British guitar icon Jonny Marr has used his social following to help an American session guitarist recover her lost vintage guitar. But how it ended up in a guitar store several states away is something only FedEx knows.

Based in Western Massachusetts, Ella Feingold, whose resume includes work with Janet Jackson and Bruno Mars, was expecting the delivery of a 1960s Gretsch 6105 hollow-body after purchasing it online. Then it disappeared without a trace.

“FedEx lost my guitar,” she tells her Instagram followers in a newly posted reel. “It was supposed to show up at my house, but it just completely disappeared. It was scanned on the truck; it was like 30 minutes away from my house. Then nothing.”

Hoping to speak to a customer service representative to get to the bottom of the case, Feingold was infuriated to be left dealing with AI chatbots that do little to answer her questions or help her recover the guitar.

Luckily, her friend Marr, who gifted Feingold one of his Signature Special Jaguar guitars last year, stepped in to put some pressure on FedEx and rectify the situation.

Posting on X, he wrote: “So FedEx just loses guitars now? Belonging to renowned guitarist Ella Feingold, too. And one that was scanned and reported to be on the truck? How does that happen? You need to DM her and find her guitar.”

The post may not have had the desired effect in rousing FedEx into action, but given Marr’s status – and 298,000 followers on the platform – the guitar was found by one of his followers: a guitar store over 1,000 miles away. Everyone was very confused.

“I got hit up by a guitar store in Memphis, Tennessee,” Feingold reveals. “They’re like, ‘Hey, a random Gretsch guitar just showed up at our store. We don’t know where it came from, but we saw Johnny Marr’s post, and we’re wondering if this may be your guitar.’

“Don’t ask me how a guitar that was coming to Western Massachusetts somehow ends up in Memphis, Tennessee, of all places.

“I have to thank Johnny Marr, who’s like guitar Batman, who’s a real guitar hero, for finding it,” she adds. “Johnny, I love you, man.”

For FedEx, Feingold opted for some rather more colorful language that we won’t repeat here. The guitar is now making its way to its intended Massachusetts home, but it likely never would have made it there had Marr not stepped in. Now she can get back to being a funk guitar ace.

The former Smiths guitarist is set to sell over 100 guitars from his collection, including six-strings used to record and perform seminal Smiths cuts. But don’t expect to find any satin-finished necks amongst them; his disdain for them runs deep.

The corporate buyouts of Fender and Gibson in the mid to late 1960s have long been perceived as a trigger for a significant dip in the quality of musical instrument manufacturing. But a session guitarist wants to dispel that belief. In fact, he points to the Beatles’ breakout success as the cause for the era’s production chaos.

The claim comes from Brad Allen Williams, who has worked with Alabama Shakes guitarist Brittany Howard, jazz drummer Nate Smith, and soul singer Bilal, amongst others. Of course, he acknowledges that the two biggest guitar firms of the period underwent tough changes at this time, which today are blemishes on their histories. Yet he feels the root of the problems can be traced back to February 9, 1964, when the Beatles appeared on The Ed Sullivan Show.

It was the dawning of a turbulent time for instrument makers, with corporate buyouts, an overwhelming surge in demand, and experiments with production techniques creating a perfect storm that flooded the market with subpar instruments.

Two electric guitar giants, Fender and Gibson, were both on the end of buyouts that dramatically changed their operations. CBS acquired Fender for $13 million in 1965, with Leo Fender facing a staggering production backlog and health issues. He was happy to sell up. Gibson, meanwhile, was acquired by Norlin in 1969, while Baldwin assumed control of Gretsch upon the founders’ retirement.

For years, many guitarists have pointed to CBS’s cost-cutting measures as the reason its reputation started to slide, as it bid to churn out the instruments the market was ravenous for by any means necessary. Some view its moves as quantity over quality, and similar stories have been spun about the Norlin and Baldwin-era operations, too.

Williams, though, wants musicians to take a step back and assess the bigger picture.

“I don’t want to rage bait, but I am about to argue against probably one of the most widely held and uncontroversial beliefs about vintage guitars,” he says in an Instagram post. “That’s this idea that the big corporate acquisitions and mergers of the 1960s were what caused the decline in quality of the major American guitar brands. I don’t think it was.

“I do think quality was declining around the time,” he notes, “I just think that in most cases that was already well underway by the time the actual mergers happened, and if I had to affix a turning point, it would be the same date for every American guitar and drum company: February 9, 1964. That’s when the Beatles appeared on the Ed Sullivan Show.”

Culturally, the Beatles’ five-song performance was a landmark moment. It was, for the likes of Tom Petty, Gene Simmons, Joe Perry, and Nancy Wilson, among so many others, the singular moment that made them want to pick up an instrument and play. That, from a supply-and-demand perspective, was troublesome.

“This was such a seismic pop culture moment that it caused this massive overnight sudden spike in demand,” Williams says. “And all these companies were blindsided. When Ted McCarty started at Gibson in 1948, total production was around 2,000–3,000 guitars a year [other sources claim the figures are around 1,100 and 3,700].

“By the time he was burnt out and leaving in 1966, that was over 100,000 guitars a year,” he expands. “When Leopeningnder sold to CBS in January 1965, Fender was something like $9 million in inventory backordered. In a later interview, he said that with the Fender Mustang alone, they were 150,000 units backordered.

“I don’t care who owns the company; if you’re trying to ramp up your production rate that fast, something’s got to give,” he adds. “You’re going to have a lot of people making guitars, amps, and drums who have never made them before.” One of the first things CBS did once it assumed control of the Big F was to expand its production operations, with new facilities opened in hopes of chipping away at those daunting backorder numbers. But he believes by the time their new corporate owners tweaked production and processes, these companies were already on the slide.

“Vintage Gibson collectors know that, 1969 with the Norlin era is not a hard cut off of the quality,” Williams continues. “You start to notice things changing as early as 1965 or 1966.”

He uses Ludwig “flinging” drums out of its factory before their finishes had even dried as evidence of “the environment these guitars were made in.”

“So, I don’t really think that the corporate buyouts were the cause,” he concludes. “I think they were more the effect.”

It’s a fascinating perspective. Music lovers are quick to point to the incredible impact the Beatles’ success had on Western musicians, and the list of future stars seduced by rock’ n’ roll after watching the Beatles on that February evening in 1964 underscores the romanticism swirling around that night. But there was a darker side to the story that is spoken about far less.

Still, CBS produced some iconic guitars despite its mounting challenges, and Stratocaster enthusiast Walter Trout believes CBS-era builds don’t deserve the bad rep they get. The Beatles helped reshape the music industry in a myriad of ways, but did their success also come at a price?

Brian Setzer says he destroyed his beloved 1959 Gretsch 6120 once after a favorite stage stunt went disastrously wrong during a show in Japan.

Setzer and the vintage electric guitar had been inseparable since he bought it as a teenager. But during a concert in Tokyo, he recalls that a crowd-pleasing move he’d performed countless times finally backfired.

“I used to throw the guitar up, way as high as I could, and I would go ‘Wham!’ and snatch it out of the air, and start playing it again,” he says in an interview posted to his YouTube channel.

The crowd loved it, and Setzer loved doing it. So he repeated the stunt night after night — until it finally went wrong.

“I lost it in the lights,” he explains. “I couldn’t see it. It disappeared, and then all of a sudden, down it comes.”

Instinctively, he threw out his hands to catch the falling Gretsch. It was too late.

“I missed it. And it made this god-awful sound, like, ‘How could you do this to me?!’

“The neck flew into the audience, and I had the body in my hand, thinking, Oh my God, I ruined my guitar!”

Fortunately for Setzer, the accident happened in Japan, where respect and politeness are deeply ingrained cultural values.

“Some guy brought me the neck back,” he says. “Anywhere else, it would have been stolen.”

Renowned luthier and pickup designer Tom Jones eventually repaired the guitar, although Setzer says it wasn’t quite the same afterward.

“It didn’t play right for a couple of years. It just didn’t have it.”

Then, just as mysteriously as it had lost its magic, the guitar recovered.

“All of a sudden it started to play right again,” he says. “I don’t know why!”

It should be noted that his guitar tech, Tyler Sweet, tells the story differently. In a “Rig Rundown” with Premier Guitar, he says the Gretsch was damaged in a handoff to Setzer's former stage tech and that the guitarist threw the damaged neck into the audience, forcing his crew to retrieve it.

No matter how the episode went down, the loss of the Gretsch would have been especially painful given how long it had been part of Setzer’s life.

“I was 17 years old and found it in this local paper, The Byline Press,” he told Guitar Player in 2019. “It said, ‘Gretsch guitar, 100 bucks.’ I called the guy up and asked, ‘Is it like Eddie Cochran’s?’ He was like, ‘Who?’

“So I went to his house, and there was the guitar, the 1959 orange 6120. It was exactly what I was looking for. He was going to refinish it and make it natural. He had all of the electronics for it in a shoe box. I gave him 100 bucks, took the guitar and the shoe box, and off I went. It was destiny.”

The 6120 became his main guitar as the Stray Cats sparked a rockabilly revival on both sides of the Atlantic.

By then, Setzer had customized the instrument with a sticker depicting a 1950s pinup girl sitting on a vinyl record and replaced the original knobs with a pair of dice taken from a Monopoly board game.

“The stickers and the dice became trademarks,” he says, “but I put them on without much thought. I found the pinup girls in an old lawnmower repair shop. And I put the dice on because it didn’t have any knobs. I just got a set of Monopoly dice, drilled holes in them, and squirted in some Krazy Glue.”

The only meaningful modification the guitar received, he says, was the addition of Sperzel locking tuners. The stock Filter’Tron pickups and most of the original hardware remained untouched.

Setzer eventually retired the guitar. “It had beer spilled on it and smoke blown all over it,” he says. Besides, he already had a worthy replacement waiting in the wings.

“In about 1984, I ran into Steve Miller in a bar in Germany,” he recalls. “We talked about Gretsches and how mine was getting trashed. When I got back to New York, there was a big box waiting for me, and, to my delighted surprise, it was a 6120 from Steve Miller. And not just a 6120 but a great one!”

Setzer's original 6120 would ultimately become the basis for a Gretsch tribute model. But more importantly, it’s the guitar that launched him on a career that continues as the Stray Cats undertake their current tour — their first since his recovery from an autoimmune disorder and an inadvertent dependency issue.

Despite everything that happened to it, the original 1959 Gretsch survived, and more than six decades after Setzer bought it for $100, it remains one of the most famous rockabilly guitars ever played

Guns N’ Rose’s recent show in Saudi Arabia was so hot, it melted the wax potting in Richard Fortus’s pickups.

The former Psychedelic Furs guitarist joined the American rock heavyweights in 2002 and has since played for hundreds of thousands of screaming fans across numerous world tours.

But few shows will have stood out quite like this one.

“Well, this is a first,” Fortus says in a new Instagram post adorned with a gruesome-looking photo of his signature Gretsch Falcon. In it, melted wax oozes out from underneath its humbuckers like ghostly blood.

Reacting to the post, Ben Eller, who stepped in for the outgoing Brent Hinds in Mastodon earlier this year, said, “Holy moly, dude!”

Alex Skolnick, meanwhile, who has recently spoken about his blink-and-you'll-miss-it stint as Ozzy's lead guitarist, simply reacted with a shocked face emoji.

Both comments are completely understandable.

Their show at the country’s Mohammed Abdu Arena was the last date in their latest Asian jaunt, which included stops in South Korea, Japan, and India. They were massive outdoor concerts.

The band had come on stage after 10 p.m. in the wake of 113 degree Fahrenheit highs throughout the day. The evening air was meant to be far cooler for a three-hour rock show — which kickstarted with “Welcome to the Jungle” and “Bad Obsession” — but Fortus’s pickups attest otherwise.

For the uninitiated, wax — typically a blend of paraffin and beeswax — is used within pickups to limit mechanical vibrations, which can result in nasty squeals and microphonics. It has a melting point of approximately 115 to 154 degrees Fahrenheit.

That means the heat generated around Fortus’s custom-wound Filter’Tron humbuckers most likely exceeded the daytime temperatures as a result of the stage lights and the sheer heat of his performance.

Speaking to Guitar World, Fortus says his signature Gretsch models were designed specifically for his guitar tandem with Slash and that the guitar was voiced to offer what his Les Pauls didn’t. The eureka moment came after experimenting with a ton of different guitars, including some flirtations with P-90 pickups.

“When I landed on Gretsch, it really seemed to come together,” he says. “There’s something about that classic higher-output humbucker on Slash’s side and then what I’m playing. It really fits together, in the same kind of way Malcolm and Angus [Young] did. There’s a magic to that sound. With less gain, my sound fits around what Slash is doing.”

Aside from his love of Gretsch guitars, Fortus has also championed an independent and boutique U.K.-based guitar builder, Ivison Guitars. Chief builder Neil Ivison crafted Fortus a custom guitar, which paired a Korina Dakota Les Paul body shape with a Firebird pickup. Fortus even used it on stage with GNR.

Meanwhile, Dave Navarro, who has categorically ruled out a future with Jane’s Addiction after Perry Farrell attacked him onstage, says he turned down an offer to join Guns N’ Roses during his first instance away from the ‘90s icons. The guitarist would go on to join Red Hot Chili Peppers instead, replacing John Frusciante. He described that as “a very difficult role to step into.”

And in related news, Guns N' Roses founding guitarist Tracii Guns has told Guitar Player he has no regrets over leaving the group and thinks Slash was the right man to take his place.

Guns N’ Roses will now travel to Europe for a string of shows with Public Enemy, Rival Sons, and the Sex Pistols featuring Frank Carter in tow.

A recently resurfaced Gibson TV interview with Norman Harris, the owner of the world-famous vintage guitar store, Norman’s Rare Guitars, has added weight and context to the mystery surrounding one of the most famous Beatles electric guitars.

Recent months have seen new developments in Beatles gear, from the rediscovery of Paul McCartney's Höfner violin bass to the “unprecedented sale” of John Lennon's 12-string Framus acoustic as featured on Help!

Harris’ “What if?” moment, though, adds intrigue on one of the most enduring Beatles mysteries, with George Harrison at its center.

Harris has become so famous for acquiring rare instruments that he’s now the subject of a Netflix documentary and today counts the gear-obsessed Joe Bonamassa as a regular customer.

Asked by Gibson TV if he’s regretted letting a guitar slip through his fingers in the past, Harris offers one story from his very early days in the business.

“The first really big star that I ever dealt with was George Harrison,” he begins. “He had asked me, when he was looking for sunburst Les Pauls, ‘You know my Gretsch Country Gentleman?’ – probably the most famous guitar of all time – ‘I'm thinking maybe I'll trade you that or something.’

Harris admits to “not thinking” in the heat of the moment. “I'm looking at George and I said, ‘Who's going to believe that I've got George's guitar?’ They're going to say, ‘Yeah, and you’ve got Napoleon’s suit also,’" he says. "I just figured people would call me a liar, so I didn't take that guitar.”

He adds that the hollowbody Gretsch “may be the most valuable guitar" in history.

Harris's story adds another level of intrigue to the enduring question about Harrison's second Country Gentleman. As previously reported by GP, George gave his first Country Gent, a 1962 model, to Brian O’Hara, lead guitarist for the Fourmost — a Liverpool act handled by Beatles manager Brian Epstein — in 1965. His second Country Gent, a 1963 model acquired in '63, supposedly met its demise on the road in 1965 when it fell out of the trunk of the Beatles' limousine and was run over by a truck.

However, a tuner salvaged from the guitar's remains was used soon after to repair Paul McCartney's first Hofner bass, which was rediscovered in late 2023 or early 2024. The tuner isn't from a Country Gent, however — it's from a Gretsch Tennessean. Which begs the question: Did George's Tennessean meet its end on the road, and Is his second Country Gent still around. If so, is it the guitar he attempted to sell to Harris — whose store opened in 1975? More importantly, where is that guitar today?

Guitarists have all sorts of reasons why they took up the instrument. Usually it's inspiration from their musical heroes, or a love of the instrument's look and sound.

Wilco’s Jeff Tweedy had a wholly unique reason for learning guitar, as he told Reverb in their video series My Career Through Gear.

The Illinois-born guitarist reveals that his first guitar was a generic acoustic guitar that he found impossible to play.

"It really discouraged me when I was really young," he says, "so it sat in the closet for a long time, from when I was six years old till about 12 years old. It sat in the closet, taunting me."

But while the guitar sat idle, Tweedy had been telling his friends he knew how to play. His chance to make good on that lie came in the summer between seventh and eighth grade.

"I had a really bad bike accident in the last day of school, and I was in bed most of the summer," he explains. "And I realized that I told everybody that I know that I knew how to play the guitar. And that was my opportunity to actually learn how to play the guitar a little bit, so if I got called out on it, I at least knew how to play some chords.”

Apparently the guitar bug hit him in earnest. Tweedy devoted himself to the instrument, but getting his hands on a decent guitar would take some time. His parents' next attempt to buy him an electric guitar wasn't a success.

“It was a Peavey T-60 electric guitar," he says. "It was like child abuse to put it on your body, especially when recovering from a bike accident. A lot of them would be better as boat anchors at this point! I never even understood why they made a guitar that heavy.”

Despite its back-crushing weight, the guitar's thin neck did have its benefits for a young player starting out on his guitar journey.

“All of a sudden I could make barre chords," he says. "So then the Ramones and all the stuff I was listening to opened up to me. So I kept playing, but I was disappointed when it showed up, to be honest. I wanted a Telecaster.”

Tweedy would eventually get his wish after his brother, who worked on the railroad, had an accident that left him with life-changing injuries. A settlement was reached and “he took some of that money and he bought me a black-and-white Telecaster that ended up nearly as heavy as the Peavey,” he says with a laugh.

Tweedy explains that he's since found a seven-pound T-60. “It must be an accident,” he says, smiling. “I found one that was crazy light.”

Tweedy's family would continue playing a key role in his quest for more gear. His mother had particularly great luck finding guitars for him at farmer’s auctions.

“Whenever she saw guitars at these auctions she liked to go to, she’d bid on them and buy them,” he says. “She got me a black '50s Gretsch Duo Jet and a Gibson ES-350 with three P90 pickups that was a prototype for the ES-5 — a really rare guitar — for like $125. Both were at the same auction.

“They belong to Billy Gibbons now,” Tweedy adds, having traded the guitar at a store in St. Louis. The ZZ Top man was quick to snap up the unusual six-string.

However, for all his hoarding of oddball electrics, Tweedy goes unplugged when it comes to songwriting.

“I write almost all my songs on acoustic guitar,” he told Guitar Player in our December 2019 issue. “I have a lot of different instruments and a lot of acoustic guitars, and the ones I end up writing on are generally the ones that have almost no sustain and have really dead strings.

“There are some old beater guitars that I leave lying around the house that I always end up writing on. It just leaves so much more room for my voice. I don’t have a real sustaining voice so I tend to like guitars that aren’t showing me up.”

This past year saw the unraveling of one Beatles guitar mystery when Paul McCartney’s first Höfner bass was discovered more than 50 years after it was stolen. That guitar had been the focus of the Lost Bass Project, which tracked down the Höfner in the loft of a family home in East Sussex, England.

But the discovery of McCartney’s 1961 Höfner has opened up a new mystery in the world of Beatles guitar gear: Was George Harrison’s Gretsch Country Gentleman electric guitar really destroyed in a 1965 mishap during the Beatles’ Scotland tour? Or was the victim actually another guitar?

According to Beatles history, Harrison’s Country Gent — his second — was smashed to pieces on the evening of December 2 as the group journeyed from London in their Austin Princess limousine for a December 3 performance at Glasgow’s Odeon Cinema. Beatles chauffeur Alf Bicknell was left to transport two guitars after roadie Mal Evans left with the Beatles gear van ahead of the group.

