Mid 60's CG or New 59 6122?

[Norm]

Problem is that now that Brian made that statement a lot of youngfolk are going to say that all old gretsch guitars are disasters waiting to happen.

Any of the older guitars made by any maker has to be judged ultimately on a case by case basis.

[Fred]

the aging of wood and feel of the authentic edition appeals to me more if it's in good condition...i say grab it. you can usually find a reissue a lot more readily. the originals are harder to find.

[RandeDager]

The only experience I can speak from is my having played a 6122-1959 at Sweetwater Sound in Ft. Wayne, IN and I loved it. I'm also an owner of a '67 CG and have something to compare it to. The way I'm looking at it is that there was a lot of input from Paul Yandell for this model and I believe the details were more intricate and more substantial than was Chet's input for the Gretsch's in the '50's and 60's. I'm also aware that Paul did a lot of setups and technical work for Chet over the years. So with that much expertise from someone so closely associated with Chet, combined with my own experience in playing the instrument when compared with mine, the newer 6122-1959 would be my first choice.

[Norm]

The way I'm looking at it is that there was a lot of input from Paul Yandell for this model and I believe the details were more intricate and more substantial than was Chet's input for the Gretsch's in the '50's and 60's...."

True enough but Paul's input was to have the 6122-59 (and the CGP) be as close as possible to Chet's personal instrument. Every detail of that particular model that is different from a 'regular' 6122 (pickups, tuning keys, wide fingerboard, fixed Bigsby handle) is the result of Chet's thinking and "input". It was Paul's insistance to keeping everything as Chet had it and that was his input.

Paul pitched the idea to Gretsch and kept them honest and in line when they agreed to build it.

The original 6122-59 was Chet's "secret weapon".


Why? Because no other guitar sounded like that (mainly because of the beefed bridge pickup and the prototype SuperTron) and particularly in his hands. He used it for most of his recordings from the sixties to the eighties.

[Randy Finney]

I don't know anything about gear. I just happened upon the article with Brian recently and just happened to recall happening upon it when I read this post.

I really don't know if it is "good advice", and would have been more wise to refer to it as just "advice".

I do know this: the only person getting paid from the sale the sale of a vintage instrument is the person selling it.

I'm just saying...

Randy

[captainvideo]

Brian's dig at old Gretsch guitars seems to be one to push the value of the new Gretsch guitars. He is endorsed by Gretsch after all. But I find it funny seeing that he has had 3 or 4 noteable vintage Gretschs, one he still tours with.

Also Setzer removes the zero fret, uses locking tuners, and adds tune-o-matic bridge. I don't have a '59 but I wouldn't make those adjustments to my '59 RI. What's refurbishing to him may be a pointless excersises to others.

[Norm]

The topic of removing the zero fret comes up once in a while on the gretschpages.

One thing is certain. If you have it taken off I really doubt those who listen to your playing are going to say "Wow! Your playing sounds SO much better since you had the zero fret taken off your two thousand dollar guitar!" That just ain't gonna happen.

Having a properly cut nut is important whether you have a zero fret or not. Arguably it is easier to fit a nut on a zero fret guitar since your slot depth is not as critical.

I agree the article is a plug for his endorsed guitars.