Fred Gretsch III (left) and Joe Carducci (right) |
Some of us make gear, some of us play it, and, in our case, some of us
work at a media company that aims to keep everyone informed. That’s
why we facilitate this discussion every month. There are certain conversations
that need to take place just between us gearheads. This month, we
wanted to give you a chance to ask the folks at Gretsch a few questions.
The Gretsch legacy represents one of the more interesting stories
in instrument manufacturing. It all started in 1883 when a German
immigrant named Friedrich Gretsch started making instruments in
Brooklyn, New York. His untimely death 12 years later left the company
in the hands of his son, Fred. Within 20 years, Gretsch was
one of the biggest instrument importers and manufacturers in the
country. Gretsch family members continued to run the company on
through the ’60s, and by that time Gretsch guitars and amps had
played a major role in the evolution of popular music. The Gretsch
name and design aesthetic had become synonymous with endorsers
like Chet Atkins, Eddie Cochran, and Duane Eddy. Gretsch gear
continued to be played on stages and in studios by notable artists
including members of the Beatles, the Yardbirds, the Rolling Stones,
the Who . . . and then things changed. The company was sold to
Baldwin. Manufacturing moved to Arkansas. Quality control dropped.
Endorsers split and dissociated themselves from the brand. Factory
fires devastated the company. Eventually, production slowed to a
crawl. It finally stopped in 1983.
Then Friedrich’s great-grandson, Fred Gretsch III, came along and
swore that the company would rise out of the ashes. It did. He bought
the company in ’85 and engineered one of the biggest gear company
turnarounds in history. A new generation of players and a fondness for
the designs, styles, and tones from Gretsch’s glory days spurred the
production of reissues and new models that found themselves in the
hands of Brian Setzer, Malcolm Young, Billy Gibbons, Jim “Rev. Horton
Heat” Heath, and many others.
Subsequent generations of guitarists have grown up in a world
where playing or aspiring to play G5120s, 6120s, Duo Jets, Country
Gentlemen, White Falcons, etc., is just part of being a gearhead. They
may not fully appreciate the journey between point A and point B,
but that legacy is actually a big part of the company’s appeal. Anyone
drawn toward Gretsch guitars learns that there’s this amazing history
there and becomes as intrigued with the particulars of the old models
as they are with the cool and often jaw-dropping guitars that are being
made today through a manufacturing and distribution partnership
with Fender. If you’re familiar with Premier Guitar’s NAMM videos, you
know that Joe Carducci is a key keeper of the Gretsch flame, in terms
of bringing new and reissued models to the world, working with artists,
and basically being the guru to ask anything—and we’re talkin’
anything—when it comes to Gretsch guitars and amps. He and Fred
Gretsch III himself were thrilled at the opportunity to answer some
questions from
Premier Guitar readers.
1. Does your custom shop offer a Tennessean electric 12-string
with a natural maple top, walnut back and sides, chrome
appointments, and a combination of vintage and modern
pickups? —Lem Genovese, Holmen, WI
Absolutely! The Gretsch Custom Shop can create pretty much whatever
Gretsch enthusiasts dream up. We’d love to build you one. Please see
your local Gretsch dealer for details. —Joe Carducci
2. What happened to the Electromatic version of the White
Penguin? —Jasper Brey, Tallahassee, FL
If you’re referring to the Pro Jet with the white top and gold
hardware, it was originally a special offering available in Japan. Stay
tuned, because we’re considering making it available in the United
States. —Joe Carducci
3. My fantasy guitar would be a Chet Atkins Country
Gentleman, but I am a little perplexed with the tone-switching
feature. Can you briefly explain that? Thank you! —Joel
Trumbach, Tampa, FL
The mysterious tone switch, often referred to as the “mud switch,” was
Chet Atkins’ idea. He wanted to be able to quickly change the tone of
the guitar on the fly. It’s indeed a hip idea when used in that context.
When holding the Country Gentleman in the playing position and looking
down on the two switches on the upper bout, the tone switch is on
the right (the pickup selector is on the left). In the center position, the
tone switch is completely out of the circuit and the overall amplified
sound will be as bright as possible in all pickup combinations. In the
down position, the sound is like setting a rotary tone control on about
is similar to setting a rotary tone control on
about “5,” creating a warm, bass-y tone ideal
for your favorite jazz licks, fingerstyle pickin’, or
rhythm comping. —Joe Carducci
4. I have a 1993 Gretsch White
Penguin that was number 16 made
that year. I was told when I bought
it that it was a gift to the man who wrote
a book about Gretsches. After looking at
a few vintage guitar guides, it seems that
there were no production White Penguins
for sale to the public that year. Is it possible
that what I was told is true? The
guitar looks totally unplayed. —Michael
Allison, Mesa, AZ
You are correct. No White Penguin guitars
were available in 1993. In fact, it sounds like
you have a very early example of the modern
era of production of this very special Gretsch
guitar. —Fred Gretsch III