As Bicknell told Andy Babiuk in Beatles Gear, the guitars were “a Rickenbacker and a Country Gentleman.” He further noted that it was “very rare for me to carry anything like this.”

Indeed it was, since his car was already carrying the four Beatles and their road manager, Neil Aspinall. With no room for the guitars inside the vehicle, Bicknell strapped them to the back of the car and drove off into the growing darkness.

As the group was about 30 or 40 miles on their journey, a truck behind the car began flashing its lights, a sign for it to pull over. Bicknell stopped off the road, followed by the truck driver.

“He said, 'You’ve just lost a banjo,' ” Bicknell recalled. The chauffeur looked at the back of the car and discovered, to his dismay, that one of the guitars was missing.

Retracing their path for roughly 12 miles, the entourage came upon the ruined remains of an instrument identified as Harrison’s Country Gent. “The guitar and its case were smashed to bits,” Bicknell said. “We never even bothered to pick it up.”

The Gent was one of two that Harrison owned. He purchased his first, a 1962 model with dark brown mahogany stain and screw-down mutes — a feature Gretsch added to achieve the effect produced by palm muting — in early 1963. Harrison would give that guitar to Brian O’Hara, lead guitarist for the Fourmost — a Liverpool group also handled by Beatles manager Brian Epstein — in 1965.

In the meantime, Harrison had received a second Country Gent in October 1963. It was identical to the first except that in place of screw-down mutes, it used a flip-up lever action to activate the feature.

Two months later, Harrison acquired yet another Gretsch: a 1962 or ’63 Tennessean. He used it for recordings and performances in 1964 and, more often, 1965. Beatles lore has it that the Tennessean was stolen from Abbey Road Studios following the group's 1965 tour, as it was never seen again afterward.

It’s here’s that a wrinkle emerges. Let’s go back to that night in December. After retracing the limo’s path, Alf Bicknell and the Beatles discovered the remains of Harrison’s guitar in the road. Bicknell says the guitar was abandoned when it was seen there was no hope of rebuilding it.

In fact the group did scavenge pieces of it. Neil Aspinall wrote a tour diary for the U.K. press at the time, and in his report detailing the events of December 2, he said the group retained a chunk of wood that included one of the guitar’s machine heads. He further noted that this came in handy when one of the tuners on McCartney’s bass became damaged on the tour. “We were able to replace it with bits taken from George’s Gretsch.”

Aspinall’s claim is born out by at least two Beatles-era sources. In the video for "Revolution," filmed on September 4, 1968, the chrome machine head from Harrison’s guitar is evident among the white plastic “Rugby Ball” machine heads that were stock on McCartney’s bass. The odd bright metal tuning peg can also be spotted in scenes from the 2022 Get Back documentary in which McCartney plays his first Höfner violin bass, and it's visible in new photos of the recently discovered instrument.

There’s just one problem: The machine head's tuning peg is a bright oval chrome button. The Gretsch Country Gentleman had gold "stairstep" Grover Imperial tuners.

And which of Harrison’s Gretsch guitars had chrome machine heads? The Tennessean.

So is it possible that for years everyone has been saying the Country Gentleman was destroyed when in fact it was the Tennessean? Both guitars were never again seen in Beatles photos after 1965. And if the Country Gent wasn’t destroyed, where is it today?

Credit for this excellent sleuthing goes to Nick Martellaro, who regularly explores Beatles gear on his YouTube channel. I’ve linked his video on the Harrison guitar mystery below and highly recommend giving it a view to discover even more details about this important Beatles guitar. And while you're at it, check out his other excellent videos on Beatles gear.

Lester Flatt’s 1942 Martin D-18, described as “one of the most important guitars in bluegrass history,” is set to headline a history-rich auction event next month.

Heritage Auctions will host its latest event on October 9, with a Roy Clark Gretsch prototype, and Eddie Van Halen Kramer guitars made in collaboration with Steve Ripley, also set to make the auction block.

A Frankenstrat/Kramer Striker owned and played by Ripley sold for $50,000 in 2021.

The collection includes a little over 400 lots, but few stand as significant as Flatt’s D-18. It is considered the very first bluegrass guitar – as per the Bluegrass Heritage Foundation – which has led to its summation as being among “American guitar’s irreplaceable treasures.”

Flatt’s work as part of Bill Monroe’s Blue Grass Boys helped the genre architects influence countless guitarists, and his D-18 has been a vital proponent along the way.

“This D-18 might be one of the loudest I have ever heard,” says Heritage Auctions' Director of Vintage Guitars & Musical Instruments, Aaron Piscopo. “It remains in excellent playable condition, and the sound makes you tremble – especially when thinking about its previous owner and how hard he must have played this thing.

“This guitar is not only a high-quality Martin from the early 1940s but also a foundational piece of bluegrass history,” he continues.

Elsewhere, the 1978 Gretsch 7686 number one prototype made for Roy Clark, the host of the Hee Haw country variety TV show from 1969 to 1997, is another interesting six-string set for a new home.

Clark ultimately went for the second prototype because it featured music note inlays, but it did feature in Gretsch’s 1994 calendar – 16 years after its creation. The Deep Blue solidbody electric guitar has the serial number #5-8113.

Away from pioneering the Red Dirt sub-genre of country music, Steve Ripley had a long history of building guitars for esteemed players, with a customer list including Steve Lukather, J.J. Cale, and, most famously, Eddie Van Halen.

For Eddie, he built many now-legendary guitars, including his Kramer/Ripley Red, White, and Black Striped “Eddie Elvis.” That model is listed in the upcoming auction and is signed by the late guitarist.

As too is a Kramer/Ripley Pink Bowling Ball Super Strat – a rare example of an EVH axe not emblazoned with his signature Stripes design – and the original neck from the Kramer-Ripley guitar that Eddie modeled with for their original Guitar Player advert. Both are signed.

The pair enjoyed a four-decade-long friendship, with Van Halen calling Ripley “part genius, part musician, part inventor, and many other great things,” when he passed in 2019.

Other guitars featured in the extensive collection include Rick Vito's Ripley Custom Pink electric guitar, which has also been plucked from Ripley's estate, and a 1939 Martin D-45. Pre-war Martins are considered gold dust for collectors, and only 91 were made that year.

The auction is set to take place on October 9.

Visit Heritage Auctions to see the full listing.

Alt-country guitarist Orville Peck has joined Gretsch’s roster of signature artists with a new take on the Falcon intended as a “love letter to flashy era country” music. 

Peck – a native of South Africa – is a singer/songwriter whose fresh, modern-minded take on country blends the influences of icons of the genre – like Johnny Cash, Willie Nelson, and Gram Parsons – with that of modern-day pop superstars like Lana Del Rey, and the dark surrealism of film director David Lynch.  

He also has a strong theatrical background, having toured with national tours of musicals in his 20s, before obtaining a degree in acting from the London Academy of Music and Dramatic Art in 2014. That theatrical spirit isn’t lost in his music. 

As such, Gretsch has looked to capture “Peck’s true iconoclast spirit with mid-century swagger,” with the Limited Edition Orville Peck Falcon. 

Peck’s chosen specs, meanwhile, reflect a love for both vintage craftsmanship and contemporary touches, typifying his guitar-playing approach. 

A gleaming Oro Sparkle finish and gold plexi pickguard – a nod to the glitzy fringe mask Peck sometimes wears during his live shows – understandably grab the headlines. But there's plenty to admire about this guitar aside from its sparkling exterior.

A 2.5”-deep maple body and Gretsch “ML” bracing combine with a 12”-radius streaked ebony fingerboard with rolled ridges, 22 medium jumbo frets, and a 25.5”-scale length. The guitar's maple neck sports a U-shaped profile, with Luminlay side dots as a modern feature. 

Sonically, the guitar strives to deliver a “huge hollow-body sound with exceptional clarity and acoustic nuance,” a quest bolstered by FT-67 Filter'Tron humbucker pickups. These humbuckers were designed to offer vintage Gretsch voicings, while also giving the tone a more rounded, genre-fluid nature.     

Final vintage flourishes come via a Bigsby B6GP String-Thru vibrato tailpiece and highly detailed inlays. 

The former is said to offer “increased vibration transfer for enhanced sustain,” and easier string changes, while the former features western-themed artwork by Judith Rothman Pierce, a regular contributor to Peck’s vision, for a touch of nuance. 

Peck, who revealed in a 2020 interview that the Falcon is his “favorite guitar on the planet,” wanted to retain the guitar’s rarely-rivaled heritage while also “adding some pizzazz” to make it feel like his own.

“It's my sort of love letter to that era of country which was sort of rhinestone-y and flashy during the 60s and 70s,” he says. “The white Falcon is such a versatile, beautiful guitar, so we wanted to stay true to the original and keep the classic feel. I think whoever picks up the guitar will be able to show a little bit of themselves through it.”

The Limited Edition Orville Peck Falcon is priced at $3,999. 

Head to Gretsch for more information. 

Though he has played other electric guitars on occasion over the course of his four decade-plus career, it's difficult to imagine Stray Cats frontman and rockabilly legend Brian Setzer without one of his trademark Gretsch 6120s.

Of course, though, hardly any guitarists would begin their journey with that nice an instrument – unless they're incredibly lucky with a hand-me-down, to the manor born, or both. 

Brian Setzer fit neither of those labels, but he was able to – with a little bit of luck – land his first Gretsch as a teenager. 

“I was 17 years old and found it in this local paper, The Byline Press,” Setzer told Guitar Player in 2019. “It said, ‘Gretsch guitar, 100 bucks.’ I called the guy up and asked, ‘Is it like Eddie Cochran’s?’ He was like, ‘Who?’

“So, I went to his house, and there was the guitar, the 1959 orange 6120. It was exactly what I was looking for. He was going to refinish it and make it natural. He had all of the electronics for it in a shoe box. I gave him 100 bucks, took the guitar and the shoe box, and off I went. It was destiny.”

Of course, a guitar is only ever one part of the tonal equation, but luck once again came into play when Setzer landed on his guitar amp of choice, the Fender Bassman.

“The Bassman was another destiny thing. I thought it was just a really cool-looking amp,” the guitarist revealed to GP in the same interview. “I was into my image and wanted to look cool. I saw these blonde amps and just thought, ‘I need one of those.’ I didn’t even know how great they sounded.

“I answered another ad, this one from a jazz bass player in Weehawken [New Jersey]. So I bought the amp, and there it was: ‘Wow, that’s the combination!’”

At the time of the interview, the Stray Cats were fresh off the release of 40, their first album of new material in over a quarter-century. Though they haven't released a new studio full-length in the years since, the reunited trio remain a popular live attraction.

• For a full list of the band's 2024 US dates, and tickets, visit their website.

Once upon a time, 3/4-size acoustic guitars were nothing but glorified children’s toys, however, that is no longer the case. Savvy manufacturers recognized the demand for high-quality acoustic instruments suited to smaller players and traveling musicians, creating a market segment that has since exploded. So, if this is you, you're in luck, as we've hand-selected the very best 3/4-size acoustic guitars available right now.

Nowadays, there are many high-end 3/4 acoustic guitars made of solid tonewoods with a depth of sound that makes a mockery of the idea that bigger is better. Typically, these acoustics are 37 inches or shorter, making them significantly smaller than a typical full-size dreadnought guitar, for example, but their tones would have you thinking otherwise.

On this list, you’ll find my picks for the best 3/4-size acoustic guitars, with options suited for everyone from beginners to experts, with my top pick overall going to the Taylor GS Mini-e Rosewood – a well-priced and reliable acoustic that carries a bright, full sound.

So whether you’re looking for a scaled-down guitar as a first six-string for you or your child, a great travel acoustic, or a more comfortable option for a smaller player, I've got you covered.

If you have any further questions about 3/4 acoustic guitars, I've also included a handy FAQ section at the bottom of this page.

Quick list

Best overall

The goal for any small acoustic guitar should be to sound bigger than its size – the Taylor GS Mini-e Rosewood achieves this with aplomb. At just a touch over 36” long, you’d be forgiven for thinking that it would sound quite boxy, however the shrunken-down ‘Grand Symphony’ body design is wildly resonant for a guitar of this size.

The GS Mini range starts with the sapele standard, with no onboard electronics. If you’re on a tight budget, this is still a reliable guitar, but our pick of the range is the ‘e’ rosewood model, the first without sapele back and sides (upgraded with rosewood) and with a solid spruce top. These tonewoods make a huge difference to the tone, producing a brighter fuller sound that projects really pleasantly.

The ES-B preamp is also a nice addition, so there’s no need to worry about lack of volume – just plug it in! With an integrated 3-band EQ, you can also dial your sound in when electrified. Sometimes these on-board EQ systems can be a bit of a let down on cheaper electro-acoustics, but this is impressively good.

Best all solid

The Nomad Mini Neptune punches well above its price point for spec, with a solid mahogany top, back, and sides – something you don’t often get on guitars at even double this price.

Complete with a Fishman Sonicore Pickup and Isys T preamp (Presys 2), it’s rare to see premium electronics on a guitar in this section of the market, and the addition really elevates the Nomad Mini above its competition.

Styled after Faith’s ‘Neptune’ body shape – a baby jumbo-inspired design – the body is suitably shrunk without feeling like a ukulele as some 3/4 guitars do, which will suit players looking for something suitable for traveling but don’t want to dwarf their instrument.

Whilst the temptation may be to go for a bigger-name brand, Faith has knocked it out of the park with the Nomad Mini Neptune, so it’s definitely worth considering – though US and Canadian buyers will likely need to buy through Faith directly as its North American dealer network leaves a lot to be desired.

Best from Martin

Maybe the most famous of the miniature acoustic guitars, the Little Martin is almost certainly the most recognisable 3/4 guitar on this list. It’s a super instrument out of the box, with greeting tones that you wouldn’t believe came out of a guitar of this size and price, and for around a hundred bucks extra you can add Fishman electronics, which allows you to plug into a PA system or amp. For gigging singer-songwriters, this is a wise addition.

For me though, the best use of this guitar is as a travel companion. It’s built to last, with the use of Richlite on the fretboard, which will offer durability throughout the life of this instrument, even when thrown into the back of a car.

The only real downside to this instrument is the excessive use of laminate material for back, sides and neck. This isn’t really surprising at this price point – in fact, it’ll be a big factor as to why the LX1 is so cheap – but rivals can boast hardwood use throughout, which makes a notable difference to resonance and bottom end.

Best slim neck

The BT1 was one of the guitars that launched the 3/4 market as a serious proposition for players of any age or experience, rather than purely as student instruments. First released in 1991, the Baby Taylor has not only endured, but it has become revered as an excellent travel companion and a more premium offering for smaller players.

As the cheapest instrument in the Taylor catalog, the company has had to keep the costs down where possible, and this is most visible in the screw-on neck. You wouldn’t necessarily notice unless you go looking for the screws (at the bottom of the neck) but they let down the appearance and the overall feeling of quality just a little bit.

The highlight of the BT1 is its superbly smooth, slim neck, which makes it a dream to play even for people with the smallest hands. This is only improved with the guitar coming from the factory with a Nubone nut and premium D’Addario XS strings.

For first-time players, it should be right among your top considerations, as it is a brilliant guitar to learn to play on. And if you’re looking to entice your child into playing guitar, Taylor also offers the BT series in a Taylor Swift signature model, that may be worth considering for ‘Swifties’ out there.

Best for kids

The Yamaha JR1 is the guitar that I wish I’d learned to play on. While the temptation of a $40 guitar that can be with you within 24 hours ordered off the internet is hard to ignore, I can promise that those guitars will sound like some elastic bands wrapped around a tissue box in comparison to the JR1.

Small but mighty, the JR1 produces a surprisingly bright sound, in no small part due to its spruce top, but the real standout feature is its playability, with a lovely smooth neck that doesn’t put up any fight for young hands.

Learning to play on an instrument like this is a joy and will foster a great relationship with guitars forevermore. The first guitar your child learns to play on is arguably the most important they will ever own.

Consider making it a JR1. It is worth mentioning that at a scale length of just 21 1/4”, this really is a junior guitar, so smaller adults looking to learn are advised to look elsewhere.

Best for comfort

Lowden is better known for its high end acoustics, with most of the company's range costing in the thousands; however its collaboration with singer-songwriter and 3/4-playing icon Ed Sheeran has introduced a new, more affordable collection to its catalog. For me, the W03 is the pick of the range.

Featuring touches like a beveled edge on the body – a feature that has trickled down from Lowden's super high-end instruments – the W03 really feels like a premium product that is extremely comfortable to play, for both your hands and body. And the premium features don’t stop there, the LR Baggs EAS VTC electronics makes this a really excellent live instrument, which can be plugged in to get great gigging tones.

Partnerships like the one between Lowden and Sheeran have the risk of feeling contrived, but this small acoustic is a real delight and should be considered against the biggest brands… even if Ed Sheeran isn’t your cup of tea.

Best for blues

The Gretsch Jim Dandy Parlor is probably the most fun you can have for under $200 with an acoustic guitar. With a signature country twang, the Jim Dandy Parlor is the ultimate campfire guitar, something you throw in the back of your car and bust out for a singalong. In terms of versatility, it won’t match up to some of the other acoustics on this list, but it has an undeniable charm, which is equal parts cool and endearing.

The tone is fat at the bottom with a bit of honky midrange, topped with a really bright upper that borders on having the sound of a resonator.

It’s surprisingly loud too, which makes it all the better for strumming big chords out on. With a classic Parlor design, the neck joins the body at the 12th fret, helping to contribute to its meager 35” total length, and contributes to its signature sound. However, that does mean the top six frets are pretty difficult to access.

Knowing the Jim Dandy’s limitations ahead of buying is essential, but if you lean into what it does best – being fun to play, bashing out some chords with your pals – it’s close to a must-have instrument. If your collection is stagnating and you want to inject some life without spending a whole lot of money, look no further.

Best for travel

Let’s get it out of the way – this guitar comes apart and folds down. It’s crazy. Acoustic guitars aren’t supposed to do that, but Furch has found a way. It would be very easy to assume this is a gimmick, but in reality it just means that the Little Jane is the pinnacle in acoustic guitars for the person on the move.

Coming in at over $1000, you’d be forgiven for thinking the vast majority of the cost is being spent on the innovative ‘dismantling’ feature, however the LJ10 is made with solid woods throughout and equipped with locking tuners, premium features that make this quirky instrument play impressively well. In fact, even when considering that it actually comes apart, the most surprising thing about the LJ-10 is just how good it sounds.

A warm low end, with a full midrange and a sensational bright top – which boggles the mind considering a worry with any instrument that comes apart is that it may/should lack resonance. Somehow, the LJ-10 has absolutely bags of it.

If musical inspiration takes you, the last thing you’re going to want to do is have to build your guitar before strumming out your ideas, so for some, just going for a more conventional small-body traveler guitar might be better; however for those with patience, the assembly/disassembly is relatively easy when you get the hang of it and it really takes compact traveling with an acoustic to a new level.

Best from Fender

With a headstock that looks like a Stratocaster and a neck that feels pretty close, the Fender Sonoran Mini would be a great acoustic for electric guitar players who want to branch out into acoustic playing. This is particularly enticing given the Sonoran Mini’s price, which matches its tiny size.

It has an unconventional but broadly appealing tone that would be great for use in a recording studio to add a different texture to your recordings. However, with that unconventional tone there comes a slight harshness to the top end and the midrange feels a touchy boxy, which can also become a bit wearing after a long playing session.

For the price though, it’s hard to have too many complaints, and some will absolutely love the looks.

It’s the most cost-effective way to have a great-looking Fender guitar at home.

