1958, providing entry-level Gretsches.

Gretsch had become a major player by this time. They offered a distinct tone and flashy finishes at a time when Gibson and Fender considered anything other than sunburst a custom finish, as well as technical innovation (some would say gadgetry) and a distinctive sound.

In the mid-sixties George Harrison played a Country Gentleman on the Ed Sullivan show and sales went through the roof. Gretsch found themselves a year behind filling orders.

Unfortunately, the success was not to last. In 1967 Fred Gretsch, unable to find a suitable heir, sold the company to Baldwin Pianos, which reorganized it as a subsidiary. Baldwin moved the New York guitar production to Booneville, Ark. in 1970, in an attempt to consolidate its factories and find cheaper and more reliable labor than was available in New York at the time. In ‘72 the New York offices were shut down and relocated to Chicago.
The Baldwin years…

Fortune had turned against Gretsch. The guitars had fallen out of favor. The guitar heroes of the late ’60s were playing Stratocasters and Les Pauls, and millions of kids followed them.

Baldwin never seemed to fully grasp guitar production, either. The guitars made in the ’70s have suffered a bad reputation over the years, even though many who own them say they are excellent playing guitars. Even so, Gretsch in the ’70s had become a pale reflection of the glory years. Quality control had been suffering under Baldwin’s disinterested reign — there were even rumors of intentional sabotage by disgruntled employees — and the corporate lords began systematically cheapening some of Gretsch’s best-loved models. A disgusted Chet Atkins withdrew his endorsement in 1979.

To top it off, in 1973 the Arkansas plant suffered two disastrous fires. The employees rallied around the brand and continued production into 1981 before Baldwin finally shut down guitar production. A few attempts were made to start up production again in late ‘81 and 82, and a handful of guitars were made in various places (including Mexico) but none of the attempts were successful.

Although not widely sought by collectors, some of the Baldwin-era Gretsches were fine instruments. The 7686 Chet Atkins Super Axe and Atkins Axe are two of the better examples the company’s efforts during that period. While not a commercial success, they were nonetheless very nice guitars.
The modern years…

The Gretsch name was resurrected in 1988 for a series of inexpensive Traveling Wilburys commemorative guitars. While these are hoarded avidly by a few collectors, they bear little resemblance to any Gretsch models. In fact, they are more like Danelectros.

In 1989, with the company again in Gretsch family hands, guitar production restarted on a large scale. Yet another Fred Gretsch had managed to purchase the remnants of the company — little more than the name, really — and set up shop outside of Savannah, Ga. The guitars, based on classic Gretsch models, would be made in Japan with a mixture of American and European parts.

A “custom” line of American-made guitars was also offered in 1998 and 1999, but prices were astronomical and few sold. Through the ’90s, the Gretsch line begin at about $1,500, and by most accounts were very well made. In 1999, a cheaper series of Electromatic guitars also joined the line-up.

As a new century began, Gretsch’s product line still consisted primarily of reissues of past successes, although several models showed some new thought, including a White Falcon Rancher, a 6120-type bass and the TV Jones hot-rodded 6114 New Jet.

At the beginning of 2003 Gretsch began yet another new era as Fender Musical Instruments Corporation secured an agreement that basically gave them all control over the manufacturing and distribution of Gretsch. Fender immediately went to work addressing some longstanding complaints of Gretsch fans, and quickly began introducing a full range of new and improved models.

This is just a review of the particular model guitar. Gretsch Brian Setzer G6120SHP “Hot Rod” Model. I love it so much that I thought I’d share with you all what I thought of it.

GUITAR: Gretsch Brian Setzer “Hot Rod” Model – Electric Purple

Price Paid: US $1600.00

Purchased at: Cream City Music – Milwaukee

Features: 8
Pickup selector switch & volume control. Great for those who uses volume for their gain or distortion!

