PRS Guitars has released a new limited-edition semi-hollow version of David Grissom’s DGT signature electric guitar. Only 200 pieces will be made, with each piece hand-signed by Paul Reed Smith and David Grissom.

The guitar is the latest production run of longtime PRS player Grissom’s signature model and the result of a decade of partnership. Notably, it’s the first semi-hollow DGT to come to market.

This particular guitar is based on a custom model that Grissom's been playing for several years, but with some extra touches not seen on Grissom’s sidekick, including moon inlays and a McCarty Sunburst finish.

The guitar has its roots in PRS’ vintage-style McCarty model and pairs a mahogany back and set neck, carved to Grissom’s preferred shape, with a maple top. Its rosewood fingerboard features 22 frets with a 10” radius and a 25” scale length.

Other appointments include PRS' patented tremolo system for “sonic fidelity, ergonomics, and revolutionary tuning stability,” and PRS Phase III locking tuners.

Grissom’s custom PRS DGT humbuckers offer rhythm and solo tones with a “Texas voice” that can be tweaked via two Volume controls, a push/pull tone knob, and a three-way toggle switch.

“I was striving for that vintage-inspired '59 Classic tone, and we came up with a recipe,” Grissom says of their invention. “It's a rewarding thing when I don't have to think about the gear that I'm using – [it] just allows me to play in an inspired way.”

Here Grissom’s custom wiring comes into its own as the two Volume controls ensure the treble and bass humbuckers can be individually set and manipulated for a more controlled output.

Paul Reed Smith’s signature has been scrawled across the front of its natural finish headstock, with Grissom’s on the backplate.

“The DGT has been my voice, it's the guitar that I reach for pretty much all the time,” Grissom continues. “The f-hole was the logical next step in the evolution of the guitar.

“The semi-hollow design has a bit warmer top end and a little less bottom than the solid body, making it a super versatile companion to my stock DGTs.”

The PRS Semi-Hollow DGT is available for pre-order now and costs $6,500.

Head to PRS to learn more about Grissom’s limited-edition model.

Eddie Van Halen is synonymous with the hot-rodded, Strat-shaped electric guitars he built for himself starting from the earliest days of Van Halen. 

Indeed, it's almost impossible to imagine a young Van Halen without one of those impossibly cool custom creations – be it the “Bumblebee,” his “Shark” Ibanez Destroyer, or, of course, the Frankenstein.

Prior to all that, though, one of Van Halen's go-to six-strings was, of all things, a Gibson ES-335. Though Van Halen himself liked the semi-hollow just fine, it's hard to picture the man who was largely responsible for the Superstrat template that took over the guitar universe in the '80s wielding Gibson's stately semi-hollow.

Though they couldn't have possibly foreseen the Superstrat revolution, Van Halen's bandmates also couldn't really see their guitarist as an ES-335 man.

“I was playing a 335 for a while before we got signed, and it sounded fine,” Van Halen explained in a 1980 Guitar Player interview. “But, the other guys would go, 'Come on, you look like Roy Orbison.' Really, here's this little skinny punk kid playing a Ted Nugent axe, you know. They said, 'You're rock and roll – you ain't Roy Orbison. Either get some dark glasses or get rid of the guitar.' So I dumped that and started playing a Les Paul again.”

That said, Van Halen, in the same interview, also expressed his desire to put together an ES-335 more suited to his needs, and style. 

“What I would like is a 335 to fit my body, and maybe not [be] quite as hollow as some 335s. I'd like a solid beam all the way to the back of the wood in there. The one I have now locks a little bit of tone – it's too acoustically toned, too hollow.”

Asked if he would put a vibrato bar on this theoretical ES-335, the late guitar legend replied in the affirmative.

“I love 335s – I can haul ass on those things,” Van Halen explained. “When I pick up a stock 335, you probably wouldn't even recognize my playing, It's more jazzy, more fluid and fast – kind of like Allan Holdsworth. One of the reasons I started using a vibrato was that my playing got so fast it was just too much. So now I break it up a little bit, It's like a race car racing down the road and then crashing every now and then.”

In 1958, with jazz and the blues fully amped up, Gibson debuted the ES-335TD as the original ‘Thinline’ ‘Double-pickup’, double-cutaway, semi-hollow archtop.

It was a logical conclusion to the rich history of Gibson’s ‘ES’ (Electric Spanish) lineage that began in 1936 with the Charlie Christian-endorsed ES-150.

Over the next couple of decades, Gibson worked towards something of an apex with the ES-335TD via a series of profound design concepts.

In 1949, the ES-175 was introduced with a single cutaway, gaining double pickups in 1953 as the ES-175D.

In 1954, the Byrdland (an amalgamation of the names Billy Byrd and Hank Garland), which was in its early incarnation documented as the L-5 Special Thin Model, profiled a reduced body depth.

This was shortly followed by the ES-350T in 1955 (later renamed ES-350TD), which also featured a reduced body depth, cutaway and double pickups.

As an addition to a well-established line of f-hole archtops, the ES-335TD broke further ground with its double cutaway and semi-acoustic/center-block features, augmented by Gibson’s new and improved noise-cancelling PAF humbucker pickups.

Along with increased access to the upper frets enabling guitarists to easily hit notes and bend strings high up the neck, its solid maple center-block snugly housed and surrounded both pickups, firmly suppressing the feedback that had plagued archtop players for years.

The ES-335TD thus employed the solidbody signature feature of recessing pickups into a small cavity (a tried and tested method since Gibson released the Les Paul in 1952), while enjoying some of the natural acoustic resonance of a traditional archtop.

Part solidbody/part acoustic, the innovative ‘semi-acoustic’ hybrid guitar successfully balanced the best of both worlds.

The original ES-335 (released in 1958 as the ES-335T) sported a one-piece glued mahogany neck with a Brazilian rosewood ’board and dot inlays, joining the body at the 19th fret. The body measured 16 inches across and consisted of an arched, single-bound laminated maple top and back.

It was mounted with a Tune-o-matic bridge and stop tailpiece (Bigsby optional) and finished in either Sunburst or Natural (ES-335TDN). The iconic Cherry finish (ES-335TDC) was offered later in 1959.

Some design adjustments were subsequently made throughout its production, although it hasn’t altered radically since its introduction, with reissues catering for notable preferences in specification, without needing to invest in the highly collectible original vintage models. (Interestingly, the ES-335 is worth considerably more on the vintage market than equivalent-year ES-345s and ES-355s, although both of these models were pricier than the ES-335 upon original release.)

Along with the ES-335’s ability to push the envelope in terms of gain and a warm, plangent fullness of tone, it struck a very happy medium between feedback and sustain, endowing players with a flexible and colorful palette of sounds at their fingertips.

It was famously embraced by blues players and as a particularly dynamic instrument has also enjoyed popularity within a diverse range of guitar styles since its arrival, with ES-335 signature models having been produced by Gibson in association with artists as diverse as Trini Lopez, Eric Clapton, Larry Carlton, Chris Cornell, Lee Ritenour, Roy Orbison, Tom DeLonge, Alvin Lee (“Big Red” ES-335), Andy Summers (1960 ES-335) and Dave Grohl (DG-335).

With an expressive, vocal characteristic, the ES-335’s continued popularity and longevity since its introduction in 1958 speaks in volumes.

An electric guitar with a Jaguar-style, offset semi-hollow body and a Tele/Gib pickup setup could easily describe a pricey boutique affair that borrows from Fullerton and Kalamazoo designs of the ’50s and ’60s to create a cool modern-day hybrid.

It also describes to a tee the Slick SL56, which, besides being extremely affordable, goes all the way into boutique territory by featuring a P-90 in the neck position and a T-style single-coil sitting next to a custom solid-brass wraparound bridge with six chunky brass adjustable saddles.

Brass was deemed the “musical metal” in the days of yore, and its use is straight out of the playbook of Alembic and others from the late ’60s and ’70s, when brass was thought to equal greater sustain and generally better tone. Here it adds an interesting throwback twist that makes the SL56 a unique beast.

The Aged Crimson Ash finish (one of six available colors) looks neat in a raw sort of way, with the red and black shades highlighting the open-grain wood. Slick says no grain filler or polyurethane sealer is used, and that just a single coat of old-fashioned automotive paint is sprayed on and sanded back.

The process prevents the pores from becoming clogged, so the wood can breathe. It seems to work, as you can hear the acoustic resonance when tapping on the body.

The solid maple neck is attached with a milled-aluminum plate engraved with Earl Slick’s image, and carved in a comfortable C shape that feels awesome with its silky-smooth natural finish.

The headstock wears a black paint job that shows off the tuners’ brass buttons, themselves being Slick’s own design that features bronze crown and pinion gears. They’re smooth and precise, with no backlash, and the guitar stayed nicely in tune during testing.

A hand-slotted graphite nut fitted to the tilt-back headstock provides the correct break angle for the strings, further enhancing stability, and the factory setup made for low, buzz-free action and solid intonation.

My only ergonomic issue is the toggle switch’s location on the lower horn, which makes it easy to hit unintentionally.

The black walnut fingerboard has white position dots and carries 22 medium-jumbo frets that are lightly polished, evenly crowned and rounded off on the tips. It makes for a nice-playing guitar that sustains well – as might be expected with several ounces of brass onboard – and offers easy playability.

Another department where the SL56 stands out is its hand-aged Alnico-magnet pickups: an overwound Fullerton T-style in the bridge and a Slick Junior P-90 single-coil in the neck. They’re wired via a three-way switch (with rounded brass tip) to volume and tone pots that are also topped with knobs made of machined billet brass.

Tested on some gigs and plugged into a Fender Deluxe Reverb with distortion pedals from Warm Audio and Maestro for grind, the SL56 proved a good-sounding guitar that delivered the kinds of tones you’d expect from two very different types of single-coil pickups.

My only caveat is that the neck pickup is very round sounding and doesn’t have the top-end bite expected from a P-90. Perhaps that’s intentional, as the neck position sounded good for rhythm and slide playing once the amp’s EQ was adjusted accordingly.

However, because the bridge pickup was so much brighter sounding, it was necessary to fiddle with the tone control more to get a balanced sound with both pickups on, which is also noise canceling because the P-90 is reverse-wound, reverse-polarity.