Best beginners

Built on a scaled down version of Yamaha's revered APX Body, every aspect of the APXT2 has been built with travel in mind. With a miniature footprint, but delivering well balanced tones, if you’re a young singer-songwriter (or a songwriter of any age), who is just breaking into playing open-mic nights or small shows, this is an instrument you can happily haul around to gigs on the bus, or if you have to walk any substantial distance – it even comes with a signature gigbag as standard.

The APXT2 features a full size cutaway on the body, making access to the higher frets far easier, which contributes to the neck feeling more usable compared to some 3/4 acoustics where you don’t have access to the top end at all, limiting you largely to chord playing.

Even on its cheaper instruments, you can always feel a certain level of attention to detail with Yamaha and the APXT2 demonstrates that too, particularly in areas such as the spruce top, which makes it bright and articulate.

The System 68 contact pickup and preamp system mean that the APXT2 is well equipped not only for acoustic performances, but amplified shows too, and it features tone controls, volume adjustment and a built-in tuner. Though don’t expect the electronics to set the world alight considering their price.

Best classical

Yamaha’s classical guitars are a staple in classrooms worldwide, thanks to the brand’s reputation for quality, durability and affordability. With that in mind, it’s no surprise that the CS40II stands out as the best 3/4-size classical guitar on the market.

Its soft nylon strings make it an excellent choice for those learning flamenco or classical guitar. At the same time, it serves as a great stepping stone for younger players who aren’t quite ready for the harsher feel of steel strings. The traditional flat radius provides a solid foundation for classical runs, and as expected from Yamaha, the hardware is always reliable.

While there isn’t a left-handed version available, the flat radius allows for easy conversion – just take it to a local luthier for modification.

The CS40II may not be the flashiest or most eye-catching guitar out there, but if you’re after a well-built, great-value short-scale classical guitar, it’s hard to beat.

FAQ

The rise and rise of the 3/4 acoustic

Though not universally beloved by us guitarists, it would be unfair not to attribute the growth of the 3/4 acoustic market to Ed Sheeran. His signature range of shrunken Martin guitars was immensely popular and his more recent move to Lowden guitars has put that brand on the map for non-aficionados too. Whilst Taylor started the trend of quality 3/4 acoustics over 30 years ago, Ed Sheeran only accelerated their popularity in the last 15 years.

How we test

At Guitar Player, our team of writers aren't just music enthusiasts; we're real-life musicians. Our hands-on experience with 3/4-sized acoustic guitars ensures that our reviews and recommendations are backed by practical knowledge and real-world testing.

When it comes to selecting the best 3/4 acoustic guitars, we leave no stone unturned. Meticulously evaluating factors like tonal versatility, sonic character, build quality, and value for money, it's only after rigorous testing in a variety of playing scenarios do we choose products for our guides.

We stand by our selections, ensuring that every set of strings we recommend is one we'd use ourselves.

Meet the experts

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Read more:

• Get the best of both worlds with the best acoustic-electric guitars
• Spruce up your guitar with the best acoustic guitar strings
• Supercharge your acoustic playing with the best acoustic guitar pedals
• These are the best guitar slides

As a guitar-obsessed teenager in Winnipeg, Canada, in the late 1950s, Randy Bachman would make weekly Saturday pilgrimages to the local music store, Winnipeg Piano, which is where he met two lifelong friends. One was another budding area musician named Neil Young; the other, a used 1957 Gretsch 6120 Chet Atkins Hollow Body electric guitar that would become his closest and most treasured musical companion. “Neil lived on one side of town, I lived on the other, and we would both take the bus downtown and look in the window of Winnipeg Piano at this guitar and go, ‘Man, if we could ever play that...’” 

Bachman, now 80, recalls. “We had seen Duane Eddy play ‘Rebel Rouser’ with a 6120 on American Bandstand, but that was black-and-white TV, right? So when we saw the actual guitar in the window, and it’s orange, it’s in the sunshine, it’s glowing… It was stunning.” Bachman bought that stunning Gretsch, managing the $400 price tag with money he earned mowing lawns, babysitting, delivering newspapers “at six-in-the-morning in 40-below-zero weather” and doing other odd jobs. 

Young, meanwhile, picked up another ’57 6120 that came into the store around the same time. “In the middle of ’57, Gretsch switched from DeArmond pickups to Filter’Trons,” Bachman says. “So I bought the DeArmond one and Neil bought the Filter’Tron one. He took that guitar and played it with Buffalo Springfield on American Bandstand.” Bachman did okay with his Gretsch as well. 

After playing in several local bands, he joined local-area group Allan and the Silvertones, who went through several name changes, scored a number one hit in Canada with their version of Johnny Kidd & the Pirates’ “Shakin’ All Over,” and ultimately solidified as the Guess Who. Bachman played his 6120 on that chart-topping recording and employed the guitar in the writing and recording of a subsequent string of classic Guess Who albums and hit singles, among them “These Eyes,” “No Time,” “Undun,” “No Sugar Tonight” and the indelible “American Woman.” 

After parting ways with the Guess Who in 1970, Bachman formed the hard-rocking Bachman-Turner Overdrive and continued his charmed collaboration with the 6120. He penned more hits — “Let It Ride,” “Roll On Down the Highway,” the classic-rock radio staples “Takin’ Care of Business” and “You Ain’t Seen Nothing Yet,” and others — and recorded numerous Gold- and Platinum-selling albums. 

“From the moment I got that guitar, it was like Dumbo’s magic feather to me,” he says of the Gretsch. But one day in 1976, that magic disappeared — literally. For years, Bachman had routinely gone to extreme, almost comical lengths to keep the Gretsch safe on the road. He describes an elaborate process of securing the guitar to hotel-room toilets via a combination of sandbags, tow-truck chains and two bike locks, “so if somebody wanted to steal it, they had to rip the toilet out of the wall or have a hacksaw, which most guys don’t when they’re stealing from a hotel room,” he says. 

But after he left the Gretsch in the care of a roadie while checking out of a Toronto-area Holiday Inn, the guitar vanished. “The roadie said to me, ‘I left it in the room, I went to pay the bill, I came back, it was gone,’” Bachman recalls. “I felt like somebody had cut off my hand.” Thus began a years-long, and ultimately unfruitful, search for the 6120, one that pulled in the Canadian Mounties, the Ontario Provincial Police, vintage instrument dealers throughout Canada and the U.S., pawnshops, mom-and-pop stores, private collectors, mainstream music magazines like Rolling Stone and, basically, anyone that Bachman could tell his story to in the hopes of garnering the slightest lead on his Gretsch’s whereabouts. 

The guitarist was distraught and unable to sleep. He received a call from Chet Atkins — one of his idols and the man most closely associated with the 6120 — during which the legendary picker empathized with Bachman’s loss. Afterward, Atkins surprised him with a brand-new Gretsch Atkins Super Axe prototype, but even that couldn’t fill the “giant, Grand Canyon–sized hole in my heart,” he says. And so Bachman filled it another way, spending the ensuing decades purchasing every Gretsch he could get his hands on. 

Fans even began bringing their old Gretsches to shows, which Bachman would buy on the spot for a few hundred dollars or less and have shipped home. His searches and purchases led him to rare models, unique finds, one-of-a-kind prototypes, and more than a few 1957 6120s — just not his 1957 6120. Eventually, he had amassed upward of 350 examples. “I ended up,” he says, “with the world’s largest Gretsch collection.” When the Gretsch family regained control of the brand from Baldwin in the mid-1980s, new president Fred Gretsch approached Bachman about using his collection as a basis for re-creating storied guitar models. “There had been a huge factory fire years earlier, and he had no templates,” Bachman says. 

“So Fred flew to my house in White Rock, B.C., and said, ‘Can I borrow your guitars, one or two or five or six at a time, and copy them?’” The result was that “almost every Gretsch you see now is a copy of one of mine,” Bachman posits. What’s more, his collection was quickly increasing in value. “In the late ’80s, the Traveling Wilburys came out, and all of a sudden these legendary guys are playing Gretsches — they’ve got Country Gentleman and Sparkle Jet and orange 6120 models,” he explains. 

“Now my guitars that I paid 250 bucks for are suddenly $2,500. A year later they’re $12,000. They just go up and up because there aren’t that many around. Combined with Fred Gretsch copying my collection, it was a Cinderella story for me.” But that story was far from over. Eventually, Fred Gretsch asked Bachman to sell him the entire collection outright. “Fred said, “They’re my history. Can I buy them?’” Bachman recalls. “And I sold him all 350 of them, which are now in his museum in Savannah, Georgia.” 

By then, Bachman had moved on to another obsession: midcentury German hand-carved archtops. “I got one for Christmas one year and I went, ‘Wow, this is amazing! It’s so light.

 Plays so great. Look at the neck joint — it has a screw and a bolt, like a church key. What is this?’ It was a Hoyer, and I fell in love with that guitar,” Bachman says. With help from his daughter, who speaks a bit of German, Bachman began buying up German archtops online. “Every night we would go on German eBay, find an old guitar, buy it for 300 or 400 Deutsche Marks, get it home and go, ‘This is incredible!’” Bachman says. 

Soon, he had procured well over 100 of these instruments. “And they’re all hand-carved, with beautiful wood, incredible bindings, unique features like lightning-bolt f-holes, scalloped tops. And with wonderful stories — I’ve got pictures of fathers and sons and grandfathers making them in their attics or little sheds on their farms, with wood from the Black Forest. They’re all so unique. I have 150 of them on display now in Calgary, and they’re going to be auctioned by Julien’s.” 

As for what drives his guitar thirst? “I’m an obsessive collector, what can I say?” Bachman explains, and then takes a friendly dig at his old Winnipeg mate. “I mean, collecting guitars is easier than collecting cars, right? Because Neil Young does that, and now he has three barns full of ’em!” But at the end of the day, all the Gretsches and German archtops Bachman procured over the years were only a Band-Aid for the guitar that got away. 

A 1957 Gretsch 6120 Chet Atkins in Western Orange with a Bigsby vibrato and black DeArmond pickups is already a highly valued and incredibly rare find — fewer than 40 were actually produced in that year. Add in the special bond Bachman shared with the instrument — “I used to fall asleep with it on my chest,” he says — and it’s literally a one-of-a-kind, unreplaceable keepsake."

Decades on from that Toronto Holiday Inn in 1976, it appeared lost forever. Until it wasn’t. In 2019, a neighbor of Bachman’s in White Rock named William Long reached out to him online. A Bachman fan and something of an amateur internet sleuth, Long had undertaken his own search for the missing 6120, “and one day a message came in that said, ‘I found your lost Gretsch guitar,’” Bachman recalls. “So we called this guy and he said, basically, ‘I watched the video for [the 1975 Bachman-Turner Overdrive single] “Lookin’ Out for #1” on YouTube, which shows you playing the Gretsch. And then I Googled every other orange Gretsch 6120 sold on the internet in the last 15 years.’” 

Employing retooled facial-recognition software to help him identify and match unique wood grain patterns and distinctive wear-and-tear and markings, Long spooled through hundreds of internet photos and videos and eventually matched Bachman’s 6120 to a guitar in an obscure 11-minute YouTube clip of a man and a woman performing songs like Johnny Marks’ “Rockin’ Around the Christmas Tree” in a Tokyo bar, the man strumming what appeared to be the long-lost Gretsch. 

That man, it turned out, was a well-known musician and songwriter named Takeshi — “he’s like the Japanese Brian Setzer,” Bachman says — who had purchased the 6120 in a Tokyo guitar shop eight years earlier. A video conference call, brokered by Takeshi’s PR rep and Bachman’s Japanese daughter-in-law, Koko, was quickly set up, allowing the two musicians to meet and for Bachman to lay eyes on the 6120 for the first time in more than 40 years. 

“I look at it, it has the same little blemish by the master volume control on the cutaway. It’s my guitar,” Bachman says. “It took my breath away. And Takeshi tells me, ‘Well, I’m an honorable man. I’ll give you back your guitar.’ I told him I’d give him a new Gretsch as a replacement. He said, ‘I don’t want a new Gretsch. It must be another ’57. No mods, no repairs, nothing.’ And I go, ‘Are you kidding?’” But if anyone knows how to fi nd a rare Gretsch, it’s Bachman. With help from Gary Dick at Gary’s Classic Guitars in Ohio, he procured an all-original 1957 6120 with DeArmond pickups — no Filter’Trons — and a serial number “two digits off from mine,” he says. 

“I told Takeshi, ‘Not only do I have you a ’57 Gretsch, but it was made in the same week, probably by the same guy. It’s a puppy from the same litter.’” And so, with replacement guitar in tow, Bachman headed to Japan. On July 1, 2022 — Canada Day — he and Takeshi met onstage at the Canadian Embassy in Tokyo, where, in a special ceremony, the two exchanged Gretsches (and hugs), told stories and even jammed together on BTO’s “Takin’ Care of Business” and other hits. The moment was an extraordinary one for Bachman. But it wasn’t until later that night that he truly reconnected with the 6120. 

“At two in the morning, back in my room, I opened the case and put the guitar on a chair,” he says. “And I said to the guitar, ‘Hello, old friend, it’s been a long, long time. You’ve got some wrinkles and cracks. So have I. Let’s play.’” Bachman then proceeded to “play every song I ever learned on it, every song I wrote on it. I played for over two-and-a-half hours, until I was all played out.” He pauses. “Then I started to play something else. And I said to the guitar, ‘Are we making up another new song?’ 

I took out my iPhone and I started recording. And I called the song ‘Shadows of Yesterday.’” If this turn of events sounds almost too perfect to be true, seeing is believing. And amazingly, Bachman has the entirety of his reunion with the 6120 — from speaking with Takeshi on video conference to their emotional onstage meeting in Japan — preserved on video. “

"We were filming everything for YouTube, so we have all this footage,” Bachman explains. The material has now been compiled into a new documentary, Lost and Found. Directed by Tyler Measom, the fi lm has recently been completed. “It should be shown at Sundance,” Bachman reports, “which is coming up next spring, and then the Toronto International Film Festival, the Tokyo International Film Festival — because they’re crazy over this thing in Japan — and anywhere else we can show it,” he says. 

And the song that closes Lost and Found? The newly penned “Shadows of Yesterday.” “My son [musician Tal Bachman] said to me, ‘Dad, let’s be real — with this guitar you wrote numberone hits. And you haven’t had one since,’” Bachman says. “I told him, ‘Yeah, but I’m not chopped liver!’ “So now that I have the 6120 back, there are more songs. And maybe something magical will happen. And it doesn’t have to be with a song. Even if it’s getting a number one on Rotten Tomatoes for the documentary, the guitar will have done its magic one more time.”

Scott Holiday calls from his car while driving to a rehearsal with his band, Rival Sons. It’s a long haul from his home in Huntington Beach to Hollywood, but he doesn’t mind. “California’s had a lot of rain recently,” he says. “But right now the sky has opened up and it’s beautiful out. I love it.”

The guitarist is excited to play some of the new songs from the band’s latest album, Darkfighter (Atlantic) in preparation for what could be a year’s worth of road work. “We tracked all of the songs in the studio, but now we’re going to play them straight through as a band for the first time,” he says. “They take on a whole new identity when you’re not in recording mode, and when you play them for an audience they become a whole different animal.”

It’s been four years since the hard-charging classic rock enthusiasts released new music, but Holiday and his mates – singer Jay Buchanan, bassist Dave Beste and drummer Michael Miley – are rewarding their fans’ patience with not one, but two albums: Darkfighter (produced, as always, by the band’s studio main man, Dave Cobb) will be followed later this year with an already recorded companion disc, Lightbringer.

“The first album is part of the story, and the second one, while a bit different, is the continuation,” Holiday explains. “We wanted people to easily digest the new songs, so it made sense to split them up on separate albums. If you have an hour of music on a record, it causes fatigue for the listener.”

Darkfighter’s eight crushing tunes could hardly be a cause for weariness. Looking for a surrealistic, Zep-flavored mini-epic? There’s “Rapture.” “Nobody Wants to Die” is a go-for-the-throat (or grab-you-you-by-the-balls) house rocker, and for whacked-out stoner rock, “Bird in the Hand” gets it done. Holiday rips and snorts throughout – he doesn’t so much play a riff as blast it like buckshot. And his assortment of delirious, mega-fuzz solos are perfectly placed songs-within-songs.

“While I was coming up with my guitar parts, I didn’t really listen to the same old rock stuff that I usually do,” he says. “I got into a bunch of jazz, like Coltrane and Monk. I know people will say, ‘Rival Sons isn’t very jazzy,’ but I used those records as a palate cleanser to aid my writing. I’d rather listen to a horn or a drum or a voice to determine what I want to do. We kind of know all the moves we want to make on the guitar, so I tried to take it somewhere else.”

In the past, you’ve said that the band would show up in the studio and write on the spot. Was this album done the same way?

No, this one was more written at home. Jay and I would pass ideas back and forth. That said, we did leave room to cut some stuff off the floor. We didn’t work too much with the other guys until we got to the studio. We wanted to capture everything in the moment.

The first few songs on Darkfighter are pretty direct arrangement-wise, but as the album progresses it gets more progressive and elaborate. The last two tunes are over six minutes each.

That was the idea. It’s been a while since people heard new music from us, so I wanted to start the album with things that were slightly familiar. After an organ intro, you hear the riff to “Mirrors” and go, Okay, I’m listening to Rival Sons. That was the first riff I wrote for the record. When I came up with it, I was like, All right, we’re writing a record!

“Mirrors” has such brutal guitar distortion. It sounds like your amp is breaking apart.

[laughs] Yeah! I worked with a guy from Denmark at a company called KossekFX, and he came up with this super-weird octave fuzz. I recorded with it at home through a Supro amp. It’s a cool sound.

Other tracks, like “Bird in the Hand” and “Rapture,” have incredible overdriven tones. Are you using that same effect?

I tried to use different effects throughout. There was an octave effect we call the Deep Sea Kraken, and I really got into the Keeley Synth-1 pedal. It’s not really a fuzz; it’s a synth. I’m just attacking it, and I have it set in a way that makes it sound more like a fuzz. I love it.

The guys at Isle of Tone make some exquisite vintage-style fuzzes. They made me one that’s like a Mk 1.5 Tone Bender meets a Fuzz Face. It’s special.

Your solo on the song “Rapture” is pretty strange, but in a good way. Is something like that composed at all?

It’s reasonably spontaneous. It’s a weird solo in that it’s textural. There’s not a lot of burning hot licks all over it. It’s fun guitar playing, for sure, but it’s me trying to connect lines and create a mood.

What were the main guitars you used?

There were some new things. I used a really cool Gretsch Falcon. It’s in the car next to me right now. I built it with Stephen Stern at the Custom Shop, and it’s awesome. It’s got TV Jones Super’Trons in it. It’s already seen a lot of playing.

I’ve also been working with Matt Hughes at Banker Custom. He’s made me some really amazing instruments. He built me a korina Flying V, but I wanted to do the Lonnie Mack thing with the long crossbar for the Bigsby, so it’s a Flying A. [laughs] He also built a V Bird – it’s like a Firebird and a Flying V mashed up. I use that one a lot.

I also used a baritone on this record – a Kauer Banshee baritone. That was something different, although we’ve dabbled a little bit. 

I started writing with an old Danelectro baritone, and I loved how it sounded. I also used a Gretsch Duane Eddy, and I recently got a ’66 ES-330. That guitar is like “the Beatles in a box.” Those were the main players. I got a lot of cool sounds going with them.

Dave Cobb has produced all of your albums. How involved does he get in the songwriting and arrangements?