Sound: 10
I own many high end guitars, especially Gibson Les Pauls and Strats. I was looking for a different sounding instruments that is unique to my playing style. I have always been a skeptic about “hollow bodies” since they tend to produce annoying and uncontrollable feedback. I was also never a big fan of Gretsch guitars. Everything changed once I pluged my Brian Setzer Hot Rod Gretsch into my JCM800 Master volume Marshall!!! I got tone for days. The guitar sounded awesome! I was able to get tones ranging from a la Malclom Young AC DC to BB King style tone. I was very impressed by the workmanship of this instrument as well. It is a PLAYERS instrument. I have taken it on tour with my band and the guitar never let me down. The “filtertron/TV Jones” pick ups work great. Please NOTE that it is NOT a humbucker, but nonetheless it does deliver the crunchy tone that one would expect from a filtertron pick up.

Action, Fit, & Finish: 10
The guitar can be set up for many playing styles. I play rhythm as well as lead in my band, so my action is pretty low. I use 11 gauge strings and tune my guitar down ½ step. The vibrato on the Gretsch works great when you need a little bit of texture in your chords – keep in mind that it is not a LOCKING trem…it’s a vibrato bar. The neck feels great if you are used to a c style radius neck or if you are used to playing a Les Paul. I LOVE the finish on mine – the electric purple color finish is beautiful. Very unique looking. The folks at Cream City Music have quite a selection of models and colors available to choose from! I was torn between the Gretsch metallic orange or electric purple.

Reliability/Durability: 10
As stated earlier…I was very impressed by the workmanship of this instrument. This is a PLAYERS instrument. I have taken it on tour with my band and the guitar never let me down. I have an aggressive playing style and this baby stays in tune!!!

Customer Support: 10
Cream City Music - Milwaukee(www.creamcitymusic.com) They were very helpful in assisting me with any questions and concerns that I have. Any problems, I just bring it back to them and they’ll take of it for you – No worries. They also have a very experienced Luthier that is VERY familiar with Gretsch guitars. I believe that they are one of the largest Gretsch dealers in Midwest…just give em’ a call! Ask 1 800 800 0087 and ask for John, Brian or Joe.

Overall Rating: 10
I LOVE THIS GUITAR!!! Keep in mind that IT IS NOT A LES PAUL OR A STRAT. If you are looking for a different voicing and tone to complete your armory…this is it! This guitar is able to kick butt! AND it cool looking! I’m already looking to get another one soon. Looking at the “Country Gentleman”

* Bryan Adams
* Mark Arm – Mudhoney
* Tim Armstrong – Rancid, Operation Ivy
* Ron Asheton – The Stooges
* Chet Atkins
* Big John Bates
* Bono - U2
* Simon Neil of Biffy Clyro
* Nic Cester – Jet
* Chris Cheney – The Living End
* Michael Guy Chislett – Hillsong United, The Academy is, Butch Walker
* Eric Clapton – The Yardbirds
* Brian Connelly – Shadowy Men on a Shadowy Planet, Atomic 7
* Chris Cornell – Soundgarden, solo artist, Audioslave
* David Crosby – CSNY
* Bo Diddley
* Pete Doherty – Libertines, Babyshambles
* Billy Duffy – The Cult
* Duane Eddy – Rock and Roll Hall of Fame
* The Edge – U2
* Duke Erikson – Garbage
* John Frusciante – Red Hot Chili Peppers
* Peter Furler – Newsboys
* Cliff Gallup – Gene Vincent and the Blue Caps
* Billy Gibbons – ZZ Top
* David Gilmour
* Martin L. Gore – Depeche Mode
* Freddie Green
* Jonny Greenwood – Radiohead
* Dave Grohl – Scream, Nirvana, Foo Fighters
* George Harrison – The Beatles
* Dan Hawkins – The Darkness
* Nigel Hendroff – Hillsong
* Reverend Horton Heat
* Joshua Homme – Queens of the Stone Age
* HYDE – L’Arc~en~Ciel, solo artist
* Chris Isaak
* Elvin Jones – John Coltrane Quartet
* Conrad Keely – …And You Will Know Us by the Trail of Dead
* Dave Keuning – The Killers
* DavidLee – Th’ Legendary Shack Shakers
* Sondre Lerche
* Johnny Marr – The Smiths
* Toby Martin – Youth Group
* Mike “Mxyzptlk” McNenney – Pax Romana
* Brian Molko – Placebo
* Cameron Muncey – Jet
* Kim Nekroman – Horrorpops
* Michael Nesmith – The Monkees
* Mike Ness – Social Distortion
* Kele Okereke – Bloc Party
* Roy Orbison
* Jimmy Page – Led Zeppelin
* Tom Petty
* Marco Pirroni – Adam and The Ants, Sinead O’Connor, The Wolfmen
* Ross Phillips – HARD-Fi
* Jimmy Pop – Bloodhound Gang
* Lou Reed – Velvet Underground
* William Reid – The Jesus and Mary Chain
* Django Reinhardt
* Ryan Ross – Panic! at the Disco
* Keith Scott
* Blake Sennett – The Elected
* Brian Setzer – Stray Cats
* Chris Shiflett – No Use for a Name, Me First and the Gimme Gimmes, Foo Fighters, Jackson United
* Tim Skold – Marilyn Manson
* Pat Smear – The Germs, Nirvana, Foo Fighters
* Robert Smith – The Cure
* John Squire – The Stone Roses
* Stephen Stills – Buffalo Springfield, Crosby, Stills, Nash and Young
* Izzy Stradlin – Guns N’ Roses
* Pete Townsend – The Who
* KT Tunstall
* George Van Eps
* Joe Walsh – The Eagles, James Gang
* Tim Wheeler – Ash
* Deryck Whibley – Sum 41
* Jack White – The Raconteurs – White Stripes
* Malcolm Young – AC/DC
* Neil Young – Buffalo Springfield, Crosby, Stills, Nash and Young
* Chiba Yusuke – Thee Michelle Gun Elephant
* Billy Zoom – X (U.S. band)
* Joe perry – Aerosmith
* Chris Isaak

