Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

GALLERY: Golden Era of Gretsch

The guitars conceived and produced by the Gretsch Company after WWII represent some of the more unique sounding and visually dynamic models available during the ''50s and into the mid-''60s.

'61 Chet Atkins Solidbody model 6121
Chet Atkins solidbody specimens are quite rare. Typically they were produced in conjunction with model 6120 Hollowbody batches between 1955 and 1961, but in much smaller quantities. Consistent with their Hollowbody siblings, later model year examples have fewer of the western elements of the earlier guitars. (Photo courtesy of Dan Nicholas)

Growing up in Australia, guitarist Jedd Hughes tells us he dreamed of playing in Vince Gill’s band as far back as elementary school. Now, he lives in Nashville and stands next to the man himself on stage night after night. We’ve invited Jedd to join us on this episode of 100 Guitarists to talk about just what makes Vince’s playing so special.

Read MoreShow less

Do you overuse vibrato? Could you survive without it?

Read MoreShow less

An ode, and historical snapshot, to the tone-bar played, many-stringed thing in the room, and its place in the national musical firmament.

Blues, jazz, rock, country, bluegrass, rap.… When it comes to inventing musical genres, the U.S. totally nailed it. But how about inventing instruments?

Read MoreShow less

By refining an already amazing homage to low-wattage 1960s Fenders, Carr flirts with perfection—and adds a Hiwatt-flavored twist.

Killer low end for a low-wattage amp. Mid and presence controls extend range beyond Princeton or tweed tone templates. Hiwatt-styled voice expands vocabulary. Built like heirloom furniture.

Two-hundred-eighty-two bucks per watt.

$3,390

Carr Skylark Special
carramps.com

5
5
5
4.5

Steve Carr could probably build fantastic Fender amp clones while cooking up a crĆØme brulee. But the beauty of Carr Amps is that they are never simply a copy of something else. Carr has a knack for taking Fender tone and circuit design elements—and, to a lesser extent, highlights from the Vox and Marshall playbook—and reimagining them as something new.

Read MoreShow less