In the end, it was simpler to go with the bridge pickup, taking advantage of its crispness and cool dynamics for rhythm, and rolling back the tone control and/or tweaking the pedals’ EQ for buttery high-gain sounds.

As such, the SL56 was somewhat reminiscent of playing a thinline Fender Esquire, where the slice of the back pickup is tempered by the airiness that the chambered body brings.

The bottom is that the Slick SL56 is a fun guitar that delivers the boutique-on-a-budget experience in spades. In fact, it has so much going for it, you can’t help being blown away by its crazy low price.

It’s a lot of guitar for the money and one that makes you appreciate this company’s dedication to building high-quality instruments that punch well above their price class.

Specifications

• NUT: Graphite, 1.693” wide
• NECK: Canadian hard rock maple
• FRETBOARD: Black walnut, 25 ½” scale
• FRETS: 22 medium jumbo
• TUNERS: Slick 14:1 with brass buttons
• BODY: Chambered solid ash
• BRIDGE: Solid brass billet wraparound with six adjustable saddles
• PICKUPS: Slick Junior Alnico V P90 8.0 kΩ neck, Slick Fullerton Alnico V 9.6 kΩ bridge,
• CONTROLS: Volume, tone, three-way selector
• FACTORY STRINGS: .010–.046
• WEIGHT: 6.75 lbs (tested)
• EXTRAS: Aged brass hardware. Finish options. Tweed hard case
• BUILT: China

Visit guitarfetish.com for more information.

Crafting fine acoustic guitars and electric guitars with redwood tops is a specialty of Grez Guitars. But while the company is located in Petaluma, California, on the cusp of wine country and sustainably managed redwood forests, Grez has a different source for this tonewood.

From the 1800s and well into the 20th century, countless stands of centuries-old trees were wantonly clear-cut for lumber. As a result, old-growth timber is now a prized commodity that has to be salvaged from old structures‚ such as a decommissioned bridge built in the 1920s, which provided redwood timber for Grez’s Smugglers Bridge Folsom guitar.

The company recently sent us a special Mendocino DCAF semi-hollow guitar that features an old-growth redwood top (not from said bridge, however) mated to a one-piece Honduran mahogany body and a one-piece mahogany set neck, both finished in matte nitro lacquer.

The Mendocino DCAF (Double-Cutaway Kid Andersen F-hole) differs from the standard Mendocino DC by having a slightly wider body (14 inches versus 13.25 inches) as well as an f-hole to give it a slightly more pronounced acoustic voice.

It’s also available without the f-hole as the Mendocino DCA (see above clip) if a looser low-end is preferred.

Founder Barry Grzebik has good reasons for designing his guitars this way. “The Mendocino is the end result of what I’ve learned building other instruments,” he says. “I started out building acoustic guitars, and then larger semi-hollow and archtop guitars.

“As I started making my semi-hollow instruments smaller, I realized that, while laminated tops and backs are fine for larger instruments, they are too stiff for small bodies. So I used solid acoustic guitar-grade wood, and it brought a little more life back into the instruments. Basically, as the body gets smaller, it wants to resonate less, so I use more resonant materials to compensate.

“Second, as a top gets smaller – say dropping from 16 to 14 inches – it gets stiffer, because the span is less, and its resonances are pushed up in frequency too high for my taste. Because my tops and backs are solid wood, I can adjust the thickness to bring their stiffness back down to a range I like for the body size. This allows lower mid frequencies to come to life a little more.”

Grez offers light customization, which is why our review guitar came with a metallic blue finish on the top and a matching headstock and wood pickup rings. Standard cosmetic touches include white binding, pearl fingerboard dots and a circular stainless-steel brass-trimmed cutout at the top of the peg head.

It all makes for a hip-looking guitar that get its share of compliments wherever it goes.

On the electronics side, there is pair of Seymour Duncan Seth Lover humbuckers with polished nickel covers (customers can specify their pickups of choice), volume and tone controls with VIPot 500K pots and an Orange Drop .022uF cap, chrome knurled knobs and a three-way selector on the upper horn.

Hardware consists of a TonePros AVR2 bridge and a Grez stainless-steel trapeze tailpiece. Nickel-plated Grover 18:1 open-back vintage-style tuners pull the Stringjoy .010–.048 strings smoothly to pitch.

Very light, at five and a half pounds, the Mendocino DCAF felt more like a top-tier steel-string acoustic when I lifted it out of its thickly padded Reunion Blues soft case. The only semi-hollow with similar proportions I had on hand to compare it with was a 2003 Gibson Johnny A. Signature, which weighs a little over seven pounds.

The comparison may be unfair, however, because to call the Mendocino design semi-hollow is a bit of a stretch. Grzebik himself calls it “very hollow,” and so it follows that much of the thinking that went into this guitar is rooted in acoustic building techniques. Even glue was a factor when putting the Mendocinos together.

“My overall design has been created to have fewer glue joints,” Grzebik explains. “A good guitar is the culmination of a lot of little things, so the major glue joints that influence sound in my instruments are the fretboard to neck, neck to body and top to body.

That’s just three glue joints. Some will argue that the type of glue influences the sound, but my stance is to design a guitar that uses very little glue, so then the glue doesn’t matter.

“I also use carbon-fiber reinforcement on both sides of the truss rod. I believe making the neck stiffer does two things: First, it absorbs less energy and drives more into the body, which is designed to resonate.

“Second, all necks have some primary resonant frequencies. When these happen to correlate to a fretted note, they interact with it, causing hot or dead spots. With a stiffer neck, the amplitude of these resonances is reduced and the frequency is pushed up. The result is a fretboard that seems more uniform, with the same liveliness everywhere.”

The Mendocino DCAF is a sweet-playing guitar thanks to the comfy, medium-C neck, which sits nicely in the hand, feeling neither too girthy or slender and very accommodating when sliding over the ergonomically shaped heel to reach the high notes.

The 21 polished nickel-silver jumbo frets on a 25½-inch scale Macassar ebony board are evenly crowned and nicely worked so you can’t feel the ends. The action is low and easy, and a good setup provides sweet intonation in all positions.

It’s an inspiring guitar to play, and it delivered equally inspiring tones when plugged in, ranging from clear and deep on the neck setting to bright and fat on the bridge setting, with a slight twanginess in the upper mids, all of which make the Mendocino DCAF adept at styles ranging from blues, jazz and funk to the roots-rock stylings of Americana.

Through a Deluxe Reverb with pedals for varying levels of grind, the Mendocino DCAF carves out a cool sonic space, sounding crisp and shimmering when you dial it back to the edge of breakup, and fat and sustaining when you crank it for lead. 

It stands up well to stage volume, although ordering it without an f-hole might be wise if you play regularly in loud situations.

Eco-minded players will appreciate that Grzebik, in collaboration with the Redwood Forest Foundation, plants a tree for every guitar he sells, and that all of the redwood he uses for tops and bodies is reclaimed.

“Unfortunately, I can’t say the same for all the wood in the instrument, but I do what I can,” he says.

The Mendocino DCAF is a soulful guitar that’s made with great care and totally embodies the small-lot builder ethos of Northern California, and it warrants a place in any boutique guitar collection.

Visit Grez Guitars for more information.

Marrying a number of popular styles, the new Rivolta Regata VII will present some familiar visual reference points for many players, not least of which is clear evidence of the design prowess of Dennis Fano, formerly of his own eponymous brand and currently head of the popular Novo Guitars.

Representing a more affordable offshore offshoot for Fano, Rivolta guitars are manufactured at the highly regarded Mirr Music Co. factory in South Korea, which also makes guitars for Reverend, Danelectro, Baum and other respected brands with western design roots.

Those who know Fano and Novo electric guitars will recognize a kinship between the offset-waist, semi-acoustic body of the Regata VII and, for example, the shape of Novo’s solidbody Serus J, whose sharp, asymmetrical cutaway horns are faintly echoed here, with some variations in the lines.

We’ve seen the nifty two-tiered headstock on much of Fano’s work in the past, too, along with the fretboard’s ’50s-era Gretsch-like full-width blocks. Whether or not you find these elements appealing – and we do – they speak to the advanced aesthetic sensibilities of a guitar maker firing on all cylinders.

The Regata VII’s own retro touchstones are also found in the Fender Starcaster of the late ’70s, which applied a more rounded-horned, offset-waist design to the CBS-era maker’s attempt to knock the ES-335 off the semi-acoustic podium.

Like the Gibson semis that will inevitably be mentioned in its proximity, the Regata VII has a solid block running from tailpin to neck joint to bolster its thinline rigidity, but in this case it’s mahogany rather than the traditional maple.

The gently arched top and back are indeed made of laminated maple, but the guitar’s sides – which also constitute a more rigid overall frame than the usual bent laminated-maple strips – are carved from mahogany, as is the glued-in neck.

A bound ebony fingerboard tops the timber selection. Our test guitar is dressed in a vintage-natural finish that Rivolta calls Acero Glow (a play on Rickenbacker’s natural Maple Glo finish, using the genus name for this wood), which makes for an appealingly dressed package.

The hardware includes a nickel-plated Nashville style Tune-o-matic bridge and wraparound tailpiece, and six-in-line Kluson Deluxe tuners.

The Regata VII strays from the norm just a little with a 25-inch scale length, which helps to squeeze in 24 jumbo frets, all very nicely dressed and polished on this example.

The nut width of 1 11/16 inches and the 12-inch fingerboard radius hit right at the G-style norm, however, and the entire playing feel still best equates to a mid ’60s ES thinline model. The neck shape is what Rivolta calls its “C+” profile, an early ’60s carve that’s given just a little more girth to avoid the flat-backed feel that those can sometimes have, and it certainly sits well in the hand.

The pickups on this model are a pair of Rivolta’s own Brevetto humbuckers, made with Alnico V magnets and traditional 42-AWG coil wire. They measure 7.66 k-ohms in the neck position and 12.55 k-ohms in the bridge. Rivolta calls them “PAF inspired,” though the bridge pickup is far more heavily wound than any such unit from the late ’50s or early ’60s.

That said, many makers – and players – in the Regata’s target market are looking for extra sting from the bridge position, and this humbucker should deliver. They’re wired through a three-way selector and master volume and tone controls.

All in all, the Regata VII’s build quality is impressive, and the fit, finish and setup present a sturdy and reliable instrument right out of the Rivolta gigbag.