It depends. Sometimes he says, “What do you have?” We’ll play him a song and then he’ll hit the buttons. [laughs] A lot of times, we’ll track parts and he’ll tell us what’s missing. He’ll pick up a guitar and say, “It needs a pre-chorus.” We’re pretty hard on ourselves. He’ll tell us to shit-can parts. Sometimes we will and sometimes we won’t. He’s more of another band member than an authority figure.

Because you and Dave know each other so well, does he find new ways to push you creatively?

It couldn’t be easier or more fun getting tones. I bring my live rig in, along with the stuff I use to write with at home. Dave’s got the best stuff in the studio – it’s just unreal. We know what works and what sounds good. I’ll get a sound for one part, and Dave will go, “Go grab my ’54 Esquire. It’ll make a great contrast.”

As far as playing, I don’t feel like he has to push me. I’ll try to get in a zone in the studio, but instead of being confident and in control, I’ll be super-vunerable. I’m not looking to overplay to boost my ego; I want innocence and discovery, and that gets harder to find the longer you do this.

Order Rival Sons’ Darkfighter here.

Visit the Rival Sons website for tour info, merch, updates and more.

Brian Setzer has released the first single from his forthcoming LP, The Devil Always Collects. Available via Surfdog Records, Setzer’s latest solo album is due out on September 15.

Accompanied by an animated music video, the rockabilly icon’s version of “Girl on the Billboard” is a souped up, tremolo-laden cover of country singer Del Reeves’ chart-topping 1965 hit.

“It’s an old truckers song,” said Setzer. “At first I wasn’t getting the sound I wanted until I picked up my Gretsch 1957 Duo Jet 6131 Fire Bird. I mean, the sound is monstrous, dirty and twangy.”

An oft-overlooked vintage axe, the Gretsch Jet Fire Bird was a guitar of choice for rock and roll pioneer Bo Diddley who famously appeared with the model on album covers.

Featuring a pair of DeArmond Model 2000 pickups (referred to in Gretsch literature as Dynasonics), the original Gretsch Jet electrics have a quintessential rock and roll tone that will take you right back to the ‘50s, especially when fitted with flatwound strings.

Gene Vincent guitarist Cliff Gallup was also an early proponent of the original Gretsch Jet design that debuted in 1953 with the Duo Jet. Appearing alongside the black-finish Duo Jet and sparkle-finish Silver Jet, the Jet Fire Bird was released in ’55 and is essentially the same design, albeit with a red finish.

Early rock and roll fans Jeff Beck and George Harrison were similarly smitten with DeArmond Model 2000-fitted Jets, while Malcolm Young and PJ Harvey both played Filter’Tron-equipped double-cutaway ‘60s models.

Produced by Setzer and Julian Raymond, The Devil Always Collects features a rootsy rock sound with a “contemporary freshness that unites fans of rock, Americana, rockabilly, and punk.”

Days after the album’s release on September 15, Setzer is due to head out on tour. Celebrating his first set of live shows in over four years, the Rockabilly Riot tour will begin on September 27.

“I’ve had a pretty long break, and I needed it,” revealed the guitarist. “I’m renewed and really want to play live again. I want to just get out on the road with this kick-ass little three-piece band and start playing.

“I think fans can always expect that I’m going to play the hits. I also want to play some solo guitar and little things I’ve worked out by myself. I’ve never really gotten to do that, so it's going to be something new.”

Visit the Brian Setzer website for more information and tickets.

Chet Atkins, George Harrison and Billy Duffy are just a few of the names on Gretsch’s long list of devotees.

The first Gretsch-branded guitars appeared 90 years ago when the instrument was rapidly gaining popularity. And when the Synchromatic range was introduced at the end of 1930s, pro players started taking notice.

In the post-war period, the electric guitar began to gain traction, becoming ever more popular throughout the 1950s as popular culture embraced rock and roll.

During these times, Gretsch was responsible for some of the greatest and most influential designs in the history of American guitar building.

Seen in the hands of rock and roll innovators Cliff Gallup and Bo Diddley, the ‘solidbody’ Duo Jet appeared in 1953.

In 1954, Gretsch’s flagship White Falcon was unveiled at the NAMM trade show, while the premier guitar hero of the day, Chet Atkins, received his first signature model, the Hollow Body, the same year.

Atkins’ top-of-the-range Country Gentleman was then developed in 1957 for the 1958 model year.

Also in 1958, Gretsch celebrated its 75th anniversary with the release of the budget-friendly Anniversary models. Appearing in single- and double-pickup formats, these electric archtops have since become desirable pieces, fetching several thousand dollars on the vintage market.

This year, Gretsch celebrates its 140th anniversary.

Marking the occasion, the family-owned company has announced the release of six unique models that pay tribute to their generations-long instrument building legacy.

Appearing in the all-new Double Platinum Collection is the Duo Jet-inspired G5230T-140 Electromatic 140th Double Platinum Jet.

The G6136T-140 LTD 140th Double Platinum Falcon honors the White Falcon, while the G6134T-140 LTD 140th Double Platinum Penguin pays tribute to its ‘solidbody’ sibling, the uber-rare White Penguin.

Chet Atkins’ perennially popular Hollow Body is commemorated with the G5420T-140 Electromatic 140th Double Platinum Hollow Body while the G5622T-140 Electromatic 140th Double Platinum Center Block guitar’s feedback-busting semi-hollow construction may appeal to players using more gain and/or volume.

The G6118T-140 LTD 140th Double Platinum Anniversary completes the new range with a tip of the hat to Gretsch’s ‘golden era’ Anniversary models.

Visit the Gretsch website for more information.

If ever there was one guitar to out-bling them all, it would be the Gretsch White Falcon. Yet, there’s also a subtle elegance to this model that somehow allows it to pull off all the bejeweled gold hardware and sparkly plastics with class.

Designed by guitar virtuoso and Gretsch endorsee Jimmie Webster, the White Falcon was developed early in 1954 and released for production later that year or in early ’55. Like other Gretsch models of the era, it was born as a single-cutaway, fully hollowbody archtop with dual Dynasonic single-coil pickups.

It evolved into the double-cutaway styling with dual Filter’Tron humbuckers that typified Gretsches of the 1960s, as seen in this example from 1962.

There’s more to our featured example, though, some of which does meet the eye. This 1962 is, in fact, the White Falcon Stereo model, with each of its Filter’Tron humbuckers split into two pairs of three pole pieces per coil, and routed to a stereo output jack.

As described in a chart drawn up by Webster himself, the four upper switches deliver a whopping “54 colors and shadings in stereo sound.” The stereo craze didn’t quite pan out to be what some makers had hoped, though – at least not in the world of guitars – and few such models were ever made. Thus, the standard mono White Falcon is generally more worthy of consideration.

Big in looks, this guitar was also large in physical stature. Unlike the 24.6-inch scale length found on popular Gretsch models, like the 6120 Duo Jet, the White Falcon clocked a full 25.5 inches. Add to that a 17-inch width across the body’s lower bout and a depth of two inches, and it’s a pretty hefty instrument to sling on your shoulder.

Similar to other hollow Gretsch models, its body was made from laminated maple, with parallel tone bars (a fancy term for braces) supporting the pressed-arch top. As such, the tone is predominantly bright and clear through the low-output Filter’Trons, but also full, round and just a little edgy with some grit dialed in at the amplifier.

The glued-in, multi-piece maple neck wore an ebony fretboard, and by this time Gretsch was using the zero fret, which helps distinguish the company’s ’60s-era guitars.

More than all of these construction and sonic elements, though, it’s the overt esthetics that help the White Falcon make its considerable statement on any stage. Put another way, you don’t choose a guitar like this simply because you like its sound; you have to be prepared to embrace the bling, too.

In addition to the kitsch of the white finish (which usually fades to an appealing cream or butter-yellow over the years), this regal six-string sports multi-ply gold-sparkle binding and truss-rod cover, gold hardware with an elaborate G-and-chevron trapeze tailpiece and Grover Imperial tuners, a gold back-painted pickguard with falcon graphic, and faux rubies inlaid into its control knobs.

Our example sports another mechanical “tone enhancer”: dual foam-rubber dampers positioned in front of the bridge and controlled by rods attached to the two small gold knobs atop the red felt pads behind the bridge. 

These allowed you to selectively mute the three treble strings, the three bass strings or all six. Is palm muting that difficult? Apparently not. Most players ripped these contraptions from their guitars faster than you can say “tuning nightmare.”

While they were often found in the hands of a few showboat-inclined jazzers and rhinestone-bedazzled country artists in the earlier years of its release, White Falcons also made their way onstage with the Rolling Stones’ Brian Jones, Joe Strummer of the Clash, Neil Young (who still owns a vintage single-cutaway stereo model), and the Cult’s Billy Duffy, thereby proving it could rock just as confidently as it could roll.

Essential Ingredients

• Fully hollow double-cutaway body made from laminated maple
• Arched top braced with parallel “tone bars”
• Glued-in maple neck with ebony fretboard
• “Thumbnail” position markers
• Two Gretsch Filter’Tron pickups, wired for stereo output
• Gold-sparkle binding and truss-rod cover
• Space Control bridge and chevron trapeze tailpiece

***The following appeared in the May 2019 issue of Guitar Player***

"There's something about rockabilly riffs that makes them different from other kinds of riffs, Brian Setzer says. 

“When I hear a rock riff, I hear something that’s very tied to the drums. There’s a funky aspect to the way it works. But a great rockabilly riff operates on so many levels. I hear blues, country and jazz. I hear big bands and horn melodies. There’s a lot of colors going on. I guess that’s why I’ve found rockabilly so appealing. It’s a limitless art form.”

Some artists are tourists of multiple genres, but Setzer is more like an explorer, going deep into subcategories such as roots-rock, bluegrass, doo-wop, jump blues and hillbilly jazz.

With uncanny prescience, he kickstarted the ’90s neo-swing revival when he formed his eponymous Orchestra in 1994, much as he did a decade earlier when he rebooted the Sun Studio sound of the 1950s with his group the Stray Cats.

Shaking off a first impression is darn near impossible, and to the millions of music fans who first heard him hot-dogging solos with the Stray Cats on early ’80s hits like “Rock This Town,” “Stray Cat Strut” and “Runaway Boys,” Setzer will always be associated with rockabilly.

And he’s cool with that.

“Rockabilly is so near and dear to my heart,” the guitarist says. “There’s just something exciting about it, and it never goes out of style. You can always add your own wrinkle to it and take it somewhere else.”

Setzer formed the Stray Cats with fellow Long Islanders and rockabilly enthusiasts Lee Rocker (upright bassist) and Slim Jim Phantom (snare and kick specialist) in 1979. Sporting greaser duds, colorful tattoos and mile-high pompadours, the band invaded stages at New York City punk clubs like CBGB and Max’s Kansas City – and they went down a smash.

“The funny thing was, we weren’t really different from the punk bands,” Setzer says. “The rockabilly music from the ’50s was basically the punk music of its day. It was essentially I-IV-V blues progressions, with some killer musicians playing it. So I wrote songs in the rockabilly style, but it sounded just as fresh as what everybody else was doing.”

Even so, the band couldn’t get a record deal in the States, and it wasn’t until they relocated to England in 1980 – where they found fans like the Rolling Stones and a sympathetic producer in ex-Rockpile guitarist Dave Edmunds – that they signed with Arista and scored a series of chart hits.

Two years later, EMI in the States took note and compiled the Stray Cats’ first two U.K. albums (Stray Cats and Gonna Ball) as Built for Speed.

With MTV a fixture in living rooms across the nation, the band’s videos were seen 24/7, and Built for Speed became the surprise hit of 1982, selling more than a million copies.

But the Stray Cats quickly flamed out. Their Built for Speed follow-up, 1983’s Rant N’ Rave with the Stray Cats, produced a Top 10 hit with “(She’s) Sexy + 17” but only went Gold, and a year later the group, mired by internal squabbles, packed it in.

Setzer puts the band’s breakup down to the predictable “too much, too soon” syndrome, but he also admits that his outsized ego was the root of the group’s demise. “It was pride and stubbornness,” he says. “When you’re young and full of yourself, you start to think, I don’t need those other guys. Plus, there was a musical aspect to it – I wanted to try something a little different. So I did that.

“But after a while, you kind of grow up. You realize just how silly you were, and you think, Well, maybe we could get back together.”

As it happens, Setzer wasn’t thinking about getting back into the studio with the band when he started writing the batch of songs that eventually became 2019’s comeback album, 40.

As he explains, “I was just messing around with an old Fender Reverb unit, and I just loved the twangy sound of it. I began writing these songs that were like spaghetti westerns – which is really surf-guitar music when you get down to it.

“But then I got on the phone with Jim, and he mentioned that our 40-year anniversary was coming up. I was like, ‘Holy cow, you’re right!’ So that planted the seed. 40 is a big number. You gotta honor it.”

What was the first rockabilly record that made you go, “What is that?”

That’s easy: “Be-Bop-A-Lula,” by Gene Vincent. I was 16 or 17, and I went to Max’s Kansas City. The jukebox was playing new wave and all the current stuff, but suddenly that song came on, and I was like, Wow… What is that? I went over to read what it was. That sound and that guitar solo just jumped out at me. I’ll never forget it.

There wasn’t anything like that around at the time. There was Robert Gordon, whom I found out about. But at the time, it was all new wave and punk – the Dead Boys, the Cramps… That kind of thing.

Cliff Gallup’s guitar on “Be-Bop-A-Lula” just knocked me out. It was so different. The sound of that guitar just went right through me.

At the time, you were also a jazz fan, and what I’ve always liked about your playing is the way you mix jazz chords and soloing with rockabilly. Did that just happen naturally?

Well, see, I didn’t have musical blinders on. On Thursday night, I’d go to the Village Vanguard and see the Thad Jones/Mel Lewis Orchestra. On Friday night, I’d go see a punk band. I liked it all, and that’s what came out of me with chords and riffs.

I had a certain style and played with a thumbpick and flatwound strings. It wasn’t conscious. There was nothing premeditated to it.

When did you get your first Gretsch?

I was 17 years old and found it in this local paper, The Byline Press. It said, “Gretsch guitar, 100 bucks.” I called the guy up and asked, “Is it like Eddie Cochran’s?” He was like, “Who?”

So I went to his house, and there was the guitar, the 1959 orange 6120. It was exactly what I was looking for. He was going to refinish it and make it natural. He had all of the electronics for it in a shoe box. I gave him 100 bucks, took the guitar and the shoe box, and off I went. It was destiny.

What kinds of guitars were you playing before the Gretsch?

Prior to the Grestch, it was a Japanese guitar that my dad got for me at a pawnshop on Canal Street. I had to bug him for it because my parents didn’t have extra money to spend. They were just blue-collar folk.

And then I think I moved up to a solidbody Harmony. Having the right guitar made all the difference. Some people could get a good sound on the Harmony, but I couldn’t figure it out. Although I did have better luck when somebody told me about Slinky strings. Before that, I was using these heavy-gauge strings. You could use those things for bridge cables. Slinky strings were a revelation to me, and, of course, so was the Gretsch.

Did it take a while for you to figure out the right amp to pair it with, the Fender Bassman?

The Bassman was another destiny thing. I thought it was just a really cool-looking amp. I was into my image and wanted to look cool. I saw these blonde amps and just thought, I need one of those. I didn’t even know how great they sounded.

I answered another ad, this one from a jazz bass player in Weehawken. So I bought the amp, and there it was: “Wow, that’s the combination!”

Did having the right combination of guitar and amp change how you played or wrote?

It puts you in the right frame of mind, and you feel better about what you’re doing because you love the sound you’re getting. I’m not saying you can’t write a good rockabilly song with a Les Paul through a Marshall or some other non-rockabilly setup, but because the whole writing thing is so elusive, it just helps to have the right tools.

Like on [40]: I couldn’t have written it without a Fender Reverb unit. That thing really inspired me to get going.

The Stray Cats formed in 1979, the same year that Queen had a surprise hit with their own take on rockabilly, “Crazy Little Thing Called Love.” What did you think of that song? Did it bother you at all?

Oh, no, I wasn’t bothered by that in the least. I thought it was fantastic! I thought it was great. Brian May really stepped outside his signature sound on that one. What a great solo he played, you know? I thought the whole thing was terrific.

After leaving the Stray Cats, your first solo album, The Knife Feels Like Justice, explored more of a roots-rock/Americana sound similar to what Springsteen and John Mellencamp were doing.

Yeah, that’s right. I really wanted to explore that area. I changed my guitar tones and wrote some different songs, played different guitars through different amps. That album was transitionary for me. There were some really good songs on it.

If that album had been a big hit, would you have stayed with that sound?

That’s hard to say. I don’t know. It was a Top 10 album, but it didn’t cross over enough, I guess. I’m not embarrassed by it. I just had to see if I could do it, you know? If you wear Levi’s your whole life, you want to try on something new. So I did that. I tried it, and then when I was done I wanted to try something else.

Over the years, you’ve reunited periodically with the Stray Cats, but you’ve also toured with another outfit, the Rockabilly Riot Band, and you’ve turned your Orchestra into a big live attraction. Is there any kind of plan to it all?

A plan? No way! [laughs] I really just do what I want. That’s the level I live on. Let’s say I do something that’s not as popular as the other things. If I can’t get through that month, I sell a guitar, or I get rid of a motorcycle. And then, for some reason, it always comes back. I’ll do something that does really well.

I’ve always done what I’ve wanted, and it’s worked out. I never had to slog through some tour I hated or anything like that.

Have you incorporated the Fender Reverb unit into your live set-up?

As far as the live rig goes, every time I try to vary what I’m using, it never seems to go over. That Bassman has to be there – it’s just the right sound – and I use the Roland Space Echo.

The Fender Reverb Unit doesn’t work so well live. You put that thing on certain stages, and if there’s a slightest bounce, it’s gonna go off. And man, let me tell you, that’s like an explosion! [laughs] So live, I use the reverb in the Space Echo. It’s not as good as the Fender, but it’s more convenient.

You’ve released several lines of signature Gretsch guitars. What did you use on 40?

Well, I can’t stray too much from that ’59 Gretsch. I love that sound. I’ve got a green sparkle Hot Rod that I used on quite a few tracks.

It’s thin sounding, which I like. People always say it’s too thin, but to me, thin sounding is good because it cuts through everything.

I also used a ’56 White Penguin. That could be the first time a White Penguin has ever been recorded.

So I used those guitars and a few different amps. A lot of the reverb you hear is from an old Fender Deluxe [Reverb.] I don’t use that on “Desperado” – on that I used a Supro. But I still go back to my ’63 Bassman. That’s the ticket for me. There was just something about those things. The one I have is pretty much like the amp I bought at 17. You get a stock Bassman that hasn’t had its transformers replaced, and you’re good to go.

If a young player wanted to study rockabilly, who would you direct him to?

Besides yourself, that is. Oh, there are a few cool guys. As far as modern players go, there’s Jim Heath from Reverend Horton Heat. He puts a real punk spin on rockabilly.

And there’s a Canadian gent, Paul Pigat, from Cousin Harley. He’s really great. And Darrel Higham, he’s a U.K. guy – another good one!

Those are probably the best modern rockabilly players out there. They each bring their own style to it. But I have to go back to the original guys: Scotty Moore and Cliff Gallup. They’re my favorites.

Is there anything about your playing style you wish you could improve?

Hmm… That’s a good question. If anything, I think I could leave some more holes. It’s not like we’re patching a roof, you know? I could leave a little more space sometimes. When I hear some of my older playing, I like it, but sometimes I think I overplayed.

So I could probably slow down a bit, play a little less. But you know how it is. You get onstage and you’re all excited, and you just wanna keep playing. But I’m getting there. I’m getting more seasoned. [laughs]

Order Brian Setzer's latest solo album, Gotta Have the Rumble, here.