According to the audio commentary by Michael Nesmith for the episode “I’ve Got A Little Song Here” on The Monkees: Season One DVD set, prior to The Monkees, Nesmith liked twelve string electric guitars. At the time, only Rickenbacker mass-produced them. Nesmith, however, preferred the bluesy twangy sound of a Gretsch over the distinctive pop sound of a Rickenbacker. According to Nesmith, there was a luthier in Los Angeles that converted six string electric guitars into twelve string guitars. Nesmith brought him a Gretsch Country Gentleman to convert into a twelve string, and that is the guitar he used in the pilot episode of The Monkees, “Here Come The Monkees”. (Note: Upon close examination of the film footage, the guitar Nesmith identifies as a Country Gentleman is actually a Gretsch Tennessean. When the pilot episode aired, the music scenes were re-shot. As a result, Mike is holding the original Gretsch as the band is setting up, but has the famous blonde Gretsch once they start playing.) Once the pilot was sold as a series, and Gretsch made the deal to supply the group with instruments, Nesmith contacted Fred Gretsch, and asked if he could make him a twelve-string electric guitar. Gretsch agreed, and the result is the famous blonde electric twelve string that Nesmith used during the Monkees’ entire run, on the series, in the recording studio, and in concert. Meanwhile, Fred Gretsch liked the finished instrument so much, he put the electric twelve string into production. One of the first was given to George Harrison and was later known as the “George Harrison Model” (Harrison, preferring his Rickenbacker twelve-string, gave the guitar to a friend).

From 1966 through 1968, Gretsch also produced the Gretsch 6123, which was a Monkees signature electric six string guitar

Gretsch drums were/are also in high demand with drummers playing both jazz and rock. During the 1950s and 1960s, many renowned Jazz drummers, such as Elvin Jones and Max Roach, were playing the now classic “round badge” kits. Micky Dolenz also used Gretsch drums during the filming of the Monkees TV series.

The Gretsch Broadkaster line has the distinction of being the reason Leo Fender had to change the name of his pioneering solidbody electric guitar. He originally called it the “Broadcaster”, but it became the “Telecaster”—and Fender’s short run of intermediate, unlabeled guitars (”Nocasters”) are extremely rare and expensive on the vintage market.