We got a little pinging at the nut slots for the plain strings when twisting the tuners or, occasionally, bending hard, but that should be easily remedied with some lubricant or a slight pass or two of the slot file. Otherwise, the guitar played easily and smoothly all up the neck and exhibited a loud, lively sound unplugged, with a lot of woody resonance overall and a piano-like girth in the wound strings.

Tested through a Friedman Small Box head and 1x12 cab, a Fender Deluxe Reverb amp and a selection of pedals, the Rivolta Regata VII proved to be an appealing and versatile performer, but one that is certainly predisposed toward the rocky side of indie, alternative and roots styles.

The neck pickup sounds particularly sweet, with a tasty bit of compression at the front of the pick attack and good body and clarity, atop the underpinning of warmth you would expect from this position.

The bridge pickup is definitely predisposed to crunch and wail, and it pushes an edge-of-break-up amp into some bluesy or classic-rock grind. We found that it really excels in a high-gain setting, where it enables bags of saturation as well as singing lead work.

The tone cleans up by rolling back the guitar’s volume control, but that also darkens the tone, so the best road to acceptable jangle and chime comes via the middle position, which delivers very usable sparkly and slightly scooped sounds that work great for lighter chords and arpeggios.

The Regata VII is quite feedback resistant for a semi-hollow, but you can intentionally induce a little at higher volumes or with an overdrive pedal engaged, to aid your sustain or atmospherics as desired.

All told, between the hip “familiar-alternative” styling and the confident, versatile performance, the Rivolta Regata VII is definitely one to consider for players seeking a twist on the ES-335 theme, and a fun ride by any measure.

SPECIFICATIONS:

• NUT: Bone, 1 11/16” wide
• NECK: Mahogany, 25” scale length, slim-leaning rounded “C+” profile
• FRETBOARD: Ebony, 12” radius
• FRETS: 24 medium-jumbo
• TUNERS: Wilkinson Deluxe Brand (Kluson style)
• BODY: Laminated maple top and back with mahogany sides and solid mahogany center block
• BRIDGE: Nashville-style Tune-o-matic bridge and stopbar tailpiece
• PICKUP: Two Rivolta Brevetto humbuckers
• CONTROLS: Volume, tone, three-way switch
• FACTORY STRINGS: D’Addario OEM .010–.046 (non-colored ball ends)
• WEIGHT: 7.8 lbs (as tested)
• BUILT: Korea

Visit the Rivolta website for more information.

Established in 1892, Harmony became the largest musical instrument manufacturer in America during its mid-1960s glory years, when it was owned by Sears, Roebuck & Co. The gear maker ceased operations in 1975, was relaunched by BandLab Technologies in 2018, and today Harmony guitars are built in the U.S.

The Comet on review here – a modern take on the classic four-knob “pawnshop prize” H-72 thin-line model from 1966–’71 – features a compact semi-hollow mahogany body and a glued-in mahogany neck with a 25-inch scale ebony fingerboard carrying 22 finely worked medium-jumbo frets.

The Comet wears a glossy Trans Red lacquer finish (also available in Midnight Blue and Sunburst), and the white binding is flawlessly applied around the petite double-cutaway body. Hardware consists of a chrome Tune-o-matic bridge and stop tailpiece, along with a set of locking tuners on the red-finished headstock.

White “cupcake” knobs, pickguard and truss-rod cover complete the plastic trim details of this hip-looking axe. Note that the guitar ships with a Mono Vertigo Electric soft case, which is a nice thing. So many new guitars come with unpadded gig-bags (or nothing at all), so bravo to Harmony for going the extra mile.

The Comet’s light weight facilitates an open, resonant and sustaining acoustic sound. It plays really well, courtesy of a C-shaped neck that feels similar to a late-’60s Gibson ES-335, and the factory setup provides low action, minimal fret buzz and tuneful intonation.

The 25-inch scale also makes for an instrument that’s easier to play deep bends on than, say, a Fender Strat, while the 12-inch-radius fretboard and medium neck profile make the Comet super comfortable in the hands.

In the electronics department, the Comet wields a pair of Gold Foil humbuckers that feed a volume control (with a push-pull function for an out-of-phase sound when both pickups are on) and a tone control that is voiced useably throughout its rotation and has a bit of wah-like inflection as you roll it down.

Tested through a Fender Deluxe Reverb (with hand-wired circuitry by George Alessando), and alternately a Fulltone OCD and a Hermida Zendrive for distortion, the Comet delivered bright, full sounds in all positions.

There’s fat, twangy bite to spare on the bridge setting, which is killer for rock or country, and it cuts beautifully without having to be ridiculously loud. The neck pickup’s sweet, clear tones are cool for blues and jazz (with or without a little grind added), and the middle position is springy and open sounding.

We also liked the funky tones available in the out-of-phase position, which yields a nice chiming sound that’s not too thin or snarky and responds well to the voicing of the tone control. The Gold Foil pickups definitely have their own thing going and are more single-coil sounding than standard humbuckers. Compared to the pickups on say a Les Paul or ES-335, the difference is appreciable, and in a good way. They’re also quiet and have enough output to drive an amp on par with a P-90.

Granted, the covers on the Comet’s pickups are less ornate than the Gold Foils found on vintage Harmony models, but they certainly look cool on this model with their gold “electric shaver” screened tops.

The Comet is a sweet guitar that’s lightweight, toneful and stylish. It’s a very “boutique” guitar compared to the budget models Harmony cranked out in the early days, soulful and popular as many of them were, and it’s nice to see a new production electric guitar on the market that’s so deeply rooted in the American past.

Specifictions:

• NUT WIDTH 1.68”, bone 
• NECK Mahogany set neck with long-tenon joint 
• FRETBOARD Ebony, 25” scale, 12” radius 
• FRETS 22 medium jumbo 
• TUNERS Locking 
• BODY Mahogany semi-hollow with carved top and back 
• BRIDGE Tune-o-matic with stop tailpiece 
• PICKUPS Harmony Gold Foil humbuckers with Alnico 3 magnets 
• CONTROLS Volume (pulls for out-of-phase) tone, three-way selector 
• EXTRAS Nitrocellulose lacquer finish. Comes with premium Mono Vertigo Electric case 
• FACTORY STRINGS Harmony .010–.046 
• WEIGHT 6.1 lbs (as tested) 
• BUILT USA

Gretsch has been peppering the market with a plethora of models in the past few years. The Streamliner series offers a center-block version for players who desire some acoustic attitude but also want to crank the volume and/or distortion level without uncontrollable feedback. 

To that end, the G2627T (which is available only through Guitar Center and Musician’s Friend) sports a semihollow maple body with a spruce center block running the length of the body to reinforce the top while preventing nasty howling. Finished in gloss black with white binding and gold hardware, the test model presented a classy appearance. 

Cat’s-eye sound holes and a Bigsby tailpiece conspired to add some vintage Gretsch style to this otherwise modern update. Constructed of sustainable woods, the nato neck provides a sound similar to mahogany, while the laurel fingerboard could be mistaken for attractive rosewood. 

A thin U-shape neck profile, medium jumbo frets, a 12-inch radius, and a solid setup made for superb playability, easy bending, and a comfortable action level, with no buzzing or fretting out. The G2627T is touted as a rock beast, and to that end it comes equipped with three Broad’Tron humbucking pickups, Gretsch’s most powerful. 

While not lacking top end, the pickups are noticeably boosted in the bass. This could be a plus in high-gain situations, mitigating fizziness, though it might be less ideal for those seeking a twang machine.

That said, their extra output meant I could lower them well away from the strings, which simultaneously increased their clarity and moved them (especially the middle one) away from my picking hand. While still not in Filter’Tron territory, I was able to eke out some rich, rootsy, if slightly dark tones through both a Supro Comet and a Fender Blues Junior.

Once distortion entered the picture, courtesy of a Jetter Jetdrive or added amp volume, the Broad’Trons came into their own, easily driving both pedals and amps, and sounding full, but not muddy. The pickup switching system and controls took some getting used to, but once mastered they offered an extensive variety of tones.

One of the three-way toggles handles the neck and bridge in classic fashion: neck, bridge, or both. The second three-way controls the middle pickup, one position shutting it off for standard two-pickup operation; a second for combining with neck, bridge, or both; and a third to turn it on while shutting off the other two pickups.

This last setting proved to be surprisingly useful, whether for slide or paired with mild distortion for some atmospheric ambience. The knobs offer individual volumes for each pickup, a master tone, and a master volume.

The G2627T is wired such that turning any pickup all the way off shuts down all sound, even when combined with another pickup. This allows classic stutter effects, but it also means you have to be careful when making fine adjustments to multi-pickup configurations.

For much of its history, Gretsch meant mostly Chet Atkins fingerstyle, Cliff Gallup rockabilly, or Duane Eddy twang.

These days, the company is bringing the legacy of Neil Young’s slashing solos and the chunky rock rhythms of Billy Duffy and Malcolm Young to the fore. Though the G2627T emphasizes the latter, it may still be worth checking out even if you are into the former.

Specifications

• PRICE: $499-$599 street depending on model/color
• NUT WIDTH: 1.69”
• NECK: 24.75” Nato U-shape neck fingerboard with 12” radius
• FRETBOARD: Laurel, 24.75” scale, 12” radius
• FRETS: 22 medium-jumbo
• TUNERS: Die-cast
• BODY: Maple body with lightweight spruce center block
• BRIDGE: Adjusto-matic bridge and Bigsby B70 tailpiece
• PICKUPS: 3 Gretsch Broad’Tron humbuckers
• CONTROLS: Two 3-way switches; neck, middle, and bridge volumes; master tone.
• BUILT: Indonesia
• CONTACT: Gretsch

Happy birthday to Guns N’ Roses guitarist Richard Fortus!

A member of the hard rock titans for the best part of two decades Fortus’s long and varied career has seen him perform with a diverse range of artists including Thin Lizzy, Psychedelic Furs, and The Dead Daisies.

As one of the industry’s most prolific session guitarists Fortus has lent his superlative talents to countless projects over the years. From some of the world’s biggest names in music such as Enrique Iglesias and Rihanna to film scores, commercials and video games – he’s done it all!

While being immersed in such a broad variety of gigs over the years, Fortus has constantly strived to refine his electric guitar tone, and his new Gretsch signature Falcons – the white, Bigsby-equipped G6636T-RF and black, V-stoptail G6636-RF – are the culmination of a lifetime's experience in music.

