![]() But the fact remains that a Gretsch guitar could not be produced before the pots used inside (assuming they are original). As the success of the golden era pushed Gretsch production, toward and then through the boom of the 60s (Dan Duffy's characterization) they were buying pots in much larger quantities, lessening the value of of that data. In the early-mid 50s they bought smaller lots of pots and therefore they are more reliable to assist in dating Gretsch guitars. ![]() ![]() only to be used many months later in a batch of guitars that otherwise have much younger pots. Dan Duffy explained that the periodic "much older" pots that surface are because they kept these in buckets on the production line, and when the supply was getting low they would refresh with newer pots, right on top of the older one's that sometimes remained at the bottom of the bucket for a long time. Granted pot codes don't tell you everything and I don't know how quickly Gretsch was cycling through pots at that time, but I'm sure they'd tell us something useful.Ĭlick to expand.I can certify that they did NOT religiously abide to the FIFO standard. I would be that they would more likely correspond to a 1962 or 1963 Anniversary. ![]() I.e., I would bet my paycheck that the pots on the "1960" flip-up mute Falcon would not correspond to the pot codes on a 1960 Anniversary. The value of that would be that then you could compare pot codes on Falcons to pot codes on more common models. If I could snap my fingers and conjure up a complete set of data points it would be pot codes for this batch of Falcons. But when you see a single cut with flip-up mutes, it makes you realize that nothing can be assumed. Then finally double cuts with flip-up mutes. Then some double cuts with dial-up mutes. Then you'd see a handful of single cuts with dial-up mutes. The most logical order of things would be that the start of this batch would be single cut, no mutes. But exactly how production flowed would be pure conjecture. And there probably wasn't much point in dedicating the time and resources to labor intensive guitars that they knew would be ordered only on a sporadic basis compared to other models. Dan Duffy mentioned how much the factory workers hated dealing with Falcons, so that may be at least partially the reason for spreading out the misery. Did they fabricate 10 or 50 or 100 bodies at once? Bind them all together, one at a time, or small batches? Same with attaching necks, or finishing. But I haven't got the slightest clue what may or may not have happened before then. When you see certain features that didn't exist before a certain time, that suggests it couldn't have been completed before a certain time frame. When I say "completed" that's exactly what I mean. So, yeah, I went for a guitar, found a different guitar, and now, can't stop thinking about an amp.I wonder if GAS can be fatal.Click to expand.There's absolutely more than meets the eye. The other Japanese Gretsch he had was a solidbody, and I never played it, mainly because I was too busy falling in love with the amp I'd plugged into: a Tone King Imperial mkii (full review in the amps forum). Not sure if it's exactly what I want, but I certainly wouldn't be disappointed with it. Neck felt much nicer and sleeker than the Gibby, which felt comparatively sloppy overall. ![]() Now, they had a couple higher-end MIJ models in stock, and I got to play a very nice single-cutaway centerblock black Falcon. Now, I'd been there once awhile back, and checked out a few Gretsches they had, but they were all Electromatics, which weren't my bag. What actually brought me there was a used Gibson ES-359 they had, but I just couldn't jibe with the neck-shape. So, on the one hand, I never made it out to Rochester.īut, on the other hand, I did stop into a cool new (to me, anyway) music store here in Syracuse called Ish Guitars. Maybe someone can give me the heads up on what to look for? The plan is to try some Gibbys and Gretsches side by side next weekend. Also, would one expect a Falcon semi to sound louder than or roughly the same as a 335 when played acoustically?Īny other suggestions, please feel free. So, what should I expect? I've heard some folks say that higher fret access is usually tricky with Gretsch - is this also true for the newer double cutaway models? What about feedback? I have zero feedback issues with either the 347 or the Surfy. Having said that, I've never owned a Gretsch, and have very limited experience with the brand.Īs I dive more seriously into both jazz and rockabilly styles, I find myself wanting a slightly different tonal flavor.and also, who am I kidding, that Gretsch is sexy as hell! I love all three guitars very much, albeit for different reasons. Also, though it is s9lid, I also own a Tele with TV Jones filtertron-style pickups and a Bigsy. Currently, I've got a Gibson ES 347 and a Charvel Surfcaster. ![]()
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