John Frusciante has played a number of 1950s Gretsch White Falcons over the years, and this DeArmond Model 2000-loaded single-cut electric guitar with a Melita bridge, Bigsby vibrato and winged headstock logo is currently his main squeeze.

Guitar Player tagged along to the Red Hot Chili Peppers’ Austin City Limits October 9 concert to get a close look at several guitar from Frusciante’s arsenal.

In addition to the guitarist’s iconic Fender Stratocasters, Fender Telecaster Custom, and Martin 00-15, we spotted this rare bird…

“John used to have a ’55 White Falcon,” says Frusciante’s current guitar tech, Henry Trejo. “That guitar, I believe, was on loan to him from [artist, actor, filmmaker and musician] Vincent Gallo.

“Dave [Lee, Frusciante's former guitar tech] actually found the ’58 that he’s using now. 

"In the current set he uses this guitar on two songs: 'Otherside' and 'Californication' [both from 1999's Californication].

“I got this guitar at a truck stop during the By the Way period. No kidding,” recalls Lee.

“I had to meet a guy there because he was driving it down and it was a halfway point. I remember getting the cash and going to a Flying Jay truck stop in Gorman, California, and I felt so weird standing there with tens of thousands of dollars.

“The guy showed up, and he wanted 20 grand for it. And then I saw the guitar and I said, ‘Look, it’s had some refinishing work done.’ And he goes, ‘Oh, let me make a call.’

“He comes back and says, ‘Okay, we’ll take seven.’ Like, that’s quite a drop!”

See this guitar and more in our latest issue. Follow the link on our homepage to order your copy.

The Gretsch White Falcon was conceived as a one-off showpiece demonstration guitar, one that would grab people’s attention and draw them in with as much bling and over-the-top craftsmanship as Gretsch’s Brooklyn factory could muster.

Unveiled at the NAMM show in July 1954, the guitar created such a flap that Gretsch hatched a plan for the guitar to become a fully-fledged member of its electric guitar line.

The following year, the White Falcon debuted at the top of Gretsch’s pecking order as its most expensive instrument, retailing at $600, roughly $5,750 today.

Much like Gibson’s flagship Super 400CES, introduced in 1951, the White Falcon was established as Gretsch’s crowning glory, and to this day it remains the superlative guitar for many.

“It was my ultimate dream guitar,” says the anonymous British collector who owns the 1950s single-cut Gretsches pictured here. “The first time I saw a White Falcon was onstage with Crosby, Stills, Nash & Young at Wembley Stadium in 1974.

“Neil Young and Stephen Stills played them a lot over the years. I used to look at the photographs when I was young and think, Wow! It was such a stunningly beautiful guitar and just something that I wanted to get one day.

“I was totally captivated by them, and their rarity created a kind of magic. For me, it’s the holy grail of guitars.”

In fact, he had never seen one available for purchase in the U.K. until Brian Setzer’s 1956 example came up for sale in 1994.

“He’d sold it to Marco Pirroni of Adam and the Ants, who was then brokering it through Vintage and Rare Guitars on Kenway Road in London,” he recalls.

“It was hideously expensive: I could’ve bought two [Fender] blackguards that were in the shop at the time for the same price – a matching ’53 Esquire and ’53 Telecaster. But when they took it out of the case, I just thought, I’ve got to have that guitar!”

He bought it and was not disappointed. “It totally lived up to my expectations,” the collector continues. “So I bought it and was smitten from then on. It’s like a Fabergé egg. It’s just fantastic.”

The other three in his collection – a ’58 mono 6136, a ’59 6136 and a ’59 stereo 6137 – were acquired from the United States.

“I did have a ’60 thinline, but it didn’t seem to have the same magic. The earlier ’50s ones generally have a body depth of 2¾ inches, but when Gretsch reduced it to 1 7/8 inches [in 1960], the feel of the guitar completely changed.

“I think the magic stopped in ’59. I can’t imagine them being produced in any other era than the ’50s. They’re very much of that time. They really capture the ’50s era well, and there’s nothing else like it.

“I’ve got a blackguard Tele and some other ’50s guitars, but there’s something about the White Falcon that conjures up that amazing time of rock and roll.”

If Fender’s and Gibson’s electric guitar designs embraced the styling of hot-rod culture, then the White Falcon – Gretsch’s “Cadillac of guitars” – embodied the zeitgeist of the 1950s.

Adorned in gold, and finished in a dazzling white automotive-style paint, it mirrored with equally lavish elegance the angular, futuristic geometry of dream cars through its Cadillac V emblem tailpiece, V-contoured headstock and truss-rod cover, and Grover Imperial stair-step tuners.

“Guitars and cars have always gone together,” says Ed Ball, author of Ball’s Manual of Gretsch Guitars: 1950s. “It’s the same mentality. There’s a ‘cool’ factor, there’s an aesthetic factor, there’s a macho factor, and I think Gretsch saw a parallel there.

“They even named their guitars after cars: they had the Corvette model, the Streamliner and the Convertible, and they used automotive references like Cadillac Green in their color scheme. Research has shown that the paints were right off the DuPont automotive paint chip library.

“I can’t say I’ve had a White Falcon tested, but my guess is they would be the same. White Falcons have an opaque white finish, and it yellows to a kind of ivory over the decades. To see a brand-new one in the ’50s must have been blinding, especially with all that 24-karat gold!”

“So much of the Gretsch aesthetic was taken from the automotive industry, including their marketing tools,” Ball continues. “Take their famous 1955 Guitars for Moderns brochure: Catalogs usually just went out to music stores, but they put copies of this one in magazines that went out to consumers directly.

“It was also Gretsch’s first color consumer-focused catalog, and if you look at car pamphlets from the same period, they look very, very similar. It was glossy, colorful and full of photos, and the White Falcon was one of the four models that appeared on the cover in full color.”

Featured on page two alongside an endorsement from jazz guitarist Mary Osborne, the White Falcon’s advertisement explained, “Cost was never considered in the planning of this guitar… This beauty is 17-inch[es in] body width and in the new thin model that’s so comfortable to play.

“It is finished in gleaming white with gold sparkle binding on f-holes, body edges and fingerboard. Choicest spruce top and maple for the body and neck; finest Madagascar ebony fingerboard with pearl positions, engraved and inlaid in gold. Unique handmade tailpiece of tasteful modern design.

“Grover precision 16-to-1 ratio machines for hairline tuning. Twin Gretsch-Dynasonic pickups with five Gretsch controls to make them even more effective. All metal parts heavily plated in 24-carat gold. The finest guitar we know how to make – and what a beauty!”

Evidently, Gretsch’s “finest” instrument represented the pinnacle of its guitar-building prowess. However, with significant production costs dictating relatively high retail prices (and, therefore, an inevitably lower demand), White Falcons were tentatively produced in very small numbers in the ’50s.

After all, “cost was never considered in the planning of this guitar” when guitarist – and Gretsch ambassador – Jimmie Webster conceived the idea.

“Legend has it that it was Jimmie Webster’s dream child, and he convinced Gretsch to make just one, for him,” Ball explains. “He demonstrated Gretsch’s products as a contracted consultant, but his impact clearly extended to design contributor, not only in terms of aesthetics but also function. 

“He was a main player in their design group. He wanted Gretsch to make an over-the-top guitar that turned heads when he was in a crowd at NAMM or in a demo. The White Falcon was intended for demonstration, but he showed it around a lot, and it created a huge buzz, so they decided to make more.” 

Ball believes that first White Falcon was built in early 1954, well ahead of that year’s July NAMM show. 

Gretsch typically made guitars in batches of 50 or 100, and the prototype White Falcon – which Webster allegedly passed along to Osborne – has the serial number 13450, which places it among the batch of Streamliners and Duo Jets with serial numbers starting from 13400, some of which have pot codes dating to early ’53. 

“As a point of reference, the 6120 [Chet Atkins Hollowbody] prototypes that Gretsch gave to Chet [in early ’54] weren’t made until the 13700 batch,” Ball explains. “People often presume the White Falcon came later, but the prototype White Falcon [from batch 13400] would have been about 300 guitars before those.”

Gretsch’s new masterpiece created so much excitement that the company found it hard to resist demand. But not everyone was thrilled by the White Falcon. Gretsch’s shop-floor staff was filled with apprehension at the thought of having to build such a high-end guitar on a repeat basis.

“Dan Duffy, the QC manager, said the White Falcon was so difficult to manufacture that they all just hated it,” Ball recalls. “Maybe one of the reasons they didn’t make that many of them was because they were very difficult to produce.

“They weren’t production friendly. I think it really was a show thing originally, and they got so much great feedback that within a year they decided they would go ahead and put it out as a regular model.

“The debut Falcons were in a mixed batch along with the debut Convertible model and a couple of acoustic models. There may be only 20 to 25 White Falcons in that first batch for 1955. Very few. I’ve found one in that batch that had a June 1954-coded pot, which gives you a sense they were probably making those at the end of ’54 for the ’55 model year.”

Just as the American automotive industry manufactured new models of cars in the year preceding their release, Gretsch typically made new or updated models of guitars for release the following year.

“After that first ’55 batch, there were two ’56 batches, one containing 25 Falcons and the other around 40 to 45. So there were fewer than 100 of them made in the first two years,” Ball explains. “I have not found evidence of a batch that falls anywhere close to the ’57 production year, but they did a fourth batch of 100 in ’58.

“I have one data point for a second potential 50-unit batch in ’58, but I’m waiting for it to be substantiated. The ’59 batch was 31450 through to 31499, so that’s 50 guitars. John Entwistle owned one from that batch, as did Stephen Stills. I was interested to find out that David Gilmour had a ’58; I didn’t realize he had a Falcon until it came up for auction.

“Some of these guys have them but they rarely sell them. When you talk about ’50s Falcons, there’s maybe five batches with 200 to 250 guitars maximum in total. That’s pretty sparse – even compared to Les Paul ’Bursts!

“I think the ones from ’58, ’59 and ’60 that are still single-cut are cool aesthetically, but they also have trestle bracing, and I think that’s why players tend to lean toward those. Gretsch must have thought, We’d better put some more structure in these hollowbodies because these guys are starting to play loud!

“It was probably fine if you’re doing Jimmie Webster tapping or chicken pickin’ at low volume, but if you’re playing at high volume, you’re going to want some structure in there to avoid feedback.

“Most feature changes on Falcons were in ’58. That’s when trestle bracing, Filter’Tron humbucking pickups and neoclassic fretboard markers were brought in. Those are the big changes.”

The White Falcon was among the first Gretsch models to receive a double-cutaway body in 1960.

“They kind of cleared out the old inventory and brought in the new style with the double-cutaway,” Ball explains. “The first 1960 batch – of 100 – has a mix of single- and double-cutaway bodies. They went on to make a lot of batches of double-cutaways in the mid-’60s.

“That was the George Harrison boom. Gretsch’s production tripled for all models in those three years after the Beatles appeared on The Ed Sullivan Show [in 1964]. And then it fell off the cliff in the late ’60s.”

The White Falcon’s remarkable expense meant that few guitarists could possibly afford to get hold of one, which is one reason why so few exist.

“They were made in such limited quantities that you wonder what kind of access retailers across the U.S. and overseas would have had to them,” Ball notes. “If there were literally no more than 25 made in 1955, who got them? Famous rich people or musicians?

“There was no such thing as collectors back then. Retailers may have bought a White Falcon just to have on the shelf, or as a window item to bring appeal.

“They just look so damn cool!”

Guitar Player thanks Ed Ball, author of Ball’s Manual of Gretsch Guitars: 1950s and Gretsch 6120: The History of a Legendary Guitar (Schiffer Publishing). Visit gretschguy.com for more information.

So, you're looking to buy a new guitar and have around $1,000 to play with. Well, fear not, as I have scoured the market and selected the best electric guitars under $1,000 you can buy right now. Whether you're playing blues, rock, country, jazz, or anything else, these guitars will serve you well on the road, in the studio, or just at home.

Having played guitar for 25 years, I’ve been fortunate enough to spend plenty of time with instruments in this price bracket. My years working in a guitar store also gave me the opportunity to compare many of these models side by side, and that experience, combined with Guitar Player's decades of expertise, has helped us select the very best options. These days $1,000 can get you a lot of guitar, as this guide proves.

If you want my top pick at this price point, I've gone for the PRS SE Custom 24 – an excellent choice no matter what genre of music you love to play. It's versatile, comfortable to play, and works just as well on-stage as it does in the confines of your home. Whereas if you’re looking for the best value below the $1k mark, the Squier Classic Vibe ’60s Strat is handsome, delivers amazing Strat tones and offers excellent value for money.

With so many excellent guitars at this price point, undoubtedly many didn't make my list, but I've chosen a good cross-section of what's available right now, with labels to help you navigate to your ideal match. If you have a burning question needing answered, scroll to the FAQ section at the bottom. I’ve also included a glossary of key terms and a how to choose guide to help you upgrade your guitar knowledge.

Best overall

Overview

The classics are classic for a reason. The Custom 24 has established itself as a major player in the world of guitars, alongside the likes of the Fender Strat and the Gibson Les Paul. Whether you’re a gigging musician, bedroom guitarist or producer who needs a reliable ‘do-it-all’ guitar, this has you covered. Absolutely one of the best electric guitars you can buy for less than $1,000.

Build quality

I've become so used to PRS guitars' great craftsmanship, and the SE Custom 24 is no exception. The materials have been chosen with intention, with a familiar layout: a mahogany body, flamed maple veneer, and maple neck. The rosewood fretboard is a nice touch, adding an aesthetic depth that looks the part. Although this is technically in PRS’ more affordable price bracket, the build quality certainly doesn’t display that.

Playability

The SE Custom 24 offers the superb playability that PRS has become known for. It’s a joy to play, regardless of what style of player you are. Playing the ‘wide thin’ neck profile is like putting on a comfortable pair of shoes, instantly familiar and hassle-free. It’s also the smaller details, like the sculpted lower horn, that give your left hand enough room to breathe when soloing high up the neck.

Sounds

This latest PRS SE Custom 24 features a pair of 85/15 ‘S’ humbuckers, based on their US-made counterparts. These are ideal for rock, blues, jazz, and loads more. However, if you need more tones at your disposal, the tone knob also acts as a coil-split function so you can get more single-coil-like tones, making this a really versatile instrument.

Best value

Overview

The entire Classic Vibe range from Squier offers excellent value for money, but I’ve picked out the ’60s Strat as one of the best guitars under $1,000 for its playability, looks, and sound. Vintage pre-CBS Strats are serious money, and Custom Shops and American Originals sit well above our $1,000 limit. This model could fit into our best electric guitars under $500 guide, less than half our budget here, and it’s a whole lot of fun to play.

Build quality

The Classic Vibes are built to a good standard; these will act as reliable instruments on the road or just at home. There are a few cost-cutting materials in play, like a nyatoh body and Indian laurel fingerboard. However, this doesn’t affect the guitar’s durability; if anything, a laurel fingerboard instead of rosewood typically comes down to aesthetics. I have actually played a few gigs with a ’60s Classic Vibe Strat when my main option went down, and I had absolutely no issues with its durability.

Playability

Like any Strat worth its salt, the ’60s Classic Vibe plays very sweetly. The C-shaped profile is a ‘Goldilocks’ shape, and most players will find it incredibly easy to get along with. There is a vintage-tint gloss finish; it does give the right aesthetic; however, some players may prefer a satin smooth finish as it can get a little sticky in some situations. This is a take on a classic Strat, and all of the body contours are in the right place, meaning it is very comfortable playing on your lap.

​Sounds

When it comes down to tone, you don’t quite get the same note definition and frequency range as you would with some more expensive models, but this guitar delivers all the classic Strat tones for not a lot of money. The traditional SSS pickup configuration comprises three Fender-designed alnico single coils, and the bell chime, spank, and warmth in the neck position are all present and correct.

Best for modding

Overview

The Player II series is the latest evolution of Fender’s best-selling Mexican-made guitars, and a few thoughtful upgrades have made me smile. It also offers an incredible base for anyone looking to add their own modifications. After all, the Telecaster has been heavily modded by the likes of Keith Richards, Albert Lee, and Andy Summers, to name but a few.

Build quality

Compared to the initial Player series, the return of rosewood fingerboards, the addition of rolled fingerboard edges, and a set of jack-of-all-trades Alnico 5 single-coils make the Player II series even more appealing. There is also a plethora of new finishes to choose from, and unlike the original Player series, you are no longer limited to alder; chambered mahogany and ash options are now on the table, adding even more tonal variety and lighter weights that those with a bad back will appreciate.

Playability

When set up correctly, the Player II series is one of the most playable ranges on the market. It can quite easily compete with guitars much more expensive, and details like a satin-smooth neck, a familiar C-shaped neck profile, and rolled fingerboard edges add up to an instrument that really is more than you will ever need, perhaps not what you want, but what you need.

Sounds

Telecaster pickups remain one of the most versatile configurations out there; this thing will cover punk to pop and most genres in between. There’s a reason the Telecaster hasn’t changed much since the ’50s, and its ability to adapt to just about any style is one of its greatest strengths. Sure, it is still not built for extreme high-gain styles, and there are better chugging options out there, but for everything else, this one is hard to beat.

Best modern

Overview

The Jackson Pro Series Lee Malia LM-87 is a real curveball in the best possible way. Inspired by Lee Malia’s vision of a modern, genre-crossing signature guitar, it blends offset styling with serious performance. While it carries a distinct metal-leaning, it is far from a one-dimensional instrument with plenty of surprising versatility to step well beyond heavier genres.

Build quality

Together, Jackson and Lee decided to build this around an okoume body with a set-neck construction. The LM-87 feels solid and thoughtfully put together, while the satin finish and cream binding give it a slightly vintage-inspired look and the contoured heel improves upper-fret access. Hardware is equally well considered, with a Tune-o-matic-style bridge and tailpiece featuring fine tuners for precise adjustments, a feature you don’t typically see often.

Playability

A satin finished C-shaped neck and 22 jumbo frets make for a fast yet still comfortable playing experience, with the compound 12-inch to 16-inch radius helping smooth out both chord playing and lead runs up and down the neck. The upper-fret access is excellent thanks to the sculpted joint, and overall it feels built for modern playing.

​Sounds

The LM-87 is loaded with a high-output Jackson LM-87 humbucker in the bridge with an LM-87 P90 in the neck, giving you plenty of tone options. The bridge delivers tight and aggressive tones suited to rock and heavier styles, while the neck offers clarity and warmth for cleaner playing. Coil-splitting expands the range of tones even further, and when the ‘bucker is split, the output retains surprising oomph, making this a genuinely flexible modern guitar.

Best traditional

Overview

Gretsch makes some of the best-looking guitars in the business, but they also sound killer. This style of guitar has been around for decades now; the single-cut hollow-body construction was pioneered by Gibson all the way back in the 1930s, and many other brands followed suit. Gretsch was fast on Gibson’s heels and today is one of the best in the business at producing hollow bodies.

Build quality

There is no denying that this guitar is visually striking. It comes in some incredible finishes, the body is nice and big, and the Bigsby tailpiece and arm add a nice little touch of class. My personal favorite is the Walnut Stain finish; it is classy and pops with the white binding. The arched laminated maple top is a snapshot of yesteryear’s electric guitar design style, and the G5420T wears it well.

Playability

Once you get over the large body, the G5420T plays incredibly well. We have a ‘Classic C’ neck profile accompanied by a 12-inch fingerboard radius; both are a comfortable middle ground between more extreme radius options and profiles. Although the body is large, being a hollow body makes the guitar quite light, so if you’re sick and tired of solid-body monsters, this may be a good choice.