These Falcons are not just any Gretsch semi-hollowbody electric.

“Gretsch is, in many ways, the tone of rock ‘n’ roll for me,” says Fortus. “From classic Duane Eddy [and] Cliff Gallup to Malcolm Young – it really encapsulates rock ‘n’ roll.”

With a solid bottom end and sparkling, chime-y top end Fortus’s classic Gretsch Filter’Tron sound sits around Slash’s more midrange-prominent vocal guitar tone, allowing each to occupying their own space within Guns N’ Roses’ unique sonic picture.

Far from being off-the-shelf parts the pickups in the new Gretsch Richard Fortus Signature Falcons are the result of painstaking experimentation.

“Gretsch were in rehearsals with us, and they were winding pickups on the spot while I’m trying them out,” Fortus told Guitarist magazine. “We had a cycle of four different guitars, as well as my normal live guitars to compare them to. Plus, when you’re on in-ears, you’re listening under a microscope. You can hear every detail.

“Our front-of-house engineer was in the other room in a control room environment, so he was listening too and giving us feedback. We’d go back and forth zeroing in on the perfect tone. Gretsch were amazing. They were as tenacious as I was in trying to find the perfect blend.”

The team eventually settled on a unique design incorporating elements of vintage-style PAF and Filter’Tron pickups. Consequently, this versatile humbucker is able to produce both iconic tones. 

“When you roll the volume down to around seven, you’re very much in classic Filter’Tron territory," says Fortus. "And as you bring the volume up you get more of that round PAF thing.”

Here’s a quick rundown of specs for each of the two models…

G6636T-RF Richard Fortus Signature Falcon

BODY

• Arched laminated maple top and back
• 1.75" (44.45 mm) depth
• Center block construction
• Vintage White gloss finish

NECK

• Maple set-neck construction with U-profile
• 25.5" (648 mm) scale length
• 22-fret ebony fingerboard with 12" (305 mm) radius
• Pearloid Neo-Classic Thumbnail inlays

ELECTRONICS

• Dual custom wound Filter'Tron pickups with nickel covers
• Master volume with treble bleed
• Master tone with no-load pot

HARDWARE

• Bigsby B6CP
• TonePros TP6R bridge with roller saddles
• Grover Rotomatic die-cast tuners
• Nickel finish

G6636-RF Richard Fortus Signature Falcon

BODY

• Arched laminated maple top and back
• 1.75" (44.45 mm) depth
• Center block construction
• Black gloss finish

NECK

• Maple set-neck construction with U-profile
• 24.6" (625 mm) scale length
• 22-fret ebony fingerboard with 12" (305 mm) radius
• Pearloid Neo-Classic Thumbnail inlays

ELECTRONICS

• Dual custom wound Filter'Tron pickups with nickel covers
• Master volume with treble bleed
• Master tone with no-load pot

HARDWARE

• V-stoptail
• TonePros TP6R Tune-O-Matic bridge
• Grover Rotomatic die-cast tuners
• Nickel finish

Visit the Gretsch website for more information.

The semi-hollow guitar is a dichotomous instrument that sparks curiosity in every guitar player at some point or another. Its combination of electric and acoustic properties offers you some of the qualities of each, although you should know that even the best semi-hollow guitars aren't really a good replacement for an acoustic guitar. Instead, you should think of a semi-hollow guitar as an instrument that is predominantly electric, but offers some of the resonance and warmth of an acoustic that sets them apart from a standard solid body.

Semi-hollow guitars are defined by having a hollow cavity in the wings of the body, with a solid block of wood running through the center where the pickups are mounted. That block is there to combat the feedback that hollow-body guitars are notorious for, which makes them difficult to control at high volume. Semi-hollows handle that far better, which is why they have been the choice of so many players over the years, from Chuck Berry to Tom DeLonge.

I have been playing guitar for over twenty years and working in the guitar industry for around a decade, which means I have encountered more than my fair share of semi-hollows, and it’s this real-world experience that has informed the picks in this guide. If you want to treat yourself, it is hard to ignore the Gibson ES-335, an absolute icon of the semi-hollow world that has earned its place in history. If you are on a tighter budget, the Ibanez Artcore AS53 has been a best-seller since it first appeared, proving you do not need to spend big to enjoy semi-hollow magic. If you want a guitar that’s somewhere in the middle of these two, then you should cast your eye upon the amazing Epiphone Dave Grohl DG-335, which is a brilliant intermediate option.

In this guide you will find a selection of handy section that can help guide your buying decision if you’re new to semi-hollow guitars. I’ve curated a how to choose section that details the thought process behind buying a new guitar, as well as a comprehensive FAQs which answers all the most common questions guitarists have asked me about semi-hollows. Finally, there are some specific terms related to semi-hollow guitars that are important to know, so you can check these out in the glossary of key terms.

Best overall

Overview: The most famed semi-hollow of them all deserves special treatment, and it gets it here. Since its inception in 1958, the Electric Spanish 335, to give it its proper name, has been wielded by players as diverse as B.B. King and Billie Joe Armstrong, and its contribution to music cannot be understated.

Build quality: The AAA-figured maple finish offers stunning depth, and this model’s maple center block and Adirondack spruce bracing make it acoustically louder, which translates to a more open plugged-in experience. The premium treatment extends to a lightweight aluminum ABR-1 bridge and stopbar tailpiece, anchored with steel thumbwheels and studs.

Playability: The ES-335 has always had a reputation for being one of the most comfortable semi-hollows to play, and this model keeps that tradition alive. The rounded “C” mahogany neck sits in the hand nicely, offering enough substance without feeling cumbersome, while the 12-inch rosewood fingerboard radius and medium jumbo frets make bends and chord work equally smooth.

Sounds: Instead of ’57s, it comes with medium-output calibrated T-Type humbucking pickups, but they provide a perfect showcase for an ES-335 and reveal the expression on tap here: warm without a hint of muddiness, but touch-sensitive with bite when overdriven.

Best budget

Overview: The Ibanez Artcore series has long been a popular alternative to brands such as Epiphone, and the AS53 is one of the most affordable options for players seeking a slightly smaller body that does not compromise on tone.

Build Quality: Featuring Linden and Nyatoh tonewoods on the body, back, sides, and neck, this guitar is striking to look at. The Tobacco Flat or Transparent Black finish highlights the elegance of the body shape without being flashy.

Playability: The AS53 is a comfortable guitar to wield, with its slightly smaller body size making it less bulky than many traditional semi-hollows. The bound rosewood fingerboard feels smooth under the fingers, and the slim, fast-playing neck profile is what Ibanez is known for. Whether you are strumming chords or running lead lines, it offers an easy playing experience that suits beginners and experienced players alike.

Sounds: Equipped with a set of Infinity R Ceramic Humbuckers, this guitar sounds just as good as it looks, delivering the warm, creamy tone you would expect from a semi-hollow. If you are longing for hollow-body character without breaking the bank, the Ibanez AS53 Artcore should be high on your list.

Best mid-priced

Overview: Foo Fighters fans around the globe were giggling with glee when Epiphone announced a production-line replica of Dave Grohl’s signature DG-335. Originally released by Gibson as a premium Memphis-made model, finding one on the second-hand market was even less affordable. Now, this mid-priced Epiphone variant makes owning one achievable without sacrificing quality or materials.

Build Quality: Instead of a pure maple body, Epiphone has opted for a double-bound laminated maple and poplar construction with a one-piece mahogany neck and laurel fingerboard. Like Grohl’s original, this guitar blends an ES-335 body with Trini Lopez details, such as diamond F-holes, split-diamond inlays, and a Firebird-inspired headstock. Epiphone has absolutely nailed the Pelham Blue finish, and overall, it is a stunning reproduction.

Playability: The DG-335 uses an Elliptical C-shape neck profile, slightly chunkier and wider for digging into chords. It fills the palm more than a standard SlimTaper or modern C while still remaining comfortable for lead work. One thing to note: the combination of the Firebird-style headstock and ES-335 body gives it a long overall length, which can feel a touch unwieldy for shorter players.

Sounds: The most exciting inclusion is a set of Gibson USA Burstbuckers, with a Burstbucker 2 in the neck and a Burstbucker 3 in the bridge, exactly like Grohl’s original. Plugged into an AC30 or Mesa/Boogie, you get an instantly recognizable rock tone that nails the Foo Fighters sound. It is perfect for Foo’s fans but also versatile enough to cover everything from bluesy riffs to hard rock staples.

Best T-Type

Overview: With plenty of enthusiasm and creativity still to give, Leo Fender, alongside George Fullerton and Dale Hyatt, founded G&L in the late 1970s. The G&L ASAT Classic is a refined take on Leo’s final single-cut bolt-on electric guitar design.

Build Quality: Offering fantastic value for money, the ASAT Classic Bluesboy is a semi-hollow guitar with a swamp ash body, classic 25.5-inch scale length, and either a hard maple or rosewood fingerboard, depending on the finish. Six individual brass saddles provide precise intonation, while 18:1-ratio tuners deliver excellent stability.

Playability: The Thinline design makes this an incredibly lightweight and nimble instrument. While the airy character of a semi-hollow is less pronounced due to the smaller body, the familiar T-style shape feels instantly comfortable and offers minimal resistance across a wide range of genres.

Sounds: A G&L alnico humbucker pairs with Leo’s Fullerton-made, high-output single-coil MFD (Magnetic Field Design) bridge pickup to create a versatile tonal palette. The humbucker’s emphasis on low end balances nicely against the single-coil, which delivers punchy midrange with enough bite to cut through a mix.

Best small body

Overview: Introduced in 2007, the Gibson ES-339 is a smaller version of the ES-335, intended for those who are more comfortable wielding a guitar with Les Paul-esque dimensions.

Build Quality: Smaller certainly does not mean inferior. The ES-339’s maple center block and quarter-sawn spruce bracing make it every bit a genuine downsized take on its bigger, older brother. The 3-ply maple/poplar/maple body feels solid and well put together, and details like the Grover Rotomatic machine heads and ABR-1 Tune-O-Matic bridge add to the sense of quality. It might be more compact, but it still carries the same Gibson craftsmanship and presence you would expect from the ES line.

