This model, which Gretsch advertised as having both acoustic and electric capabilities, was introduced by the manufacturer in 1955 as an option for acoustic players who were hesitant about going down the electric guitar path.
Here at Fanny’s House of Music, there’s a lot of virtues we hold dear. We try to be kind to everyone, and treat folks the same regardless of their experience level. But if I had to pick a character trait Fanny’s values most highly, it would be a willingness to learn. Possessing a willingness to learn means infinite potential. It means you can be anything you want to be if you try. It also means humility. Saying, “I don’t know the answer, but I’ll try to find out for you,” tells folks you respect them enough to not make stuff up. There’s a lot of power in admitting you don’t know everything.
If you didn’t know everything in the guitar business in the early to mid 1900s, you were in good company—as so much was only just emerging. In 1936, Charlie Christian ripped open a can of electrical worms when he used his “pick-up unit” to soar over his otherwise acoustic band, establishing the guitar as a solo instrument and touching off a phenomenon in guitar manufacturing. Then, in 1948, Fred Gretsch Jr. returned to the helm at Gretsch—having briefly managed the company in the early ’40s—with a bold new vision that would meet the demands of guitarists wanting to plug in and turn up.
Gretsch began offering exciting custom finishes and all manner of gadgetry and gizmos, but not every guitarist was ready to take the electric plunge. They needed a guitar for the electric skeptic. So, in 1955, the Model 6199 “Convertible” was introduced. “Play it electric or play it acoustic and get top tone either way,” extols the 1955 Gretsch catalog. “That’s because instead of being built-in, the Gretsch Dynasonic pickup of this guitar is suspended clear of the top to allow full, free vibration.”
Fred Gretsch Jr. returned to the helm at Gretsch in 1942, with the goal of building electric models for the relatively nascent and growing industry.
Photo by Madison Thorn
But, as is so often the case when one tries to be all things to all people, the Convertible was not a big seller. It did, however, attract the attention of prominent jazz guitarist Sal Salvador, pictured proudly with his sunburst Convertible on his album covers. Salvador was a capable performer who valued a willingness to learn, teaching many students privately in New York at the height of his musical popularity.
“If you didn’t know everything in the guitar business in the 1950s, you were in good company.”
In 1956, one of Salvador’s students, 24-year-old Dan Duffy, was hired to oversee quality control at Gretsch. He wrote a book about his experience called Inside the Gretsch Factory 1957/1970. I managed to track down a copy, and found it written in all caps. I delighted myself in imagining Duffy shouting the entire book to someone. It’s really a fun little book. In it, Duffy describes the Convertible as a “good guitar” that had “a great sound but was prone to feedback.”
Duffy had his own learning experience trying to fix this problem. Installing soundposts had a minimal effect, so Duffy decided—in all his 24-year-old wisdom—to stuff it with fiberglass and test it out on a gig. “That night, I shook more than Elvis did,” writes Duffy. “Somehow I got it down my neck and was jumping out of my pants all night.... I brought it to work. I put the air pressure hose inside the guitar and blew it out. The next day, some of the workers complained they had a terrible itch all night. I said, ‘Me, too.’ I knew this was stupid when I was doing it.”
The Dynasonic pickup featured on the Gretsch Convertible, later dubbed the “Sal Salvador,” is suspended above the top plate of the guitar by a thin strip of wood.
Photo by Madison Thorn
By 1958, when the dust of Duffy’s debacle had settled, the Convertible had become so closely associated with Salvador that Gretsch just went ahead and renamed it the Sal Salvador model. Which brings us to ours: a 1961 Sal Salvador model in great cosmetic condition. It has obviously been well taken care of and is all original. Its remarkable acoustic projection does in fact make it a great choice for someone wanting to switch between plugged and unplugged jazz playing. The inviting C-shape neck feels comfy and the action is 2/32″ on the low side and 1/32″ (!) on the high side. Playing this guitar feels a little like floating on air.
One could easily engage with guitars only on this surface level: assessing the neck angle, the scale length, the condition of the finish, et cetera. But digging a little deeper and indulging our desire to learn guided us on a journey: from the earliest days of amplified instruments to the fine old jazz box laying in my lap today. Here’s hoping these guitars keep passing through our doors and telling us their stories, as long as we are willing to listen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.