 

The Gretsch White Falcon is a visually distinct guitar commercially introduced in 1955 by Gretsch. While it has seen vast and substantial changes to its body shape and features through the years, and is currently offered in several styles, the White Falcon has always maintained a striking and unmistakable presence and has become a highly recognized piece of Rock history.

The White Falcon is best known for its large 17-inch size and distinctive appearance, with gleaming white paint, copious gold trim, and a falcon in mid-flight engraved on the gold pickguard.
Contents
[hide]

* 1 Origins and History
* 2 Models and Features
* 3 Notable White Falcon Players
* 4 See also
* 5 External links
* 6 Sources

[edit] Origins and History

In early 1954, Gretsch marketing strategist Jimmie Webster sought to design a guitar to top the top-of-the-heap Gibson Super 400. He wanted a “Dream Guitar”, and gained his inspiration by walking through the immense Gretsch factory and watching the construction of the staggering diversity of musical instruments the company produced. From the banjo production line, Webster recalled the engraved pearl inlays that adorned the fretboard and headstock. Many of Gretsch’s drums were covered with thick sparkly gold plastic that could also be used as binding on guitars. The combination of these eye-catching features with an immense 17″ wide by 2-3/4″ deep white body and highest quality gold-plated hardware rendered “the Cadillac of guitars,” the White Falcon.

The White Falcon was unveiled at the NAMM show in July of 1954. It was displayed as “the guitar of the future,” but Gretsch initially had no plans to actually manufacture the model. It was supposed to be a showpiece, much like GM’s Motorama “Dream Cars” of the day.

The volume of questions sales reps received about the eye-catching instrument led to a reevaluation of this position, and the White Falcon hit stores in 1955. As the company’s new high-end guitar, Gretsch marketed it as “the finest guitar we know how to make – and what a beauty!” A high caliber player could walk away with the White Falcon for $600 at that time ($4123 adjusted for inflation); this price tag was second only to the $690 asking price of Gibson’s Super 400CESN.

So popular was the White Falcon (and other Gretsch models of the time) that this era in Gretsch guitar history is frequently referred to as “The Golden Years” or “The Great Years”. Through the ’60s, Webster continually “improved” the Falcon with more features, including a Stereo version. By the late ’60s, the Falcon was covered with controls and knobs. It has also switched to a twin-cutaway body beginning in 1962.

With over a decade of accomplishment, Fred Gretsch retired in 1967 and, upon such, sold his company to Baldwin Manufacturing. Baldwin would have trouble understanding guitars in general and the White Falcon in particular, which disastrously failed to evolve smoothly out of the rockabilly era. Most who were inspired by the new hot guitarists Jimi Hendrix, Jeff Beck, Eric Clapton and other musical greats were turning to Fender, rather than Gretsch.

To make matters worse, the rapidly deteriorating Baldwin Manufacturing experienced two destructive fires at its new Arkansas plant in 1973. Gretsch limped through the 70s’ and finally closed production in the 80s’. Falcons soon became instruments only collectors owned and swiftly became forgotten altogether. In 1989, Fred Gretsch III resumed control of the family business and began making guitars again. These instruments are based on classic Gretsch designs, including the venerable White Falcon.

[edit] Models and Features

From its introduction in 1954 through today, the White Falcon has always been known for its white finish, ebony fingerboard, 17″ wide hollow body, gold-plated hardware, engraved gold pickguard, and gold sparkle binding. Throughout its history, some features have changed as technology and style evolved.

1954-1958, model number 6136: Vertical gold headstock logo with winged “G;” pearl block fretboard inlays with avian-themed ingravings; two DynaSonic single coil pickups; control configuration consisting of master tone, master volume, volume for each pickup, and three-way toggle pickup selector switch; trapeze tailpiece with “G” and Cadillac-inspired “V”-shape; Melita bridge; 2-3/4″ deep single-cutatway body.

1958-1962, model number 6136: Horizontal “T-roof” headstock logo sans wings; “Neo-classic” thumbprint fretboard inlays; two FilterTron humbucking pickups; control configuration consisting of master volume, volume for each pickup, three-way toggle pickup selector switch, and three-way toggle tone switch; Space Control bridge. A stereo model (6137) was intruduced; this model featured an extra set of pickup selector and tone switches and had the bridge pickup moved closer to the neck.