Usability/Playability: The ES-339’s scaled-down body makes it a far more manageable guitar than its bigger brother, especially for players who find the ES-335 a little unwieldy. The slimmer lower bout sits neatly against the body, and the double-cutaway keeps the upper frets within easy reach. Add in the rounded C neck profile and you get that familiar Gibson feel; substantial enough to dig into chords but comfortable enough for long sessions without fatigue.

Sounds: If the ES-339 feels like an ES-335 / Les Paul mix, then the ’57 Classic / Classic Plus humbuckers suit the platform with thick bridge position tones, open-neck character and an added twang to the mid position that enables more scope for chord jangle than you’d find on an LP. It’s a very inviting halfway house.

Best with trem

Overview: Founded in 1986 in Hannover, Germany, Duesenberg applies the same level of attention to detail in guitar making as its compatriots at Mercedes-Benz. Every piece of hardware is designed in-house, right down to the pot covers, built not only to look stunning but also to withstand the rigors of the road. The Starplayer TV is a semi-hollow single-cut guitar that showcases this ethos and features one of the finest tremolo systems available.

Build Quality: The first thing you notice when holding a Starplayer TV is how pristine it looks. Every angle has been carefully crafted, from the Super Smooth Z-Tuners to the signature D logo and chrome detailing on the Diamond Deluxe Tremola. It is visually tied together with an Art Nouveau vibe, but the Tremola is more than just a show; it delivers one of the smoothest actions on the market, incredibly responsive and a joy to use.

Playability: The Starplayer TV plays like a dream. Each model is run through a Plek machine to level the frets to within 1/100 of a millimeter. From there, the neck is hand-finished, with rounded fret edges and a rolled fingerboard that make it feel effortless in the hand.

Sounds: This guitar pairs a Domino P90 with a GrandVintage Humbucker, offering a wealth of tones. Both pickups are Duesenberg’s own designs, with a clarity and articulation that really stand out. The combination is as versatile as it is articulate, capable of covering a wide range of styles while maintaining supreme definition.

Also consider

For me, the above picks should cover most guitarists needs when it comes to semi-hollow guitars. If you didn't find what you were looking for though, here are some more great options for you to have a look at.

How to choose

If you’re reading this, chances are you have your eyes on a semi-hollow electric guitar. The good news? I have been helping musicians for the best part of a decade select a suitable semi-hollow for their tastes, budgets, and skill levels. Working in a guitar store means I have handled my fair share of semi-hollow guitars, and here are the top considerations you should acknowledge before making a purchase.

1. Body Shape

The most important factor you should consider is body shape. Today, semi-hollow electric guitars come in all shapes and sizes. When most people think about a semi-hollow electric, it will likely be a double-cut ES-335-style body they imagine. This is a highly popular shape, but it can be slightly on the larger side for some players.

However, brands like PRS, Sterling by Music Man, and Fender are taking traditional solid-body shapes and routing them into semi-hollows. If you’d prefer the more compact nature of an electric guitar but want to benefit from semi-hollow characteristics, then check out these options on our list. After all, if the body shape doesn’t work for you and feels uncomfortable, it won’t encourage you to play.

2. Pickups

As for the pickups, you will typically come across humbuckers for semi-hollow guitars. This is largely due to the nature of both ’buckers and these guitars’ construction. Semi-hollow guitars can sometimes suffer from feedback, particularly when using gain, and humbuckers are designed to minimize unwanted hum and noise. Humbuckers are warm, rounded, and great for classic rock.

However, particularly on smaller bodies, alternative pickups like single-coils and P-90s can be used. Take the PRS Special, for example, this HSH configuration guitar utilizes a single-coil, while brands like Gretsch and Duesenberg often like to experiment with P-90s. Single-coils are brighter, spankier, and slightly more articulate, while P-90s have more bite and attack. The pickup configuration you go for will be determined by how you would like to sound.

3. Tremolo or no tremolo?

Gretsch and Duesenberg are two brands in particular that love sticking a tremolo arm on a semi-hollow electric. This is the metallic arm at the bridge that, when pressed, produces a tremolo effect. Gretsch often uses Bigsby tremolos, while Duesenberg makes its own. Other brands do install a tremolo arm and they are common sights on semi-hollow electrics.

Deciding between a tremolo bridge and a hardtail will depend on your playing style. Are you likely to use the tremolo while playing? Do you want to have that option? If the answer is yes, then go for it. If it’s no, it may be worth getting a hardtail. After all, if you aren’t using it, it will more than likely just get in the way of your playing and can also be a bit trickier to restring.

FAQs

Key terms

• Archtop: A type of semi-hollow (or fully-hollow) guitar that has a curved wooden top, as opposed to a flat one found on a Stratocaster, for example.
• Bigsby: This is a brand of tremolo system widely used on semi-hollow guitars. The mechanism produces a smooth and often subtle tremolo effect.
• Center block: A center block is the solid piece of wood running through the middle of a semi-hollow guitar. It has two routed wings attached to either side.
• Coil-split: A coil-split is an electrical feature installed in a guitar that disables one half of a humbucker, allowing single-coil tones to be produced.
• F-holes: An F-hole is the ornamental design found on a semi-hollow guitar’s top; it is always featured on the ‘wing’, or hollow section of the top.
• Feedback: This is an audio loop produced when a guitar’s amplified sound is picked up by the pickups, resulting in feedback. It often sounds like a high-pitched howl.
• Hollow body: Unlike a semi-hollow with a center block, a hollow body guitar is fully routed, doesn’t have a center block and is fully hollow.
• Humbucker: This is an electric guitar pickup formed by two single coils being bunched together. The opposing polarities help reduce any unwanted hum.
• Laminated top: A laminated top is a type of composite wood made up of multiple thin layers of wood glued together to produce the top.
• Neck profile: Simply put, the neck profile is the cross-section of the back of a guitar’s neck. Usually described by letters, like ‘C’, ‘D’, or ‘U’, this gives an idea of the shape.
• P-90: Somewhere between a single-coil and humbucker, a P-90 is technically a single-coil as it has one wire coil, but with a much shorter and wider bobbin.
• Resonance: This is how your guitar’s body will vibrate to a particular frequency. Semi-hollow resonance is a little brighter and airier compared to a solid body.
• Scale length: This refers to the measurement of the guitar’s length between the bridge and nut.
• Set neck: Unlike a bolt-on neck, a set neck is glued into the body in a pre-cut pocket.
• Single-coil: A pickup design that uses a single magnet and coil of wire. They sound bright, clear, and snappy, but can sometimes pick up a little hum.
• Sustain: How long a note rings out once you play it. Semi-hollows usually have more natural sustain than fully hollow guitars, but a little less than solid bodies.
• Thinline: A term used for slimmer semi-hollow guitars. They keep the airy tone but feel lighter and easier to handle. It is a term coined by Fender and its Telecaster Thinline model.
• Tone block: The solid piece of wood running through the center of a semi-hollow. It adds sustain and helps keep feedback under control.

How we test

At Guitar Player, our expert team of guitarists is fully immersed in the world of guitars. With our deep appreciation for the unique tone and versatility of the instrument, we have extensively tested and played numerous guitars to identify the best semi-hollow guitars available.

To compile our list of top semi-hollow guitars, we combine our hands-on experience, meticulous research, and in-depth discussions with our editorial team. We carefully consider factors such as craftsmanship, playability, tonal range, and overall value to ensure we showcase the finest products on the market.

As dedicated musicians ourselves, we understand the importance of finding the perfect instrument that suits your playing style and musical preferences. Whether you're exploring jazz, blues, rock, or any genre that benefits from the warm, resonant tones of a semi-hollow guitar, our goal is to provide reliable and informed recommendations to help you discover the ideal instrument for your musical journey. With the best semi-hollow guitars in your hands, you'll have the tools to express your creativity and elevate your sound to new heights.

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

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Harley Benton is no stranger to budget electric guitars, but for 2021, it’s looking to grow its semi-hollow guitar offering with the Aeolus, a new single-cut take on the format.

Boasting a mahogany body topped by a AAA flame maple veneer, the Aeolus is available in Bengal Flame and Frost Flame finishes.

Playability comes by way of a roasted maple neck and fingerboard, topped off by 22 stainless-steel frets.

Harley Benton is promising versatility for a wealth of genres from the model, and to that end, its two Tesla VR-2 Alnico V humbuckers offer single-coil tones via a coil-split located on the push/pull tone knob.

Other notable features include a Graph Tech nut, WSC tune-o-matic-style bridge and Grover locking tuners.

The Aeolus clocks in at a cool $406 from Thomann Music. For more on the model, head over to Harley Benton.

By now, the Eastman String Company should need no introduction to the American guitar community. You might say it’s the company that finally and utterly defied the “budget-brand” preconceptions of Chinese-made guitars by consistently turning out a range of acoustic and electric instruments that compete well against quality guitars of just about any origin. 

The original Romeo, released about a year and a half ago, landed in GP’s Gear of the Year selection for 2019, and Eastman has just added to the range with the Romeo LA, a companion model with hot-rodded looks, sounds, and features. Eastman sent us a Romeo LA prototype – one of just two in existence – to put through its paces this issue. 

The Romeo LA represents a fundamental rejigging of the formula. Eastman turned once again to Los Angeles–based master luthier Otto D’Ambrosio, who designed the Romeo. Like that original, the Romeo LA is a thinline archtop but made with a laminated spruce top, rather than one of solid spruce. This takes it closer to traditional semi-acoustic characteristics. 

While laminated maple might seem a more obvious choice for a guitar in the ES-335 mold, the laminated spruce adds some sonic enhancements that help differentiate the model. It follows form again, however, with its laminated mahogany back and sides, partial solid-mahogany center block, and maple neck with unbound ebony fingerboard, all of which were found on its predecessors in the Romeo range.

Like the original Romeo and the SC with its Tele-like single-coil neck pickup, the LA has the distinctive body shape. At 14.75 inches wide across the lower bout, it’s slightly narrower than other popular compact semis such as Gibson’s ES-339 and Collings’s I-35 LC, both of which are 15 inches wide.

With a depth of 1.75 inches, it’s just a shade deeper at the edge than those downsized benchmarks. But the real difference in perception and playing feel seems to lie with the positioning of the neck joint deeper into the unique offset double-cutaway body, which shifts all the action further toward the tail end and draws the neck closer to the player’s body as well.