Sounds

The fully hollow body also makes the tone really resonant and helps deliver a warm, full-bodied sound, and the BlackTop Filter’Tron pickups add some chime and sparkle to the top end. Whether you’re playing blues, jazz, rockabilly, or rock, the Gretsch G5420T really is one of the best electrics under $1,000.

Best workhorse

Overview

The Strat that isn’t a Strat received the SE treatment from PRS back in 2022, making it more affordable for a wider audience. PRS managed to do this without greatly reducing the overall quality or performance of the instrument. While the sound and look of the SE Silver Sky is hardly groundbreaking, there is something different about it.

Build quality

While the guitar is made in Indonesia, unlike the more expensive US models, it still features the classic Paul Reed Smith workmanship that we’ve all come to know and love. The SE version features a solid poplar body, maple neck, and either a rosewood or maple fingerboard, depending on your preference. There are plenty of finish options to choose from, and the newly released Laurel Green is a personal favorite.

Playability

Right out of the box (well, gigbag), this thing plays great, and we know it will continue to do so, year on year. With a 25.5-inch scale length, it is very Fender-like; however, the smaller 8.5-inch radius does make the SE Silver Sky feel like a different beast. It feels much rounder than a 9.25-inch radius and follows the curvature of your hand more naturally.

Sounds

The SE model sports three 635JM “S” pickups, the SE variant of the standard 635JM found in Mayer’s American model. All five pickup positions are nicely balanced and very usable; there is nothing harsh about the bridge position, and the neck pickup is lovely, deep, and rich. It sounds, and indeed feels, like a more expensive guitar.

While the PRS Silver Sky is still a relatively recent model compared to the decades-old Stratocaster, it has quickly carved out its own identity. Is it one of the best electric guitars under $1,000? John Mayer and his band certainly think so!

Best for shred

Overview

There are some great choices when it comes to super Strats at the moment, but none outperform the Charvel Pro-Mod So-Cal at under $1,000. Shredders and rock guitarists will love this, but it’s by no means a one-trick pony; it’s actually super versatile.

Build quality

The Pro-Mod So-Cal Style 1 looks great, and it is made well, plus that slim neck profile is incredibly comfortable for rhythm and lead work. For a guitar built for speed, Charvel has thrown the kitchen sink. The 12-inch to 16-inch radius gets flatter the further you climb the neck, while the graphite-reinforced neck has been added for ultimate stability when shredding. On this model, Charvel has implemented a Series 1000 Floyd Rose so you can dive-bomb to your heart’s content.

Playability

Perhaps the most unique aspect of this So-Cal is Charvel’s proprietary Speed Neck. Although this guitar wears its Strat influences on its sleeve, the Speed Neck is actually more akin to something from Ibanez. It’s incredibly thin and wide, not dissimilar to a flat D profile. Pair that with the rolled fingerboard edges, and you have a neck designed for one thing only: speed.

Sounds

A pair of fairly high-output Seymour Duncan humbuckers offers a tight bass response, along with a sweet top end. Dial back on the volume knob, though, and they will clean up, though that’s probably not what you’re getting this guitar for. The volume knob also works as a push/pull switch, activating a coil split, giving you single-coil sounds; this really isn’t just a shredder’s guitar.

Also consider

How to choose

Choosing your next guitar under $1,000 may take you a bit of time. After all, there are quite a few considerations. Having helped people select guitars at this price point during my day job in a guitar store, as well as writing for Guitar Player, I believe I have a solid formula for finding the right option. Whether you’re after a workhorse to gig with or a reliable studio guitar that’ll deliver on important sessions, here are the key points to consider.

1. Body shape

Firstly, and perhaps most obviously, is settling on a body shape. Are you looking for the comfort and accessibility of a Strat-style guitar, or something a bit more edgy like an offset? If you’re into classic rock, a single-cut Les Paul-style guitar may suit your tastes better.

Either way, narrowing your choice down to a preferred body shape will immediately reduce the overwhelming number of options. If this is your first guitar, go for whatever feels most comfortable. If you’re adding to your collection, you might want to choose a body shape you don’t already own.

2. Neck profile

Next, what neck profile do you prefer? The neck profile refers to the cross-sectional shape of the back of a guitar neck. Since your fretting hand is in contact with the neck throughout most of your playing, finding a shape that feels natural is very important.

When you’re just starting out, this can feel a bit confusing, especially since it’s a preference you’ll develop over time. A standard C-shaped neck profile is always a safe bet. It’s neither too thick nor too thin and is an ideal starting point. On the other hand, if you’ve played guitar before or already own another instrument, consider what neck profile it has and whether you’ve gotten along with it. If so, it’s usually worth sticking with something similar, if not the exact same profile.

3. Pickups

Lastly, and my favorite decision to make, is choosing what pickups to go for. Do you want spanky single-coil pickups that are bright and articulate, or are you a metal player looking for tight, high-gain humbuckers that can really push an amp? Pickups make up a huge part of your overall electric guitar tone when plugged in.

Whether you’re looking for versatility in an HSS configuration or the midrange bite of a P-90, it’s worth taking your time with this decision. After all, we play guitar to make music, and the amplified tone is a big part of why we choose electric guitar in the first place.

FAQs

Key terms

• Action: Refers to the height of your guitar strings in relation to the fingerboard.
• Alnico: An acronym of aluminum, nickel, and cobalt, and a type of magnet used in guitar pickups.
• Bridge: The piece of hardware on an electric guitar that anchors the strings to the body. It can either be a floating tremolo system or fixed so it does not move.
• Ceramic: A type of magnet used in guitar pickups made from ceramic material, known for higher output and a brighter, more aggressive tone.
• Coil split (coil tap): An electronic function that shuts off one coil of a humbucker to produce lower-output, single-coil-style tones. (Note: “coil tap” is technically different, but is often used interchangeably in guitar marketing.)
• Compound radius: A fingerboard radius that changes along the neck, typically starting rounder near the nut and flattening out toward the higher frets.
• Fret sprout: Occurs when fret ends protrude past the edges of the fingerboard, usually due to wood shrinkage in dry conditions, creating a sharp feel along the neck edges.
• Hardtail: A fixed bridge system with no tremolo movement, anchoring strings directly to the body for tuning stability and simplicity.
• Import: A guitar manufactured in one country and sold in another, typically used to describe more affordable production-line instruments.
• Intonation: The adjustment that ensures a guitar plays in tune across the entire neck. Poor intonation means notes may be in tune open but sharp or flat when fretted.
• Locking tuners: Machine heads that clamp the string in place at the post, reducing slippage and making string changes faster and more stable.
• Mod platform: A guitar that is particularly well-suited to aftermarket modifications.
• Nut: A small strip at the top of the fingerboard that guides string spacing and height as they leave the headstock and enter the playing area.
• Potentiometer (pot): A variable resistor used in guitar electronics, typically controlling volume and tone.
• Radius: The curvature of the fingerboard. A smaller radius feels rounder, while a larger radius feels flatter.
• Roasted maple: Maple wood that has been heat-treated to remove moisture and resins, increasing stability and giving a darker, ‘baked’ appearance and smoother feel.
• Rolled edges: Fingerboard edges that have been gently smoothed to remove sharpness, making the neck feel more broken-in and comfortable.
• Scale length: The distance between the nut and the bridge saddle.
• Setup: The process of adjusting a guitar’s action, intonation, neck relief, and hardware to improve playability.
• Stainless steel frets: Frets made from stainless steel instead of traditional nickel silver, offering increased durability and smoother bending.

How we test

We are very aware that so much of an electric guitar comes down to personal preference, but that said, there are still a few key criteria that a guitar must meet for us to consider recommending it to our readers.

As you'd expect, the first and probably the most important is build quality. When putting a new six-string through its paces, we'll thoroughly check every element of the build, from head to tail-piece, to ensure it feels robust. We are checking to ensure the neck is fitted correctly, that the hardware feels solid, and of course, that there are no electronics issues. Once we are satisfied, we will move to the guitar's overall finishing, looking for any anomalies in the paintwork.

Next up is playability. A guitar must be playable straight out of the box. Yes, we will accept that slight adjustments may need to be made to the action to meet our personal tastes, but the guitar should be in a playable state when we first try it.

We will check how comfortable the neck is, as well as how well the frets have been fitted - no matter the price point, we will not accept shoddy fret ends.

Lastly, we'll look at tone. Again, this is very subjective, but we are looking to see if the guitar lives up to the manufacturer's claims and is fit for purpose.

Read more on how we test gear and services at Guitar Player.

Meet the experts

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Randy Bachman shuffled across a Tokyo concert stage and quietly embraced his long-lost girlfriend for the first time in 46 years. It was a quiet, somewhat awkward moment, and the aging Canadian rocker, perhaps overcome by emotion, said little.

He was finally holding his hit-making Gretsch guitar, an instrument he’d once compared to a lover. After decades of fruitless searching, the guitar had been located and would at last be going home.

Bachman’s July 1 reunion with his Gretsch 6120 Chet Atkins model brought one of the guitar world’s greatest mysteries to an end.

In 1976, the guitarist was on top of the world. His band Bachman-Turner Overdrive (BTO) had topped the U.S. and Canadian charts the year before with Not Fragile and followed it up with the successful jazz-influenced single “Lookin’ Out for #1.”

He built a mansion with its own recording studio and bowling alley. Then came the a gut punch: In a hotel outside Toronto, a thief stole his treasured Gretsch guitar.

Bachman was devastated.

The Gretsch had made him a star. He looked everywhere for it, enlisting the Royal Canadian Mounted Police and searching through guitar and pawnshops across North America for years. But the guitar was gone without a trace.

Bachman grew up in Winnipeg. He played classical violin until one day in 1956, when he saw Elvis Presley gyrating and strumming his Martin D-28 on The Ed Sullivan Show. His parents told him it was rock and roll. Bachman borrowed a cousin’s guitar and was hooked.

“I found out the guitar is the most intimate instrument there is,” Bachman says from his home in British Columbia. “It’s the only one you hold next to you, with both arms around it, like a person. Your whole body resonates with what you’re playing, and it’s very special.”

Bachman learned guitar from jazz player Lenny Breau and developed a crush on guitars made by Gretsch. He and fellow rock icon Neil Young would ogle the models in the window of a Winnipeg music store.

Bachman saved up his earnings from babysitting and other odd jobs until he was able to buy the perfect Gretsch, a 1957 6120 Chet Atkins Hollow Body, in Western Orange.

Endorsed by the country music legend, the 6120 has a rosewood fingerboard with hump-style inlays, single-coil DeArmond pickups and a Bigsby tailpiece. It also has a big, punchy tone as heard on Eddie Cochran’s 1958 hit “Summertime Blues.”

Vintage examples regularly sell for more than $10,000.

“The 6120 represented everything that Gretsch had learned about making guitars since the introduction of the Electromatic in 1939,” says Aaron Philips, curator of the Fred & Dinah Gretsch Artifacts Collection at Georgia Southern University.

“In the 1950s, Gretsch usually produced instruments in batches of 50 or 100, but only 35 of the 1957 6120s were produced, increasing its popularity among collectors.”

In the early ’60s, Bachman co-founded the band that became the Guess Who, where he and singer Burton Cummings proved a powerful songwriting team.

Their tune “These Eyes” broke into international markets in 1969, and “American Woman” became the first single by a Canadian band to top the U.S. Billboard Hot 100 chart. Along with another Guess Who hit, “No Sugar Tonight,” it was recorded with the Gretsch 6120.

By 1970, however, tensions with Cummings led Bachman to quit the group. In 1973, he and his brothers formed BTO and crafted classic-rock staples, including “Let It Ride” and “You Ain’t Seen Nothing Yet.”

Once again, the Chet Atkins powered the band’s most iconic single, “Takin’ Care of Business.”

When the guitar was stolen in 1976, it preceded another period of change for Bachman. Cranking out five albums in three years had taken its toll on BTO, and after they released Freeways in 1977, Bachman left.

Over the next few years, he released another solo album and formed the short-lived bands Ironhorse and Union. He reportedly lost millions in a bitter divorce and custody battle. It seemed as if he’d lost his mojo along with the guitar.

“It was like Dumbo’s magic feather,” Bachman says. “When that guitar was stolen, my magic feather was gone. I had a No. 1 album and single with the Guess Who and BTO, and that has never repeated since 1976.”

In the years that followed, Bachman picked up vintage Gretsch guitars for a few hundred dollars or less. He ended up accumulating 350.

Having lost its original templates, Gretsch turned to Bachman when it wanted to relaunch manufacturing. The company studied his collection and eventually purchased it. But Bachman could never forget the Chet Atkins.

Fast-forward to 2021, when he took to YouTube to jam with his son Tal, known for his 1999 hit “She’s So High.” The two were playing live when a viewer sent them a message saying he had found the lost Gretsch.

Intrigued, Bachman reached out.

The sender, William Long, is an amateur sleuth from White Rock, British Columbia, who had seen online videos of the 6120. A fan of mysteries like the 1971 D.B. Cooper hijacking, Long was intrigued. He enhanced a frame in an old video that showed three distinctive marks on the guitar’s finish.

He then scrutinized more than 300 images of similar Gretsches around the world. It took about a week to find a match in a 6120 that a Tokyo guitar shop had sold before 2016.

After another week of using search terms translated into Japanese, he spotted the instrument being strummed to Johnny Marks’ “Rockin’ Around the Christmas Tree” in a video recorded in a bar in Japan.

“I knew instantly that was Randy’s guitar,” Long says. “The woodgrain fingerprint was a perfect match that no other guitar could have.”

The performer of Marks’ song was songwriter and lyricist Takeshi, who has penned songs for J-pop acts like Arashi. He’d found Bachman’s Gretsch in a Tokyo guitar shop eight years earlier.

“When I played it and compared it to some 1959 Gretches in the shop, the 1957 just had the perfect fit,” Takeshi says. “The thing that makes vintage guitars so attractive is you can dream that they were once owned by a superstar. That dream came true.”

Takeshi agreed to give Bachman his Gretsch if he could find its “sister” – the same model, unmodified.

Bachman rose to the challenge.

The pair finally met onstage at the Canadian Embassy in Japan. The event was held on July 1, Canada Day, but it turned into a virtual Gretsch fest, with anecdotes about the 6120, and a video message from Gretsch president Fred W. Gretsch.

Host Marty Friedman, the former Megadeth guitarist, who is now a TV personality in Japan, enthused that Gretsch is “the holy grail of guitars. When I first was able to buy one, I felt like I finally made it in the music business.”

After exchanging the 6120s, as well as a few hugs, Bachman and Takeshi performed “Takin’ Care of Business” and other hits.

The older guitarist kept scrutinizing the six-string from his youth, as if he couldn’t believe it was real.

Takeshi was all smiles despite giving up a piece of history.

“I appreciate this honorable man giving me the opportunity to get it back,” Bachman said. “I’ve had such a worldwide response to this feelgood story. It’s a random act of kindness that a lot of people contributed to.”

Bachman seems to have recovered his mojo.

In addition to launching a reunion tour with Cummings, as well as a new album, he and Tal have written a song about the 6120 called “Lost and Found” that will feature in a forthcoming documentary about the guitar.

Needless to say, he’s not letting it out of his sight.

“I imagine we’re going to have a hit documentary or movie, and a number one record with Bachman and Bachman,” he says. “That’s what I expect, and nothing less!”

Check out Gretsch's current range of 6120s here.

Gretsch has officially launched a pair of flame-maple topped signature Penguin for producer and guitarist Nigel Hendroff. 

Available in Dark Cherry Metallic Flame and Amber Flame, the G6134TFM-NH is the sort of electric guitar that elicits audible gasps from the Gretsch-loving demographic. 

It has all that nickel metalwork going on in the front – the Bigsby B7C vibrato, the pickup covers and matching banjo arm-rest, not to mention the jewelled arrow control knobs – that just seems to illuminate the eye-popping detail in the flame maple. The effect is replicated in the matching headstock facings.

Hendroff, who has made his name in contemporary Christian music, was involved throughout the design process. His Penguin takes the now familiar form of a singlecut Jet body of chambered mahogany body with flame maple top. Its Standard U profile mahogany is glued to the body, and the scale length is an on-brand 24.6”. 

Both body and neck are bound with tortoise and black-and-white purfling. The tortoiseshell effect is reprised on the pickguard – where, of course, you’ll find the penguin illustration in gold. 

This is guitar-making redolent of old-world charm, with Grover Imperial locking tuners on the headstock giving it a sort of art deco touch.

For all the aesthetic finery and the solid engineering principles behind the Bigsby vibrato, ultimately, the Penguin is a simple beast, with a pair of Tim Shaw-desigbed BT56 Broad’Tron pickups selected via a three-way shoulder mounted switch and controlled by master volume and tone.

The 12” ebony fingerboard has mother of pearl Big Block inlays, and seats 22 medium jumbo frets. The nut measures 42.86mm wide and is made from bone. 

Signature details are kept to a minimum – after all, the Penguin is dressed enough. There’s a small signature discretely positioned on the rear of the headstock. And you can hear it in action in the video below.

The G6134TFM-NH Nigel Hendroff Penguin is available now, priced $3,499. See Gretsch for more details.

Gretsch has just unveiled the latest additions to their Electromatic Collection.

Inspired by the essential sounds of the ‘50s & ‘60s, these electric guitars are well regarded for their incredible value for money, delivering classic tones in a variety of eye-catching colors.

New to the range is a quartet of double-cutaway Double Jet models: the right-handed, Bigsby-equipped G5232T and V-stoptail G5222, and the left-handed, V-stoptail G5232LH and G5222LH.

Gretsch’s double-cutaway Jet design superseded the single-cutaway format in 1961. These guitars were originally fitted with Gretsch’s famous Filter’Tron humbucker and are known for their quintessential rock ‘n’ roll tone.

Featuring a chambered mahogany body with arched maple top, Gretsch says their new Electromatic Double Jets boast a “strong and balanced acoustic foundation fit for a variety of tones.”

Here’s a rundown of each of the four new models…

G5232T Electromatic Double Jet FT with Bigsby

Priced $699.99, this guitar is available in a choice of three finishes, including Broadway Jade (pictured), Fairlane Blue and Firestick Red.

Specs include:

• Double-cut chambered mahogany body with arched maple top
• Lower set mahogany neck for effortless access and performance
• 12”-radius laurel fingerboard with 22 medium jumbo frets and Neo-Classic thumbnail inlays
• Black Top Filter’Tron pickups
• Master volume with treble bleed circuit, master tone, bridge pickup volume control, neck pickup volume control and three-position toggle switch
• Anchored Adjusto-Matic bridge
• Bigsby-licensed B50 tailpiece
• Chrome hardware

G5232LH Electromatic Double Jet FT, Left-Handed

Priced $699.99, this guitar appears in Midnight Sapphire finish only.

Specs include:

• Double-cut chambered mahogany body with arched maple top
• Lower set mahogany neck for effortless access and performance
• 12”-radius laurel fingerboard with 22 medium jumbo frets and Neo-Classic thumbnail inlays
• Black Top Filter’Tron pickups
• Master volume with treble bleed circuit, master tone, bridge pickup volume control, neck pickup volume control and three-position toggle switch
• Anchored Adjusto-Matic bridge
• V-Stoptail
• Silver pickguard
• Chrome hardware

G5222 Electromatic Double Jet BT with V-Stoptail

Priced $599.99, this guitar comes in a choice of three color schemes, including Black with Gold pickguard, Vintage White with Black pickguard, and Ocean Turquoise with Silver pickguard (pictured.)