1962-1964, model numbers 6136 and 6137 (stereo): Two-inch deep double-cutaway body with dual string mutes; standby switch; zero fret; white leather pad on the back.

1964-1972, model number 6136 and 6137 (stereo): Bigsby vibrato with telescoping “dog leg” arm; “T-zone tempered treble” slanted upper frets.

1973, model numbers 6136 and 6137 (stereo): Bigsby tailpiece with “V” cutout, reminiscient of the original “Cadillac” tailpiece. This is the last model year for “vintage” White Falcons.

1974-1981, model numbers 7593 (single-cutaway) and 7595 (double-cutawaty): Angularly-shaped pickguard without “Gretsch”; rectangular block fretboard inlays; Baldwin “B” trapeze tailpiece; truss rod cover, string mutes and standby switch removed. In 1981, Gretsch ceased manufacturing guitars.

1995-present, model numbers 6136 and 7593: Models are now available commemorating every phase in the design of the White Falcon. Features are reproduced accordingly. Modern Falcons are also available in black and silver, and include a Stephen Stills signature model (based on the 1958 incarnation), as well as a green Bono Irish Falcon that incorporates the original vertical headstock logo and ingraved block inlays with the post-1958 electronics configuration and features “The Goal Is Soul” silkscreened onto the pickguard.

In the 1980s, rockabilly revival player Brian Setzer rekindled interest in the brand with his band the Stray Cats—he now has his own signature model. Chris Isaak’s emergence into mainstream rock & roll radio only added to the fuel. His band, Silvertone, boasted a signature Gretsch sound which attracted the likes of renowned film director David Lynch, who subsequently used Isaak’s music in the films Blue Velvet (1986) and Wild at Heart (1990) as a soundtrack to Lynch’s surreal ’50s atmosphere. In 1997, the Australian punk/rockabilly band The Living End rose to popularity, with guitarist Chris Cheney using a number of Gretschs, including a White Falcon and a Duo Jet. This was not the first use of Gretsch guitars in punk ; Billy Zoom of X played a Silver Jet, while in rock, Malcolm Young of AC/DC played a double cut Jet Firebird (with the top finish stripped off and one pickup removed), and White Falcon (as seen in the video “Back in Black”) during the band’s career. In the 1990s, Chris Cornell of Soundgarden used a Duo Jet, and could be seen in the video for “Black Hole Sun”. In the music video for “Malibu” by Hole, lead singer Courtney Love can be seen playing a Gretsch. Rancid frontman Tim Armstrong consistently uses a Country Club, which has been customized with various coats of pink and black spray paint, at live performances. The 2000 songs Otherside “Californication” by Red Hot Chili Peppers was played on a vintage 1950s White Falcon, and can be seen in the video. One of the most recent Gretsch players is Ross Phillips of HARD-Fi. U2 lead singer Bono’s signature guitar is an “Irish Falcon”, green in colour with the phrase ‘The Goal Is Soul’ printed on the pickguard in black text. Billy Duffy of The Cult has prominently used the White Falcon over decades. Jack White of The White Stripes has cast aside his trademark red Airline guitar (an instrument strongly associated with the Stripes) in favour of a custom Gretsch Triple-Jet copy for use in his newest band, The Raconteurs.

Fender Assumes Manufacturing and Marketing Responsibility

Finally, in 2003, Gretsch and Fender reached an agreement giving Fender most control over production and distribution of guitars (although the Gretsch family still owns Gretsch Guitars) — and a foothold in the hollowbody guitar market traditionally dominated by Gibson. The Gretsch family continues its involvement in the drum business, which is now part of the Kaman Music Corporation of musical instrument companies. New models and improvements of old ones are being released quickly, and Gretsch appears on its way to a new golden age. Gretsch drums are reputed to sound as good as ever.

Some have you will be happy to know that getting your Gretsch gear back to “Setzer” status (stati?) is easy again. The cool dice knob site is back online at diceknobs dot com

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