Dress-wise, D’Ambrosio selected a striking Celestine Blue, finished with a nitrocellulose top coat and elegantly complemented by five-ply top binding and three-ply back binding, with a grained ivoroid outer layer and matching ivoroid heel cap.

The use of a Göldo LT2 vibrato tailpiece (courtesy of Dieter Goelsdorf, founder of Duesenberg Guitars) adds visual flare, and it solved a puzzle when a more traditional Bigsby B-3 wouldn’t correctly fit the Romeo LA due to its arched top and the scant real estate between its bridge and tail pin. 

It has the further benefit of mounting on traditional stop-bar tailpiece studs. The ToM-style bridge is Göldo’s three-point Vario bridge, and the tuners are locking Göldo K-Lines.

To change up the humbucker-fueled tone of the original Romeo, the LA carries a pair of Seymour Duncan Phat Cats, a P-90–style single-coil pickup in a humbucker-sized mount, both under radiator covers with gold-foil inserts to dress up the styling.

These are wired through independent volume controls, a tone control, and a three-way toggle selector. Because the tone control is connected only to the bridge pickup, it functions in the middle position as a master tone control but has no effect when the neck pickup is selected on its own. The Romeo LA impresses right out of the case.

It is beautifully set up and plays superbly in all positions. The frets are impressively well dressed and polished, and Eastman’s “traditional even ‘C’” neck profile feels comfortable and natural. It should appeal to a wide range of players. Our prototype was about 1 3/4 inches across the nut, slightly wider than the final target spec of 1 11/16 inches.

Unplugged, the Romeo LA exhibits a surprisingly bountiful acoustic ring, with bold and clear lows, balanced highs, and appealing detail and liveliness all around.

The only critical note is that the pickup-selector toggle is rather far from playing position and requires a slightly awkward (and not entirely intuitive) reach past both the vibrato arm and the row of control knobs, making it tricky even with the whammy arm folded back. As for the vibrato, the Göldo bridge and LT2 are a great pairing, and the guitar stayed in tune with moderate vibrato use.

Tested through a custom tweed Deluxe-style 1x12 combo and a Friedman Small Box head and 2x12 cab, the Romeo LA revealed a versatile and characterful guitar that’s likely to acquit itself well across a relatively broad range of genres and playing styles.

It exhibited an appealing blend of girth and articulation, all couched in traditional P-90 midrange punch, with enough grit to give it some character. This is a hip-looking newcomer whose tone harkens back to some classics of the ’50s and early ’60s.

The use of laminated spruce seems to add a lively, raucous complexity to the tone, making the Romeo LA something all its own, rather than just a compact 335 cut to a different shape. Played clean, it isn’t “Strat pickup bright” into a tame amp but has clarity enough for unsullied pop ballad work or gritty-edged country.

However, it really excels into a cranked lead channel or overdrive pedal (I tested it with a JHS Bonsai and Wampler Tumnus Deluxe), where the combination of pickups and semi-hollow build deliver muscle and aggression that contain air and roundness within their core.

Get too close to a loud amp and it will start to howl, of course, but it’s manageable with sensible distancing, and that propensity adds to the lively, edge-of-excess feel of scorching solos or big, crunchy rhythm playing.

Although the Romeo LA took well to blues and even some jazz on the neck pickup, it really thrives in roots rock, contemporary-minded rockabilly, indie rock, and romping garage rock, where its gritty, raw, hot-rod nature is allowed to roar through naturally. As such, it’s a fun new offering amid an impressive Eastman lineup, and should find a home with plenty of adventurous players.

Specifications

• PRICE: $1,399 street
• NUT: Bone, 1 11/16” wide (prototype, as reviewed, is slightly wider)
• NECK: Maple, 24.75” scale length, Traditional Even “C” profile
• FRETBOARD: Ebony, 12” radius
• FRETS: 22 medium-jumbo
• TUNERS: Göldo locking tuners
• BODY: Semi-hollow archtop body made from a laminated spruce top and laminated mahogany back and sides, with partial solid center block
• BRIDGE: Göldo three-point Tune-o-matic-style bridge and LT2 vibrato tailpiece
• PICKUPS: Two Seymour Duncan Phat Cat P-90s with radiator gold foil covers
• CONTROLS: Two volume controls, master tone control, three-way selector switch
• FACTORY STRINGS: D’Addario NYXL .011–.049
• WEIGHT: 6.9 lbs
• BUILT: China
• CONTACT: Eastman Guitars

The latest PRS guitars model introduced this year is the Special Semi-Hollow, which is special indeed, thanks to its hum/sing/hum pickup configuration, which uses a PRS Narrowfield unit in the middle position flanked by two 58/15 LT humbuckers in the bridge and neck. 

The Narrowfield is designed to deliver single-coil clarity and bite, but without the hum, and the whole idea is to enhance the versatility of this elegant design. 

The Special’s amplified performance centers on an electronics package consisting of a five-way blade switch that provides the usual pickup selections (neck, neck/middle, middle, bridge/middle, and bridge), along with two mini toggles that independently tap the humbuckers to provide single-coil flavors.

It adds up to 12 pickup combinations, and, coupled with master volume and tone controls, the system offers easy access to a ton of sounds. The way that the Narrowfield pickup is situated a little lower than the humbuckers makes it more accommodating to picking without feeling cramped for space. 

A beautiful guitar with its violin-carved striped-maple top – a 10-Top on our review sample – the Special Semi-Hollow wears a new and striking Purple Iris nitro-over-cellulose (CAB) finish that really shows-off the purple-ish colorations in this highly figured piece of wood.

The guitar is available in 19 other colors, and you can subtract $660 from the price for a standard maple top. The carved-out mahogany body enhances the guitar’s vibrational qualities and is a big factor in its light weight and nimble feel.

The Pattern set neck has an ideal shape for those who like the girth of vintage-Gibson necks, and it’s topped with a rosewood ’board with 22 PRS Standard frets and sweet-looking abalone bird inlays. A smooth synthetic nut and an excellent factory setup make for righteous playability and accurate intonation.

Hardware consists of a PRS patented Gen III tremolo with a push-in arm, and a set of open-gear PRS Phase III locking tuners that turn easily and keep the strings from slipping on the winding posts.

From a functionality standpoint, the bridge is a cool piece of machinery that offers butter-smooth operation, has no sharp edges to interfere with your hand, and looks neat with the nickel-plated steel body and brass saddles and screws.

Strings load from the back into the brass inertia block, and the unit is set up to float with four springs attached. The system has a light bending feel that makes it very expressive to the touch, and it returns to pitch reliably when worked hard.

We tested the Special Semi-Hollow using a Fender Deluxe Reverb and a Matchless Chieftain combo, as well as a variety of OD pedals. It has a resonant acoustic sound, and the pickups do a fine job of capturing that airy character at all volume levels, particularly when the guitar is up loud enough to enjoy the singing, edge-of-feedback sustain that semi-hollows do so well.

The PAF-style, low-wind 58/15 LT humbuckers are a great match, as they sound super clear and detailed when played cleanly, and they’re smooth and sinewy, with plenty of bite when pushing a distorted amp or pedal.

The sweet-sounding neck pickup is superb for rhythm and jazzy solos, and it also sounded cool with the coil-tap switch activated (where its slimmer response was dynamite with a lower-gain pedal) and used like an overdrive to get more amp grind. What a killer SRV-style blues tone with the Deluxe!

Sounding like a big single-coil, but rounder and more even sounding than, say, a P-90, the Narrowfield pickup has an output that matches well with the humbuckers, so there’s very little loss in level when you flick it on.

The Narrowfield is also great in positions two (neck/middle) and four (middle/bridge) when you want a funkier tone, especially with the humbuckers in tapped mode, which is where the Special Semi Hollow yields its chimiest and most Strat-like tones.

The fourth and fifth positions provide instant access to a lot of cool tones for rhythm and lead, and depending on how much gain you’re running, that bridge ’bucker covers a ton of ground, delivering everything from fat, bright Tele-style snap to super buttery sustain, with plenty of stops along the way for dirty/clean textures, all of which respond beautifully to how the volume and tone controls are voiced.

The bottom line is, anyone looking for a superbly playable, do-it-all axe that’s armed with great tones and looks sexy as hell should take the Special Semi-Hollow for a spin.

Specifications

• PRICE: $4,200 base, molded hardshell case included. $4,860 as tested with 10-Top
• NUT WIDTH: 1.687”
• NECK: Mahogany, Pattern shape
• FRETBOARD: Rosewood, 25” scale
• FRETS: 22 PRS Standard
• TUNERS: PRS Phase III locking tuners
• BODY: Flame-maple top with violin-carve, mahogany back
• BRIDGE: PRS Gen III trem
• PICKUPS: Two 58/15 LT humbuckers, one Narrowfield single-coil
• CONTROLS: Volume, tone, 5-way selector, mini-toggles for coil-splitting the humbuckers
• FACTORY STRINGS: PRS Signature .010-.046
• WEIGHT: 6.78 lbs (as tested)
• BUILT: USA
• CONTACT: PRS Guitars

First teased a few months back, Gretsch has fully unveiled its new Streamliner G2622 and G2655 models.

Both the full-size G2622 and smaller-bodied G2655 models come in two variations: one with a Gretsch V-Stoptail, and one with a Bigsby tremolo tailpiece.

For starters, there's the G2655, which features a 14” laminated mahogany body with Aged White Purfling binding, enlarged f-holes, a thin-U set nato neck, and a laurel fingerboard with 22 medium jumbo frets.

Sonically, it features two FideliSonic P90 pickups, controlled by master volume and tone knobs, dedicated pickup volume controls, and a three-way switch.

The G2622, meanwhile, features a laminated mahogany body with Aged White Purfling binding, enlarged f-holes, and a chambered spruce center block that runs the length of the body. 

The guitar's thin U-shaped set nato neck features Aged White binding, and a 12”-radius laurel fingerboard boasting 22 medium jumbo frets.

The G2622 features the same pair of FideliSonic P90s as the G2655, controlled by dedicated pickup volume controls, a master tone control, a master volume control, and a three-way selector switch.

The Gretsch G2655T-P90 (with Bigbsy) and G2655-P90 are available now for $599 and $499, with the Gretsch G2622T-P90 (with Bigbsy) and G2622-P90 also ringing up at $599 and $499, respectively.

