Scottsdale, AZ (April 17, 2008) – New from Gretsch, the Electromatic series now features a double cutaway hollow body model. The Electromatic G5122DC guitar is a double-cutaway version of the G5120.
The G5122DC features a laminated maple hollow body and neck with a bound rosewood fingerboard. It has Neo-Classic “Thumbnail” inlays, 22 frets and chrome-plated, vintage-style tuners and hardware. The G5122DC’s resonant tones come courtesy of twin dual-coil humbucking pickups, a Bigsby licensed B60 Vibrato Tailpiece and rosewood-based Adjusto-Matic bridge.
“We are extremely excited to finally introduce the new G5122DC. It was a direct response to overwhelming requests from Gretsch enthusiasts from around the world wanting our classic double-cutaway electric guitar at an accessible Electromatic price point,” said Joe Carducci, marketing manager of Gretsch guitars.
The Gretsch Electromatic G5122DC guitar is available in Black and Walnut through authorized Gretsch dealers for $900 (MSRP). 
| Finish | Gloss Urethane |
| Colors | Black Walnut (shown right) |
| Neck | Laminated Maple |
| Fretboard | Rosewood |
| Frets | 22 |
| Scale Length | 24.56" |
| Nut Width | 1.6875" |
| Hardware | Chrome-Plated |
| Machine Heads | Chrome-Plated Vintage-style Tuners |
| Bridge | Rosewood Based Adjusto-Matic Bridge |
| Pickups | Neck & Bridge: Chrome Covered Dual Coil Humbucking Pickups |
| Switching | Position 1: Bridge Pickup Position 2: Bridge & Neck Pickups Position 3: Neck Pickup |
| Controls | Volume 1 (Neck Pickup) Volume 2 (Bridge Pickup) Master Volume Master Tone |
| Accessories | Case: Optional G2162 Gig Bag, P/N 0996458000 |
| Unique Features | Neo Classic "Thumbnail" Inlay Position Markers Black Headstock Overlay Pearloid Gretsch Headstock Logo Bound Top and Back Bound Fingerboard Plexi Pickguard Knurled Strap Retainer Knobs Adjustable Truss Rod |
| MSRP | $900 |
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