Specs include:

• Double-cut chambered mahogany body with arched maple top
• Lower set mahogany neck for effortless access and performance
• 12”-radius laurel fingerboard with 22 medium jumbo frets and pearloid Neo-Classic thumbnail inlays
• Black Top Broad’Tron pickups
• Master volume with treble bleed circuit, master tone, bridge pickup volume control, neck pickup volume control and three-position toggle switch
• Anchored Adjusto-Matic bridge
• V-Stoptail
• Chrome hardware

G5222LH Electromatic Double Jet BT with V-Stoptail, Left-Handed

Priced $699.99, this guitar appears in a Natural finish only, à la Malcom Young’s famous double-cutaway Gretsch.

Specs include:

• Double-cut chambered mahogany body with arched maple top
• Lower set mahogany neck for effortless access and performance
• 12”-radius laurel fingerboard with 22 medium jumbo frets and pearloid Neo-Classic thumbnail inlays
• Black Top Broad’Tron pickups
• Master volume with treble bleed circuit, master tone, bridge pickup volume control, neck pickup volume control and three-position toggle switch
• Anchored Adjusto-Matic bridge
• V-Stoptail
• Chrome hardware

Watch the demo video to see and hear these new Gretsch guitars in action…

Visit Gretsch for more information.

***For more on Jack White's favorite gear check out this article on guitars and this one on effects***

Just four days after Eddie Van Halen passed away on October 6, 2020, Jack White performed the title track from his solo album Lazaretto on Saturday Night Live, brandishing his favorite blue customized EVH Wolfgang guitar as a gesture of tribute to the late master.

“I won’t even insult the man’s talent by trying to play one of his songs tonight,” White said prior to the show. “[But] Eddie was very kind to me and saw to it that this guitar was made for me to my specs. Thanks again, Eddie, for this guitar, and rest in peace, sir.”

While some might be surprised to learn that indie-rock’s champion of primal blues lines and the late, lamented heavy rock virtuoso were so sympatico, it makes terrific sense on many levels.

In addition to decades of knocking out album after album of wicked riffs and potent solos, both players have displayed throughout their careers an almost obsessive pursuit of individualism and specialized design in the instruments they’ve played, never content with stock features and aesthetics, always pushing the envelope to make their own guitars more idiosyncratic, versatile and allied with their singular approaches to both technique and tone.

“Eddie was really gratified to learn that Jack was playing the Wolfgang guitars,” says Fender Master Builder Chip Ellis, who oversaw the design of the EVH Wolfgang line, as well as the customizations on White’s specific axes, and has been White’s collaborator on custom designs ever since.

White and Ellis’s latest co-creations, used liberally on White’s newest release – the wide-ranging and explosive guitar showcase Fear of the Dawn (Third Man) – are every bit as unique in form and function as you’d expect.

And although they are unmistakably Fender guitars – including a customized Telecaster and Jazzmaster, and two Acoustasonics – they stray as far from the production models as one could possibly go.

Likewise, on Fear of the Dawn, White strays about as far from mainstream pop and indie rock as one could possibly go, turning in a blistering electric guitar statement that suggests timeless touchstones such as Frank Zappa, Prince, T. Rex, Thin Lizzy and Tom Morello as much as it does the kind of garage psych nuggets on which White built his reputation.

The sounds are outrageous: White’s guitars practically peel the steel off your studio monitors with aggressive, even explosive tones that are anything but manicured, despite the album’s obvious top-tier engineering and mixing.

As a sort of aesthetic palate cleanser, White will also be releasing Entering Heaven Alive, a full-length album of predominately acoustic guitar songs, something he’s more than proved his mettle at already, as evidenced by the lovely collection, Acoustic Recordings, 1998–2016.

As White and his band prepare for his first full tour in more than two years, he sat down with Guitar Player to discuss the methods to the madness behind his creative and fluid approach to recording, writing and modifying both guitars and pedals – including his own Third Man line of effects, which includes the cool Bumble Buzz, Triplegraph and Mantic Flex – and how his tone has evolved from his early days with the White Stripes through his Raconteurs years (with co-frontman Brendon Benson), the Dead Weather and his own unique and often challenging solo albums.

Let’s start with the very unique blue and white Telecaster you’re featured holding in our cover shot this month. It resembles the more copper/orange sparkle Tele you played with the Raconteurs…

This is sort of the next step on from that guitar, which Chip Ellis and I had started working on around the Raconteurs’ last album, before the pandemic. We called it the Three-Wheel Motion Low-Rider Telecaster.

We started with a B-Bender-equipped Telecaster that I received as a Christmas present a few years back, and we just started adding cool elements and features that I’ve been wanting to have added based on my experience playing live over the past couple of solo tours I’ve been doing.

The B-Bender Tele was a great present to get. I’d always wanted one, and we changed the color of it to something more suitable for the color scheme of the Raconteurs, with that orange sparkle finish.

Then the thought was, Okay, as long as we’re repainting it, let’s put some new pickups in it. At that moment in time, I was really into the Fender Lace Sensors for the bridge and then a P-90 in the middle position.

And then we added a neck pickup that was on my brother’s 1972 Fender Telecaster Thinline when I was a kid. I always thought that the bassy-sounding neck pickup on that was really creamy, so I wanted to have that in there.

And then eventually the bridge pickup changed from the Lace Sensor, as well. My wife, [Third Man singer/songwriter/guitarist and session player] Olivia Jean, had gotten a custom guitar from Fender, and [pickup guru] Tim Shaw had made these outstanding Filter’Tron-style pickups for that.

I love Filter’Trons, and I’ve played Gretsch guitars quite a bit, so I really wanted those same types of pickups in my Telecaster.

Sure, if you A/B most Filter’Trons against a lot of the higher-output pickups out there, they don’t compete for gain, but whatever Tim did to make these balance with the output of my other pickups, they’re just really furious Filter’Trons. Tons of bite.

And we’re even considering adding a coil-tap to it next. We did that with the humbucking Lace Sensors I used on the last tour, and that was really interesting at times for adding a bit of extra treble when you need it.

Tell us about this cool B-Bender.

Sure. So, this is not the factory Fender Bender that you’d typically see on a Fender guitar. It’s called a Glaser Bender, and Chip Ellis partially recommended it to me because it’s much lighter than a traditional all-steel B-Bender.

I just wanted to be sure it was as good as the Fender Benders, because I really like those, and this one is great and, like I said, much lighter.

My concern was that with three pickups, and all these extra features, we were going to have to consider going semi-hollow with the Tele body to compensate, but so far so good.

The B-Bender works by pulling down on the guitar from the strap, and it allows you to adjust the bend as far as you want. There’s a little cavity that goes under the neckplate so you can install the Bender mechanism, and another one under the bridgeplate, which is where the B/G Bender “finger” goes.

It works great, really smooth, and can be used as either a B- or a G-Bender.

Now, in the past I always thought you couldn’t have a B-Bender and a Bigsby on the same guitar – you have to pick one. But we figured out that we could have them both, except the Bigsby doesn’t bend the B-string.

On the Tele I used with the Raconteurs, I had a Hip Shot for dropped-D, as well as a B-Bender and a G-Bender, so I began to miss the ability to use the Bigsby on all, or at least most, of the strings.

The armrest is a feature that’s very unique to these guitars. What was the inspiration there? Also, what’s the story behind that kind of robotic-looking segmented tremolo arm?

Well, I started putting armrests on that top back shoulder because many of the Gretsch models I was collecting had them, like the Duo-Jets, and the White Penguin had that sort of banjo armrest.

At first I just thought they were really cool looking, but I began to realize that I do always wear the paint out in that area of the guitar. It’s just a very beautiful and purposeful sort of “form meets function” design element, which also adds to a sense of symmetry with the pickguard.

The tremolo arm you’re looking at was designed by a guy named TK Smith. His company, TK Smith Design & Fabrication, is based out in the Mojave Desert and makes amazing vintage-inspired guitars and electric mandolins, as well as cool vintage-style tone knobs and vibrato arms for Bigsby tailpieces.

So me and Chip just attached it to the Bigsby. To be honest, I just loved the shape and design of it. It was different from the conventional Bigsby arm, but we’ll have to see how it performs in practice. I haven’t really had a chance to use it hard with the band yet.

You’ve always used some form of pitch modulation, including Whammy Pedals, octave fuzzes and Bigsbys. Do you feel like you’re shooting for specific results with those tools, or is it largely a matter of improvising and seeing what comes out?

Definitely the latter. In fact, in a lot of cases, I feel like the vibrato arm and the Whammy Pedal are more in control of what happens than I am. In many ways, I feel like I’m following their lead, rather than the other way around.

For example, the company that makes the Third Man Plasma Coil and Plasma Drive pedals with me – Gamechanger Audio – is also working on a Bigsby in a foot-pedal design. That could be really cool to hear what happens when you use the Bigsby arm and the Bigsby pedal at the same time.

But yeah, to answer your question, I feel like some pedals are great for doing exactly what I want them to, and other pedals are kind of directing me, pointing me in a direction I wouldn’t normally go.

You’ve been exploiting interrupter, or kill, switches for a while now, and most of your guitars have them. What inspired that?

My interrupters do a complete cut of the signal, but I mean, Tom Morello was doing a similar thing back in the ’90s by just turning on and off between two pickups.

And of course, people would do similar things with Les Pauls back in the day, where they’d have one of the pickups’ volumes down, so the pickup selector would act as a kind of kill switch. So it’s nothing new.

All my White Stripes guitars had those sorts of on/off switches on them back in the day, and I enjoyed playing with them, but eventually I thought it would be much easier if we installed them as buttons.

The inspiration for that way of doing it probably comes from when I was using the Fender EVH Wolfgang USA Eddie Van Halen Signature guitars, which have these momentary push-button switches. I’m tempted to put them on all my guitars now.

And it’s not an issue for me with blending two pickups, because I’ve never blended pickups on any guitar I’ve used, not ever. Even my Tele is just three positions, not five. I’ve also got a V-neck on this Tele, made from the whitest maple we could find, because I really don’t like that sort of yellowy maple; I like it to be really white.

I like the V-neck a lot. All the old Gibson acoustics I play, like my 1915 Gibson L-1 [a.k.a. the Robert Johnson model], are V-necks and I really like that. I understand why people wouldn’t like it; it’s hard to play. But I think I like making things a little bit harder on myself, too. So there’s that.

But there’s something appealing about putting a little extra leverage against my thumb off the back of the neck. I hadn’t experienced that before, and I’ve grown to like it a lot. I’m not going to stand here and say, Yeah, that’s the shape I love the most. But I will say that I do get some interesting results from it.

I’ll try it this year on tour and see if after 10 shows I’m still excited by it or if it’s become a hindrance. But my sense now is that it’s actually making me play a little differently.

We’re also experimenting with some scalloping, especially on the higher frets, and we’ll see what that’s like. I dunno. I just kept seeing it on all these Ritchie Blackmore clips I was watching, and I thought it was something I might enjoy.

CooI! We had no idea you were a Ritchie Blackmore fan. That may surprise some people.

Oh, yeah, Blackmore’s great. I especially love mid-period Deep Purple albums like In Rock, Fireball, Made in Japan and Who Do We Think We Are. The second and third Rainbow albums – Rising and Long Live Rock ’n’ Roll – also have some pretty incredible playing on them.

See, like Jimmy Page and Tony Iommi, Blackmore was still blues guitar-based, y’know? A lot of the later players who were more heavy metal go over my head – or maybe I should say under it – because without the strong blues element in there, I begin to lose my connection to the music.

But Page, Iommi and Blackmore are really just the heaviest blues that existed at the time, coming out of the English blues boom of the ’60s and expanding it into this heavier sort of territory.

While we don’t think the term shredder applies to you, you certainly have some speed in those hands, and you’re not afraid to use it.

I like to use speed in short bursts. I try to choose my moments. Like anything, if you use too much of it, it can lose what makes it interesting in the first place.

I also played all the instruments, including drums, on many of these songs, and that kind of led me to begin structuring the song in my head before I ever even picked up a guitar.

Instead of the space for a solo either showing up naturally in a band arrangement or not, I could be very deliberate about it, because I was structuring the song from the drums up. Like, okay, I’m going to open up with something impressive on the guitar and sort of knock the listener on the head, and then I’ll sing a bit, and then come back and do it again.

That opened me up to try some things that maybe in a full-band tracking context I might not have gone after.

Talk about these customized Fender Tele- and Jazzmaster-style Acoustasonics you’re playing. They look rad with those cool blue finishes. But there’s more to your specs on these than just the finish, right?

Yeah, I made some recommendations regarding the range of sounds in them, as well. Y’know, I first started using an Acoustasonic for the last Raconteurs tour.

Since we were going with an orange color scheme for that tour, we borrowed the design idea from one of my Gretsch Rancher Falcon acoustics, the one I named after the actress Claudette Colbert, which has her face engraved on the back by a great tattoo artist in Cincinnati named Kore Flatmo.

Along with the tribute to Claudette, my thought was to try to mix some of the design vibe from those interesting old Fender Antigua finishes from the 1970s, but with the modern Acoustasonic guitars.

As for the sounds, I was lucky enough to be one of the first people to get an Acoustasonic when they first came out, and I brought it straight out on tour with the Raconteurs, so I got to road test it pretty heavily.

And the first thing I asked them was, is there any way we can have fewer choices for sounds? I felt I only needed three sounds: one great electric, one great acoustic and then a sound with both together, because that solved a basic issue with how to play songs of mine that had acoustics and electrics either in different sections of the same track, or sometimes doubling the same parts.

That came in real handy with the Raconteurs. Before that, I’d have to write acoustic sections with a long enough space at the end so I could switch back to electric.

This custom Jazzmaster electric you’ve got in process here looks pretty cool. Any interesting mods happening on that one?

Oh, yeah. So, Dan Mancini, my brilliant guitar tech and mission man, has been working a lot on this one.

A while back, I showed Dan a clip of a guy who had incorporated some sort of synth device into his guitar, and I thought, That’s what I’ve been trying to do for years that I wish we could figure out! I remember speaking to Matt Bellamy of Muse about how he incorporated a Korg Kaoss Pad into his guitar [eventually leading to the Kort Manson MB-1 Matt Bellamy Signature guitar], and I always thought that was a great idea.

So Dan and I began talking, and right now he’s in the process of installing the guts of an Electro-Harmonix Pitchfork pedal into the back of this Jazzmaster. The intermittent switch can turn on the harmonies, but I can also use one of the pots to bend the pitch as well, just like with a Whammy Pedal.

I think Tom Morello may end up getting jealous of this and have to put it on his guitar, too. I’ll have to send him a clip of it and see what he thinks.

Will that have a similar mix of Filter’Trons and P-90s like the Telecaster?

It will have some of the same features as the Tele, but the pickups will be different. I own this incredible Gibson Fort Knox “Skunk Baxter” Firebird that I played with the Raconteurs, and the mini-humbucker pickups on that, which Jim DeCola designed, are just so impressive.

Honestly, it’s almost a shock every time I play it. So Tim Shaw at Fender is working on his own version of that type of mini-humbucker to put into this Jazzmaster.

From your well-documented 1964 JB Hutto Montgomery Ward Airline to your gorgeous Gretsch “Triple Green Machine” to your 1950s Kay Hollowbody to your EVH Wolfgang guitars, you constantly seem to be exploring unusual choices in pursuit of both new sounds and new/old aesthetics. What do you think drives that for you?

I just think it’s cool that there are these moments in your life where you might play through a certain pickup or type of guitar, but maybe it’s at the wrong moment in your life, and somehow you decide, “Nah, that’s not for me.”

And then you revisit it 10 years later, and you’re like, “Oh my God, actually this is great. It just has its own kind of appeal.”

Now, obviously this kind of experience only happens when you’re really deep into the tone thing. Plenty of people wouldn’t know the difference if you played them five different pickups in a row. They’d probably sound exactly the same to them. But when you’re a guitar player, you can really hear how the differences matter and how they influence your playing and tone.

Still, it’s unusual to meet even experienced players or luthiers as ready to flip the script on conventional guitar design as you are. Or as curious about it as you always seem to be.

Well, I’m really curious right now about this Billy Gibbons Gyrock Signature guitar from Wild Customs that’s just come out. It has this crazy roller device that has three pickups loaded in it that you can rotate to choose which pickup you want.

You just spin the drum in there, and you can also pop the pickups out, put different ones in, and it’s very easy to do from the backplate. There’ve been other companies that have tried to do removable pickups and removable pickguards, but it seems like they’ve really figured it out here.

Pretty cool to have three choices of bridge pickup on a drum, so you can literally “roll” from lipstick tube to a humbucker. That would be so cool to have. I dunno. I might get jealous and have to try those out.

So, to answer your question, I guess I just always want to know what’s happenin’! [laughs]

Order Fear of the Dawn here.

Pre-order Entering Heaven Alive here.

Happy birthday to Billy Duffy of the Cult.

When the Cult's 1984 debut album, Dreamtime, was released in England, the group piqued interest with its Goth-tinged sound and Duffy's trippy guitar textures.

However, it was 1985's Love, and the track "She Sells Sanctuary," that really put the Cult on the map.

Long synonymous with the Gretsch White Falcon, Duffy used the flagship electric guitar on both of these landmark albums.

An instrument of choice for decades, Duffy was honored with his own signature model – the G7593T-BD – in 2013.

Touted as a “bionic, younger, better, improved” version of his original Baldwin-era Gretsch White Falcon, this much-lauded signature model was the result of some painstaking R&D.

A Gretsch White Falcon may be an unlikely choice for some players, but Duffy laid down some of the most memorable riffs in hard rock history with his. 

“It's difficult to be objective about yourself,” he told Guitar Player back in 2001. “I think being English and growing up with punk rock has instilled the quest to find something musically unusual.

“I like to ride on the verge of experimental sounds. That concept has always held more for me than being able to play every Jimmy Page solo.”

Carrying on their vast musical legacy, Duffy and the Cult are touring North America again this summer.

Tickets for the “We Own the Night” tour go on sale tomorrow, so why not go check out the man, the myth, the Falcon live on stage? 

Click here to book.

The band’s current schedule is as follows:

• July 8 – St Paul, MN - Palace Theatre *
• July 9 – Milwaukee, WI - US Cellular Stage At Summerfest
• July 10 – Chesterfield, MO - The Factory At The District *
• July 12 – Chicago, IL - Riviera Theatre *
• July 14 – Cincinnati, OH - PNC At Riverbend *
• July 15 – Dayton, OH - Rose Music Center at The Heights     United States
• July 16 – Pittsburgh, PA - Stage AE *    
• July 19 – Washington, DC - The Anthem *
• July 20 – New York, NY - The Rooftop at Pier 17 *
• July 22 – Philadelphia, PA - Metropolitan Opera House *
• July 23 – Boston, MA - Leader Bank Pavilion *
• July 24 – New Haven, CT - College Street Music Hall *
• July 26 – Syracuse, NY - Crouse Hinds Theater *
• July 27 – Detroit, MI - Meadowbrook Amphitheatre *
• July 29 – Leamington, ON - Hogs For Hospice Charity Event At Seacliff Park
• July 30 – Rama, ON - Casino Rama

* with Black Rebel Motorcycle Club and Zola Jesus

A virtuoso performer and one of the first genuine stars of the electric guitar, Chet Atkins also embraced innovation, and drove it by encouraging new inventions that could help him move ever closer to his sonic ideals for the instrument.

Atkins had long been aware of the importance of the right pickup, and he matched various units to his Silvertone, Gibson and D’Angelico guitars before Gretsch courted him in 1954 to endorse the 6120 Hollowbody and 6121 Solidbody models.

The trouble was, Atkins didn’t much like the DeArmond model 2000 single-coils on his namesake guitars.

“I hated the sound of the pickups,” he told author Tony Bacon in 1995 for The Gretsch Book, “because the magnets were so strong on the string, you pluck a string and there was no sustain there, ’specially on bass strings. I was tortured pretty good until Ray Butts built that Filter’Tron pickup.”