For more info on the new models, stop by gretschguitars.com.

Godin has unveiled its latest electric guitar model, the Montreal Premiere LTD Imperial Blue.

The elegant semi-hollow features a Canadian wild cherry body with a breathe-through carved cedar core, and a mahogany neck with a Richlite fingerboard boasting a 24.75" scale length.

Electronics-wise, the guitar features a pair of TV Jones pickups – a TV Jones Classic in the neck position and a TV Jones Classic Plus at the bridge – controlled by a three-way switch and individual volume and tone knobs.

Additional appointments on the electric include a Bigsby tremolo, a pearloid pickguard, a Graph Tech nut, and chrome hardware.

The Godin Montreal Premiere LTD Imperial Blue guitar is available now for $2,499. 

For more info on the guitar, stop by godinguitars.com.

The headless specialists at Strandberg have unveiled a new model, the Salen Jazz.

The company's first-ever semi-hollow headless model jazz guitar, the Salen Jazz features a chambered mahogany body with a single f-hole, a solid maple top, and a carbon fiber-reinforced bolt-on mahogany neck with Strandberg's EndurNeck profile. 

Also aboard is a 20” rosewood fretboard with 24 frets featuring Jescar 57110 stainless steel fretwire, plus a Strandberg EGS Series 5 fixed bridge and string locks.

Sonically, the guitar features two Strandberg classic humbuckers wired to a five-way selector switch – containing options for selecting the neck outer-coil, or a combination of the neck inner-coil and bridge outer-coil – and controlled by individual volume and tone controls. 

Other visual appointments on the guitar include Luminlay green side dots and inlays, black anodized hardware, and a black pickguard.

The Strandberg Salen Jazz will be sold for $2,095. The release date for the guitar has yet to be announced as of press time.

For more info on the guitar, stop by strandbergguitars.com.

Epiphone has teamed up with up-and-coming Austin, Texas-based singer/songwriter and guitarist Emily Wolfe to create a new signature model. 

The Emily Wolfe Sheraton Stealth features a maple body and a mahogany neck that sports an Indian Laurel fingerboard with 22 medium jumbo frets and mother-of-pearl block inlays with abalone lightning bolts.

Sounds on the guitar come by way of a pair of Epiphone Alnico Classic Pro humbucker pickups, controlled by two volume knobs, a single tone knob, and a three-way switch.

Other features on the guitar include a Graph Tech nut, an Epiphone LockTone tune-o-matic bridge, and Grover Rotomatic tuning machines. Further visual appointments include gold hardware, a ‘60s Kalamazoo-shape headstock with Wolfe’s mother-of-pearl tree of life logo on the front, and diamond f-holes, a nod to Trini Lopez's signature Gibson.

“My Sheraton is more than a guitar, it's an extension of me and somehow has the same magic that a rare vintage instrument has, in that songs flow out of it every day,” Wolfe said of her new signature model in a statement. 

“There's no barrier between my creativity as an artist and the audience because my Sheraton so easily becomes a part of me.”

The Epiphone Emily Wolfe Sheraton Stealth guitar is available now – in a Black Aged Gloss finish – for $799.

For more info on the guitar, stop by epiphone.com.

Fresh off the announcement of two new acoustic guitars – the Metropolis Composer QIT and Fairmount CH Composer QIT – Godin has unveiled its new Montreal Premiere HT Laguna Blue electric.

The Canadian-built guitar features a breathe-through carved cedar core in a Canadian wild cherry semi-hollow body, a mahogany neck, and a rosewood fretboard with a 24.75” scale.

Sonically, the guitar boasts a Seymour Duncan/Godin pickup combo, with a Seymour Duncan Jazz SH-2n in the neck position and a Godin Custom Humbucker at the bridge.

Built in Canada, the guitar is also outfitted with a Graph Tech ResoMax hard-tail bridge.

The Godin Montreal Premiere HT Laguna Blue guitar is available now for $1,795.

For more info on the guitar, stop by godinguitars.com.

Rivolta has launched its new, Dennis Fano-designed semi-hollow guitar, the Regata VII.

The Regata VII features a double-bound body with a top and back made of pressed mahogany, a mahogany frame, and a weight-relieved mahogany center block. In keeping with the theme, the Regata VII's neck is also made of mahogany, and features a 12" radius ebony fretboard boasting a 25" extended scale length, 24 medium jumbo frets, and aged pearloid block inlays. 

Tone-wise, the guitar is outfitted with a pair of PAF-inspired "Brevetto" humbuckers, controlled by single volume and tone knobs, and a three-way switch.

Elsewhere, the Regata VII boasts a Nashville tune-o-matic steel saddle and stoptail bridge, a two-tier peghead, and Kluson-style tuners.

The Rivolta Regata VII guitar is available now – in Rosso Red, Acer Glow, Camino Burst, and Toro Black finishes – for $1,499.

For more info on the Regata VII, stop by rivoltaguitars.com.

Eastman has unveiled the Romeo LA, a new variation of its acclaimed Romeo semi-hollow.

Like the original Romeo, the Romeo LA is built with a spruce laminate top, mahogany laminate back and sides, and a set maple neck featuring a 22-fret ebony fretboard with a 24.75-inch scale length. The neck joint also boasts a swept curve for additional comfort.

Sonically, the guitar is outfitted with Seymour Duncan Radiator Gold Foil P-90 pickups, controlled by three gold knobs.

Additional appointments on the Romeo LA include a Göldo TLT2N vibrato tailpiece – which, in an interesting touch, merges a stoptail design with a sprung vibrato – and a Göldo three-point Vario bridge with stainless steel saddles and Göldo locking tuners.

The Eastman Romeo LA will be available this summer – in a nitrocellulose Celestine Blue finish – for $1749.

For more info on the guitar, stop by eastmanguitars.com.

Collings has introduced an updated version of its I-35 semi-hollow guitar – the elegantly crafted, vintage-inspired I-35 LC Vintage.

After going through a number of prototypes, Collings has equipped the final model with a maple laminate top and body, Honduran maple neck and rosewood fretboard, and a maple center block.

Other appointments include a 24 7/8" scale length, tone-o-matic bridge and Stopbar tailpiece.

Available in Aged Blonde, Aged Tobacco Sunburst, Aged Faded Cherry or Aged Jet Black, the I-35 LC Vintage was created using a new soft-aging process, which oxidizes the chrome hardware and checks the lacquer finish, resulting in a worn-in vintage aesthetic.

In terms of tone, the I-35 LC Vintage featutes a pair of Custom Throbak pickups, which are controlled via two volume controls, two tone controls and a three-way pickup switch.

Said to offer a range of sounds from soft cleans to punchy bites, the pickups seek to complement the classic aesthetic and kit out the semi-hollow stunners with an equally vintage tonal repertoire.

On how the new I-35 LC Vintage compares with the incumbent I-35 models, Manager of Artist Relations Mark Althans said: "It's a brand new model that offers something completely different."

For more information, visit collingsguitars.com

In addition to a number of new signature guitars, Gibson has announced an expansion of its Modern collection. 

New for 2021 are three Nashville-made semi-hollows – the ES-335 Satin, a new ES-339, and ES-339 Figured guitars. 

The ES-335 Satin features a three-ply maple/poplar/maple body and maple center block, a rounded C-shaped mahogany neck, and a rosewood fretboard. Sonically, it features all-new Gibson Calibrate T-Type humbuckers, controlled by two volume and two tone controls, and a three-way selector.

Elsewhere, the guitar boasts a light-weight ABR-1 bridge and Stop bar tailpiece, and Vintage Deluxe tuners.

The Gibson ES-335 Satin is available now – in Cherry, Vintage Burst, and Natural Burst finishes – for $2,599.

The new ES-339 models are available in figured and non-figured editions, which are identical but for the AAA maple veneer top that adorns the ES-339 Figured.

Both guitars feature a three-ply maple/poplar body and maple center block, a rounded C-shaped mahogany neck, and a rosewood fretboard. Sounds come by way of a ‘57 Classic + bridge pickup and a ‘57 Classic neck pickup, controlled by two volume and two tone controls, and a three-way selector.

Other features on the guitars include a ABR-1 bridge and Stop bar tailpiece and Grover Rotomatic tuners with Kidney buttons. 

The Gibson ES-339 is available in Cherry and Trans Ebony finishes for $2,299, while the Gibson ES-339 Figured is available in Sixties Cherry and Blueberry Burst finishes for $2,999.

For more info on the new guitars, stop by gibson.com.

Fender has unveiled its new Tele Mágico guitar, the latest addition to its Parallel Universe Volume II line.

Designed with Fender Custom Shop Master Builder Ron Thorn, the Tele Mágico features a Thinline swamp ash body – finished in either Trans Daphne Blue or Trans Surf Green – and a flame maple neck with a custom profile that transitions from a “V”- shape to a “C”-shape as you make your way up the fingerboard.

Pearloid is all over the guitar as well – used for its binding, inlays, tuning pegs, custom pickup rings, and the Cabronita pickguard.

The Tele Mágico is also outfitted with two custom-designed Fender Gold Foil pickups and a three-saddle Tele bridge.

The Fender Tele Mágico guitar is available now – with a custom Surf Green Parallel Universe Harsdhell case included – for $2,299.

For more info on the guitar, stop by fender.com.

Mithans Guitars has unveiled its new T-style T'leafes and T'roots semi-hollow electrics.

The T'leafes is built with an ash body with a roasted flamed maple neck and fingerboard, and a reverse headstock. Sounds come by way of hand-wound Bare Knuckle pickups, while other features include Schaller locking tuners, a permanently lubricated TUSQ XL nut, and a Gotoh bridge.

The T'roots, meanwhile, features a walnut body, a carbon fiber-reinforced neck and a 22-fret bocote fingerboard. It's powered by two Bare Knuckle pickups, controlled by volume and tone controls and a three-way selector switch.

Other features on the T'roots include a Gotoh bridge, Mithans TL101 locking tuners, and an engraved scratchplate.

The Mithans Guitars T'leafes and T'roots electrics are available now for $2,560 and $2,682, respectively.

For more info on the new models, stop by mithansguitars.com.

In celebration of the 50th anniversary of the Grateful Dead's landmark album, American Beauty, D'Angelico has unveiled a special new limited-edition version of its Premier SS guitar.

A 15-inch-wide, single-cutaway semi-hollow, the guitar is outfitted with an ovangkol fingerboard and Seymour Duncan-designed humbuckers with gold covers, which are said to produce tones ranging from “clean country to gritty rock" – fitting!

The guitar sports a Satin Walnut finish with custom artwork on the front and back, and a custom headstock inlay. All looks are inspired by American Beauty's artwork.

Other features on the guitar include Grover Super Rotomatic tuners and a tune-o-matic bridge with a D’Angelico stopbar tailpiece.

The D'Angelico Premier Grateful Dead SS will be available next month for $1,149.

For more info on the guitar, point your browser on over to dangelicoguitars.com.

Supro teased us at NAMM 2019 with a new style of guitar called the Clermont, which maintained the brand’s cool, retro-future body shape while expanding it to more of an ES-335 size. 

In 2020, the Clermont was released to the market, joined by another semihollow: the similarly sized and shaped, but more deluxe, Conquistador. Designed in conjunction with Nashville guitarist Ford Thurston, the Conquistador is as stylish as it gets. 

Its offset Supro shape, striking racing-green color, personalized f-hole on the upper bout, classic Kluson-style tuners, beveled mahogany top and Hofner teacup-style knobs evoke a high-end pawnshop prize. At the same time, the instrument’s 12-inch fingerboard radius and satin-finished, shallow C neck scream shred machine. 

Out of the box, the Conquistador was easy to play, with no fretting out despite extremely low action. Chords rang nicely, but to get a little more sustain from single notes and less fretboard slap when I played hard, I loosened the truss rod with the included wrench and raised the action a bit. Done! 

A soft spring lets the Bigsby B7 system rock more easily than your average vibrato of this type, and the arm came factory-set to a comfortable position, parallel to the body. It also stayed in tune better than most, helped by a well-cut nut and nylon saddles on the Tune-o-matic-style bridge.

Intonation was excellent as well. The Conquistador has a gold-foil pickup in the neck and an Alnico 3 PAF-style humbucker in the bridge, selectable through a Fender-like three-way switch with individual volume controls and a master tone.

Plugged into a Fender Blues Junior or Wang Pulsar Reverb combo (think Fender Princeton with a 12), the gold-foil pickup was considerably louder and put out more low-end than the bridge humbucker.

A quick screwdriver adjustment to lower it and raise the bridge pickup evened the balance. You can also adjust their relative levels via the volume knobs, which maintain most of the highs when turned down.

The neck pickup gave me vintage Supro woof for that Howlin’ Wolf tone when set nearer the strings, and classic transparent gold-foil clarity when I backed it down. The bridge pickup has the midrange honk I associate with Supro, but the low output keeps it from getting muddy, and both pickups were perfect for slide or smooth soloing.

Despite their disparate sounds, they work well together and deliver a wealth of tones in conjunction with the volume and tone controls.

The Conquistador lives in that special place between pawnshop personality and professional polish. It doesn’t sound like a Les Paul, Telecaster, Stratocaster or 335 - it sounds like itself. Give it a listen and see if it doesn’t conquer your heart.

Specifications

• PRICE: $999 street  
• NUT WIDTH: 1.64” 
• NECK: Mahogany  
• FRETBOARD: Pau Ferro, 24.75” scale, 12” radius 
• FRETS: Medium-jumbo 6150 
• TUNERS: 3-per-side Kluson-style 
• BODY: Mahogany semi-hollow with center block 
• BRIDGE: Tune-o-matic style with nylon saddles, Bigsby B7 vibrato tailpiece 
• PICKUPS: Mini-humbucker-sized gold-foil (neck), Alnico 3 PAF-style humbucker (bridge)  
• CONTROLS: Neck and bridge volumes, master tone 
• FACTORY STRINGS: D’Addario XL .010–.046 
• WEIGHT: 10 lbs 
• BUILT: Indonesia
• CONTACT: Supro

Dean Guitars has launched its new Colt Bigsby with Piezo electric guitar.

The latest six-string in the company's Standard Series, this semi-hollow features a vintage-style Colt maple body, an arched maple top, a set-through maple neck, an ebony fingerboard with 22 tall and narrow frets and pearloid block inlays, and an Original Bigsby bridge.

The Colt Bigsby is loaded with DMT (Dean Magnetic Technologies) neck and bridge pickups, controlled by piezo and passive volume controls, plus a master tone finished with top hat gold knobs and a 3-way mini toggle.

The Colt Bigsby also features a built-in piezo with dual passive outputs, which guitarists can bypass in favor of the magnetic pickups, use on its own, or use with the magnetic pickups - patched independently to a stereo or blended mono setup.

Gold Grover tuners and a Vintage White finish with gold trimmings and three-ply white/black/white binding round out the guitar's looks.

The Dean Colt Bigsby with Piezo guitar is available now for $1,199.

For more info on the guitar, stop by deanguitars.com.

Schecter has pulled back the curtain on four new electric guitars, the Corsair, PT Fastback, Tempest Custom and C-1 Exotic Spalted Maple. 

You can read more about the specs, features and prices of each of the new models below.

Corsair

Schecter's new Corsair model is designed to be a more affordable offshoot of its Corsair Custom series. 

The guitar features a maple body with a three-piece mahogany neck and ebony fretboard.

In the sonic department, the Corsair boasts Diamond '78 pickups controlled by push/pull tone knobs with coil split. A Schecter Vintage Tremolo system with an adjustable and removable trem arm and Grover Rotomatic 18:1 tuners also comes standard.

The Schecter Corsair is available now - in Gloss Black, Gloss Natural and Gold Top finishes - for $999.

C-1 Exotic Spalted Maple

The C-1 Exotic Spalted Maple features a mahogany body with a natural vintage burst spalted maple top in a satin finish.

Schecter ’78 pickups give the guitar its sonic blueprint, with other features including an ebony fingerboard, Wilkinson WVS50 II K Tremolo bridge and Schecter locking tuners.

The Schecter C-1 Exotic Spalted Maple is available now for $799.

Tempest Custom

Schecter's reissued Tempest Custom model features a mahogany three-piece set neck with added carbon fiber reinforcement rods and an ebony fretboard with 22 X-Jumbo frets and pearloid split crown inlays.

Sonically, the guitar boasts Schecter USA Pasadena Plus pickups with a coil tap option. Schecter locking tuners also come standard.

The Schecter Tempest Custom is available - in Gloss Black, Faded Vintage Sun Burst and Vintage White finishes - for $1,099.

PT Fastback

The updated PT Fastback features an alder body and a maple neck.

Sonically, it packs Schecter Diamond UltraTron pickups controlled by dual volume and push/pull tone knobs with coil split. Graph Tech XL nuts and Grover tuners also come standard on the guitar.

The Shecter PT Fastback is available now - in Olympic White, Gloss Black or Gold Top finishes - for $599.

When I was a kid looking at my very first-ever Guitar Player magazine, the Fender ads captivated me. As much as I dug the venerable Strat, the Telecaster Deluxe just seemed so cool with its humbucking pickups. 

The Tele Thinline was even more alluring, because in addition to the awesome humbuckers, it had that f-hole, which was a link to the classical music and classic rock (which was current rock at the time) that I loved. So when this Vintera Thinline fell into my lap, I was thrilled to be able to revisit some of the magic of the Steve Miller issue from January 1978.

This guitar is a (mostly) period-correct tribute to its namesake. That means you get a semi-hollow ash body with a maple neck and, in the case of the review model, the creamy, sexy, blonde finish. 

The neck has Fender’s thin C profile, which is pretty skinny front to back, but despite my large mitts, I was able to get used to this neck with minimal fuss. The 7.25-inch radius made me a little nervous about big bends, but only monster bends got fret buzzy. 

Overall, the Vintera Thinline plays great. Mind you, all of this is without even plugging this fine guitar in, and that’s okay, because the semi-hollow construction gives the Thinline a kick-ass acoustic voice. No joke: You could stick a microphone on the f-hole and get a totally legit guitar track, with a punchy, honky, mid-heavy sound. This guitar is lively.

When I did plug in, I was reminded of why we love Seth Lover. He designed the Wide Range Humbuckers that you see here (and another pickup you may have heard of, the PAF), and the dude knew a thing or two about tone. 

These pickups have a clear, open sound, with a throaty midrange. Through a clean Kemper profile, the bridge tone had plenty of top end for pop and disco strumming but was still full enough to make single-note lines stand on their own. 

The middle position possesses great cluck for funk and blues, although I must admit I was jealous of the Tele Deluxe’s separate volume knob. It would be cool to explore the various gradations between the two humbuckers. 

The neck humbucker is a real beauty, easily covering jazz, blues and much more, with a clear tone that is warm but not dark.

I called up a dirty Plexi tone and loved how the Thinline rose to the challenge. I felt like I could convincingly cover a ton of rock styles on the bridge pickup, from jangly to heavy. 

The neck humbucker gives great shred, with awesome clarity at both high gain and high speed. The real X factor on the Thinline, not surprisingly, is its semi-hollow design, which lends a vocal, transparent and hollow (in a good way) envelope to each note.

It’s a chewy, expressive sound and vibe that reminds me of some of my favorite Brian May tones. It’s delicious and addictive and makes me really scratch my head as to why you don’t see more of these guitars around.

I’ve never owned a Thinline or any semi-hollow, but I’ve played a bunch. This Vintera makes me want to take the plunge and add one to my collection more than any I’ve tried. 

Although at a glance it looks like a Tele, it really is its own thing, both sonically and visually. If you’re hunting for a unique sound that honors tradition without being a slave to it, this cool six-string might just do the trick.

Specifications

CONTACT fender.com
PRICE $1,049

NUT WIDTH 1.65"
NECK Maple
FRETBOARD Maple, 25.5" scale with Thin “C” profile, 7.25" radius
FRETS 21 vintage
TUNERS Fender Vintage “F” Stamped
BODY Ash
BRIDGE 6-Saddle Vintage-Style Strat Strings-Through-Body Hardtail
PICKUPS Two Wide Range Humbuckers
CONTROLS Master volume, master tone
FACTORY STRINGS Fender USA 250L Nickel Plated Steel, .009–.042
WEIGHT 7.5 lbs.
BUILT Mexico