An electronics whiz and music store owner from Cairo, Illinois, Butts designed the EchoSonic amplifier with built-in tape echo, which Atkins had previously embraced, in 1954.

When the guitarist griped about his DeArmonds, Butts knew just what to do: He designed a hum-canceling, dual-coil pickup, which he dubbed the Filter’Tron because it filtered out electronic hum.

Atkins whole-heartedly embraced it and urged Gretsch to adopt the pickup for its entire upmarket line.

Butts’ development of the Filter’Tron ran neck and neck with Gibson’s PAF humbucker, and while the latter beat Gretsch to the market by a nose, Chet was performing with the Filter’Trons one year earlier.

The Filter’Tron’s narrower dimensions and more sparsely wound coils contributed to a brighter, clearer sound than the broader humbuckers.

It established the classic rockabilly tone of the late ’50s, revived in the late ’70s by Stray Cat Brian Setzer, that has remained the benchmark to this day, and it proved powerful enough for heavy rockers like AC/DC’s Malcolm Young and the Cult’s Billy Duffy, too.

Given its vintage origins and feature set, this 1959 Gretsch Double Anniversary could easily slip under the wire as a classic in its own right.

As often as not, however, you’ll see it lauded for its stand-in status, hailed as a poor man’s 6120 Chet Atkins, since it left the factory with some 95 percent of the same specs as that hallowed collectible.

As it stands though, the Double Anniversary represents much of the best of Gretsch’s golden years, and at a fraction of the cost of another electric guitar that might come to mind whenever the description “PAF-equipped ’59 single-cut” is mentioned.

German immigrant Friedrich Gretsch founded the storied musical instrument company in Brooklyn, New York, in 1883, initially to make drums, banjos and tambourines. Guitars were added to the lineup a couple of decades later under the direction of his son, the next in a long line of “Fred” Gretsches to head the company.

Six-strings became a more and more prominent part of the catalog through the jazz guitar age, war years and into the birth of rock and roll.

Gretsch introduced the Anniversary in 1958 to celebrate the company’s 75th year in business, offering two models in two finish options each: the Anniversary, with one pickup, and the Double Anniversary, with two, available in either Sunburst or two-tone Smoke Green.

Although it was presented as a celebration model, Gretsch intended the Anniversary to be accessible to a wide number of players. It received the same body shape and construction as the flagship 6120 Chet Atkins model, but it lacked that guitar’s fingerboard and f-hole binding.

The Anniversary was also available in hardtail only, with a “G” trapeze tailpiece and no standard Bigsby option. As such, it was considered a fully professional model. But with a price of $225 for the Single and $310 for the Double – versus $475 for a 1958 Gretsch 6120 – the Anniversary could get a lot of hard-working guitarists in the door.

As the 1959 catalog put it, “This popular new beauty is the ‘sports car’ of the Gretsch line. Snappy, trim modern lines… exclusive built-in playing features that help give you the sound of distinction. A real knock-out in two-tone Smoke Green.”

Plenty of players agreed, and Gretsch sold a lot of these models. As mentioned, the Anniversary’s real USP was that it delivered the same basic specs and construction quality as more upscale models, at about 65 percent of the price (when considering the Double), lacking just a few strips of cellulose binding, which on many vintage Gretsch guitars has decayed or deteriorated over the years anyway.

Otherwise, the addition of the second pickup included the full current-spec control array, with a three-way pickup selector, independent volume controls for each pickup, a master volume and a three-way tone switch (positioned alongside the pickup selector on the upper bout).

Generally dubbed the mud switch for its ability to deliver two alternative sounds best described as dull and duller, the tone switch is considered next to useless by most players today. Some modify it with less impactful tone caps, while others just ignore it completely and leave it in the middle bypass position.

For today’s players, the 1958-’59 Anniversaries are especially noteworthy for having the Filter’Tron humbucker, Gretsch’s top-flight pickup from that time.

Developed at the behest of Chet Atkins by engineer Ray Butts (inventor of the EchoSonic amplifier with built-in tape echo), the Filter’Tron was neck and neck with Gibson’s own PAF for the title of first viable humbucking guitar pickup, and while it sounds very different from the fatter unit from Kalamazoo, it ushered in another classic rock and roll tone.

Although they remain more affordable on the vintage market than Gretsch’s upscale models, Double Anniversaries like the one shown here are becoming harder to find and getting more expensive, thanks to their plethora of desirable features.

The 1958-’59 Single Anniversaries, on the other hand, often cost half (or even less) than the Doubles. For that reason, they’re frequently snatched up and converted to Double status with a second pickup, either with extra volume controls or wired up hot-rod style, with the tone switch converted to a pickup selector fed into the single master-volume control.

While the ’58s are still great vintage sleepers, a construction change in late ’58 or early ’59 helped make the sophomore versions even more desirable.

These guitars received the next evolution of Gretsch’s trestle bracing – the parallel trestle-like post-and-bridge system that braces the back and top – which was somewhat lighter and thinner, and allowed for a more resonant guitar overall.

Gretsch continued to offer the popular Anniversary models well after the 75th celebrations had passed, and even into the 100th anniversary and beyond, and delivered several renditions in the reissue years.

Part way into 1960, however, the Anniversaries lost their Filter’Trons when the company introduced its own in-house HiLo’Tron single-coil pickup to replace the DeArmond Model 2000 aka Dynasonic single-coils it had used previously.

The HiLo’Trons are still very cool pickups, and plenty of players really dig them, but it’s hard to argue that they’re as desirable as a pair of original Filter’Trons.

Gretsch also changed the Anniversaries’ body construction somewhat through the ’60s as the company’s other models evolved, although it did not receive a zero fret until 1968, seven years after Gretsch’s upscale models received them, in 1961.

Gretsch even gave this “sports car” model a bound fingerboard in 1963. Despite the changes, and arguably lesser desirability compared to the ’59 models, many of the ’60s Double and Single Anniversaries still provide surprisingly affordable access to genuine vintage Gretschitude.

Experienced buyers of vintage models should look for issues such as binding deterioration and the possible need of a neck reset, but there’s often a lot of potential to be found for those who don’t mind taking on a project.

Fortunately, this 1959 Gretsch Double Anniversary comes to us with few issues, just a little discoloration on some of the binding, and a fulsome double dose of “That Great Gretsch Sound” courtesy of two “Pat. Applied For” Filter’Tron pickups.

And for all that, it’s almost as much fun to look at, lounging in its sultry two-tone Smoke Green finish, as it is to play. Well… almost.

Essential Ingredients:

• Archtop hollowbody made from laminated maple
• Single Venetian cutaway
• Light trestle bracing
• Two-tone smoke-green finish
• 24.6” scale length
• Two “Pat. Applied For” Filter’Tron humbucking pickups

• Save cash on the best electric guitars under $500

For '50s-era guitarists who would soon be playing rock and roll, the Fender Telecaster hit the music industry with the impact of the asteroid that wiped out the dinosaurs.

Leo Fender's so-called "plank" ushered in the era of the commercially successful solidbody – echoing the immense industrial and social impact of Henry Ford's Model T. While Ford was never one of Fender's idols, the car maker bestowed the wonders of the automobile upon the masses by standardizing a sound design, streamlining production techniques, and lowering costs.

Likewise, Fender's "Model T" – initially called the Esquire, then the Broadcaster, and finally the Telecaster – was a powerful, affordable tool that helped a vast community of working guitarists ignite a cultural revolution.

The tumult was so far-reaching that Gibson was compelled to introduce the Les Paul to compete with the Tele – and Leo himself was inspired to develop the Stratocaster in an attempt to make its older sibling obsolete.

These three models are still modern music's most important guitars – and they all have Leo Fender's 1949 "standard guitar" prototype to thank for kick-starting their enduring glory.

THE ARCHTOP ERA

As twilight fell on the Big Band era toward the end of World War II, small combos playing boogie-woogie, rhythm and blues, western swing, and honky-tonk formed throughout the United States.

Many of these outfits embraced the electric guitar because it could give a few players the power of an entire horn section.

Pickup-equipped archtops had reigned in these late-'40s dance bands, but the increasing popularity of roadhouses and dance halls created a growing need for louder, cheaper, and more durable axes.

Players also needed faster necks and better intonation to play what the country boys called "take-off lead guitar," and Rickenbacker Bakelites and other '30s-era solidbodies failed to deliver.

Custom-made solidbodies such as Merle Travis' Bigsby – as well as kitchen-table contraptions like Les Paul's "Log" – pointed in the right direction, but were beyond the means of the average player.

The demand for better electric guitars was as obvious as their reality was elusive.

ENTER LEO FENDER

Fender recognized the vast potential for an electric guitar that was easy to hold, easy to tune, and easy to play.

He also recognized that players needed guitars that would not feed back at dance hall volumes like the typical archtop. (Many guitarists had to stuff rags into their elegantly crafted guitars to stop the howling.)

In addition, Fender sought a tone that would command attention on the bandstand and cut through the noise in a bar.

By 1949, he had conceptualized the perfect tone – a clear, bell-like sound with distinct highs and lows, but devoid of muddled midrange frequencies that Fender considered "fluff" – and began working in earnest on what would become the first Telecaster at the Fender factory in Fullerton, California.

Although he never admitted it, Fender seemed to base his practical design on the Rickenbacker Bakelite. One of the Rickenbacker's strong points – a detachable neck that made it easy to make and service – was not lost on Fender, who was a master at improving already established designs. (He once said, "It isn't a radically different thing that becomes a success; it is the thing that offers an improvement on an already proven item.")

Not surprisingly, his first prototype was a single-pickup guitar with a detachable hard rock maple neck and a pine body painted white. The seeds of revolution were sown.

THE ESQUIRE

Don Randall, who managed Fender's distributor, the Radio & Television Equipment Company, recognized the commercial possibilities of the new design and made plans to introduce the instrument as the Esquire Model. (Although Randall – the company's de facto namesmith – gave the Esquire its moniker, Fender supported the name, saying that it "sounded regal and implied a certain distinction above other guitars.")

In April 1950, Radio-Tel started promoting the Esquire – the first Fender 6-string officially introduced to the public. The company prepared its Catalog No. 2, picturing a black single-pickup Esquire with a tweed form-fit case.

Another picture showed Jimmy Wyble of Spade Cooley's band holding a blonde Esquire. These debut models, with a planned retail price of $139.95, exhibited the utilitarian shape of thousands of Fender guitars to come.

"The Esquire guitar features a new style of construction which vastly improves the useability of this type of instrument," Randall wrote. The claim was further embellished by stating that the guitar could be played "at extreme volume," and that the fast neck was an aid to easy fretting.

Randall added, "The neck is also replaceable and can be changed by the owner in approximately ten minutes time. This feature eliminates costly repairs and refretting."

Fender believed that the neck was strong enough to resist warping without a trussrod. If a neck did warp, he planned to mail the customer a new one in a shipping tube.

Unfortunately, the necks didn't turn out to be as tough as Fender claimed. Randall reported that the necks on his samples had warped badly while traveling to the 1950 summer trade shows, and asked that the new guitars be outfitted with reinforced necks.

Initially, Fender had been contentious about the extra effort it would take to design and manufacture reinforced necks, but then a test guitar in his lab suffered the same problem.

Faced with mounting evidence that his guitar truly needed a reinforced neck, Fender bought a routing plate to install trussrods on October 3, 1950.

Randall's primary marketing ploy was to establish the Esquire in music instruction studios, reasoning that the affordable, practical guitar would be a hot commodity in those circles. In addition, a healthy response for the one-pickup version would prime the market for the more expensive two-pickup model that Fender already had in mind.

In fact, Fender's choice of a 3-position lever switch – which allowed three distinct guitar tones – probably coincided with his plans to add a rhythm pickup.

Fortunately, the Esquire's body design easily lent itself to both one- and two-pickup configurations. Ultimately, all production models had cavities routed for two pickups because Fender wanted players to have the option of adding a pickup in the future. (The one-pickup models hid an empty cavity under the pickguard.)

The two-pickup Esquires were manufactured with the second (rhythm) pickup positioned under the strings near the end of the fingerboard. Fender shielded the rhythm pickup with a metal cover to cut high harmonics and to emphasize fundamental tones.

A handy blend control knob mixed the rhythm pickup signal with that of the lead pickup when the pickup selector was in its lead position.

Putting the selector in the middle position activated the rhythm pickup alone.

In the forward position, the rhythm pickup was also selected, but along with a capacitor that rolled off high frequencies. (Fender called this sound "deep rhythm," and reasoned that guitarists could use the position to play bass lines.)

Dual-pickup Fender guitars featured these same electronics until 1952.

Although the single-pickup guitars used capacitors to mimic the mellow sound of a rhythm pickup, the real thing sounded better. Jimmy Bryant, who epitomized the new wave of postwar electric-guitar wizards, liked the jazzier sound of the dual-pickup guitar, as did Fender himself.

THE BROADCASTER

The factory finally went into full production in late October or early November 1950, and the name Randall chose for the dual-pickup guitar was "Broadcaster."

Musical Merchandise magazine carried the first announcement for the Broadcaster in February 1951 with a full-page insert that described it in detail. The guitar had what Randall called a "Modern cut-away body" and a "Modern styled head." And what player could resist the "Adjustable solo-lead pickup" that was "completely adjustable for tone-balance by means of three elevating screws"?

Finally, the industry had an up-to-date production solidbody. (Fender sold 87 Broadcasters on the guitar's initial release in January 1951.) Many people took note – including Gretsch, who claimed the Broadcaster name infringed on the company's trademark "Broadkaster." Faced with this fact, Randall wrote a letter to his salespeople on February 21, advising them that Radio-Tel was abandoning the Broadcaster name and requesting suggestions for a new one.

On February 24, Randall, who had some good ideas of his own, announced that the Broadcaster was renamed the "Telecaster."

The Broadcaster-to-Telecaster name change cost Radio-Tel hundreds of dollars and derailed the initial marketing effort. Brochures and envelope inserts were destroyed, and some unlucky worker had to clip the word "Broadcaster" from hundreds of headstock decals with a pair of scissors.

For several months, the new twin-pickup guitars sported nothing but the word "Fender." Years later, collectors would coin the term "No-caster" for these early-to-mid-'51 guitars.

TELE TWEAKS

In 1952, Fender replaced the Telecaster's blend control circuit with a conventional tone control.

Now the switch's rear position selected the lead pickup, the middle position selected the rhythm pickup, and the front position delivered the "deep rhythm" sound.

Teles were equipped this way until the mid-'60s, when the modern switch setup was introduced: the middle position selected both pickups, the front position selected the rhythm pickup, and the rear position selected the lead pickup.

One drawback of the 1952 to mid-'60s wiring is obvious today: The wiring made a two-pickup combination impossible unless the player delicately positioned the spring-loaded switch between settings.

However, once players learned this trick, they received a tonal surprise: Different models produced different dual-pickup sounds, depending on the rhythm pickup's magnetic polarity.

The "between" setting – which helped define the mystique of vintage Telecasters – could offer the robust tone provided by both pickups or produce a snarly growl similar to the Stratocaster's half-switch sound. (James Burton, playing his '53 Telecaster, exploited this unique tone on Ricky Nelson's "Travelin' Man.")

However, it was the Tele's lead pickup that captured the hearts of most players.

Early "level-pole" units offered outstanding tone with significant bass content and non-offensive highs (although manufacturing inconsistencies caused a small number of these pickups to produce an out-of-balance, bass-heavy low-E sound).

In mid-1955, Fender staggered the polepiece heights as he had on Strat pickups. The results were mixed. The volume balance from string to string was better, but the Tele's overall sound was harsher.

In 1953, the factory began notching the two outer brass bridge pieces under the low E and high E, which allowed a lower adjustment for these strings. By 1954, Telecasters employed steel bridges again, but they were rounded and made from a smaller-diameter stock than the 1950 bridges.

By 1958, the bridge pieces were changed yet again to a threaded stock with less mass, and the factory stopped putting the strings through the body.

In 1959, Fender introduced the Telecaster Custom and Esquire Custom, fancy versions of the originals with white binding that helped protect the edges from wear. These guitars had Jazzmaster-like rosewood fingerboards, which looked more traditional and wore better than one-piece maple necks.

Some early-'60s, pre-CBS Custom Telecasters had necks capped with maple fingerboards made in the same manner as the necks capped with rosewood. However, at no time during the pre-CBS years did Fender regularly produce Customs with the older-style maple neck. (The only exceptions may have been unlikely special orders.)

While the standard Telecasters and Esquires came with blonde finishes, the Customs were offered with sunburst finishes. A few even had more expensive custom colors.

THE PLAYER'S PERSPECTIVE

In the early 1950s, a broad spectrum of Tele players established themselves in combos – even young blues guitar legend-to-be B.B. King spanked the plank.

With its versatile sound, ease of playing, and reasonable cost, what better guitar to yellow with perspiration and cigarette smoke?

Most serious students could afford the $189.50 price, ensuring a new guitar generation would grow up on Fenders. Still, most players preferred top-of-the-line instruments, and almost all professional jazz guitar and pop players employed something other than a Fender.

And after Fender introduced the Stratocaster in '54, the Tele wasn't even Fender's top-of-the-line ax.

Then an interesting thing happened. By the late '50s, the Telecaster was becoming an integral part of the session player's arsenal.

California-based guitarist Howard Roberts endorsed Gibson and Epiphone but also played an old Telecaster on countless rock sessions, as did Tommy Tedesco. These players knew what models recorded best and pleased record producers.

The Telecaster and its solidbody cohorts produced the teenage sound that proclaimed a guitar generation gap: old versus new, jazz and pop conformity versus rock rebellion.

At the same time, the Tele was heard increasingly on pure country recordings, treading in the big-box domain of Chet Atkins and Hank Garland (who sounded anything but twangy).

As the '60s unfolded and rock guitar playing matured, the Telecaster's role, onstage and off, solidified. While the guitar played a small part in the rise and fall of instrumental rock and surf music, Steve Cropper played one with Booker T. and the MGs, as did the Ventures' Nokie Edwards.

James Burton and Tele moved from Ricky Nelson's band to TV's Shindogs, all the while chalking up hours as L.A.'s premier session stylist in rock and country.

Much of the British Invasion had the look of Rickenbackers and Gretsches, but Eric Clapton and Jeff Beck recorded many of their milestone sides with the Yardbirds on a Telecaster and Esquire, respectively.

Mike Bloomfield chose a Tele for his highly influential mid-'60s work with Paul Butterfield and Bob Dylan, and Jimmy Page played one on Led Zeppelin's first album and on the solo of "Stairway to Heaven."

As Roy Buchanan told Guitar Player in '76, "The Telecaster sounded a lot like a steel, and I liked that tone. I like the old Teles because of the wood, the way the pickups are wound, the capacitors, and the whole works."

THE TELE LEGACY

By the late '60s, it was clear the Telecaster had shaken the foundations of the music industry. The Tele – and the host of solidbody models introduced as a result of its success – changed the way the world heard, played, and composed music.

Ironically, Leo Fender, who worked incessantly after '51 developing new models such as the Strat, Jazzmaster, and Jaguar (and then, in the '70s and '80s, formulating Music Man and G&L; models), had a very hard time topping what he accomplished in his first go-round.

"Everyone thought his first guitar was his best, but no one would tell him that," said longtime friend and pioneering electric stylist Alvino Rey in the '80s.

The Tele was Leo Fender's Model T, but, unlike the old Fords, it didn't go away.

For thousands of guitarists, the Telecaster is still state of the art – an enduring battle ax for rock, country, or anything amplified.

• Upgrade your Tele tone with the best Telecaster pickups