Jazz on a Gretsch Guitar?

[barrymclark]

I've not noticed a big difference in the plain strings unless making some major set change like jumping gauges or something.

That imbalance, if you want to call it that, I rather like. It allows for a much darker, set back tone on the top four but using the two plains can make the guitar jump out for leads. That's my approach anyways. I try to keep my lead tones mostly on those two strings.

[Frank67]

Here is my modified Gretsch Country Club: removed the Bigsby and put a trapeze tailpiece. Also put Powertrons in and a Wayne Compton Brass bridge. It has Thomastik Benson 14 strings on it - I really really like this guitar and I think it sounds gorgeous. It is 17'', has a solid (probably pressed) spruce top and an ebony fretboard, 25.5 length scale. It feels nice, sounds nice and (depending on taste of course), looks nice. The craftsmanship from Terada factor (where it was made) is impeccable and even after including shipment from the US, tax, all the tailpiece, pickups, bridge the price was something like a third of the price of a L5 (bought from rockystreetsounds; not affiliated but it was a good experience).

[TheGrandWazoo]

What about removing the sound post? Would that open her up or do you think the sound post does a better job of synching the front to the back?

i have a custom 6120 from Fullers in Houston. It actually has a solid top that I'd like to open up the sound of. I'll post Picts if interested.

[va3ux]

The sound post is there for structural reasons. You shouldn't be suggesting any tinkering with that.

[TheGrandWazoo]

So the parrallel bracing serves what purpose? Just asking.

[GNAPPI]

Try this:

Get rid of the Bigsby and put on a trapeze type tailpiece. Lets the body vibrate a little more freely. Not a HUGE difference but it helps.

Replace the adjustable bridge with a compensated wood one.
I did this to my old Gretsch 6210 double cut I have and it gets a wonderfully sweet tone on the neck pickup.

What do you do about the Bigsby screw holes in the top?

[spiral]

What do you do about the Bigsby screw holes in the top?

Most Gretsches, to my knowledge, use a B6 which has no screws on the top. Gretsches (again, most) have floating bridges so they don't need the tension bar for a better break angle.

@Woody Sound: There isn't more of a sound imbalance between wrapped and plain strings than there would be on any other guitar. TBH i've never noticed an imbalance between wrapped and plain flatwound strings on any guitar. It seems by logic there would be a bigger discrepancy between wrapped and plain though, but again i've never had an issue. That's what polepieces are for anyhow.

[feet]

i've been obsessed with the grey/purple country clubs since they were released, but just cannot justify them. i'd love to put supertrons in them and swap out the gold hardware for chrome. maybe go with the art deco stair step tail piece.

and you guys forgot the most obvious cheap fix, so you can have your gretsch and play jazz, too: swap out the caps for a different value. then you can flip over to your "jazz" setting and still have your grestch when you need it (assume you have a tone switch). that's what i did with my 6118t, but i haven't decided on a cap value yet- i think i went too dark last time. also want to do a treble bleed on the master volume and use the secondary volumes as defacto tone knobs in conjunction with the tone switch.

[barrymclark]

What do you do about the Bigsby screw holes in the top?

As mentioned, no screw holes on the top. The Gretsch tailpiece I got adequately covered the screw holes on the rim.

[barrymclark]

i've been obsessed with the grey/purple country clubs since they were released, but just cannot justify them. i'd love to put supertrons in them and swap out the gold hardware for chrome. maybe go with the art deco stair step tail piece.

and you guys forgot the most obvious cheap fix, so you can have your gretsch and play jazz, too: swap out the caps for a different value. then you can flip over to your "jazz" setting and still have your grestch when you need it (assume you have a tone switch). that's what i did with my 6118t, but i haven't decided on a cap value yet- i think i went too dark last time. also want to do a treble bleed on the master volume and use the secondary volumes as defacto tone knobs in conjunction with the tone switch.

Didnt miss the cap swap. Just want interested in going there. ....yet. I didn't really want 'The Gretsch' sound so I want worried about going from jazz to Gretsch sounds.

But yes. ... that is another route.

[barrymclark]

What about removing the sound post? Would that open her up or do you think the sound post does a better job of synching the front to the back?

i have a custom 6120 from Fullers in Houston. It actually has a solid top that I'd like to open up the sound of. I'll post Picts if interested.

No sound post on mine.

[TheGrandWazoo]

How does it sound without the sound post? Any major feedback problems?

I just ordered a fixed tailpiece and ebony bridge. Looking forward to hearing the difference.

[barrymclark]

How does it sound without the sound post? Any major feedback problems?

I just ordered a fixed tailpiece and ebony bridge. Looking forward to hearing the difference.

Well, you have to consider that I don't have a traditional 6120. Mine is the late 60's double cutaway that has no f-holes and a circular access panel in the rear. There never was a sound post as there really isn't a good place to support the post to the back. However, it being sealed helps tons. To get mine to feed back, I had to plug into a Peavey 5150....with the gain up.

[feet]

Didnt miss the cap swap. Just want interested in going there. ....yet.

don't blame you for that. that's why the "wrong" cap has been in there for so long, i haven't had the time/funds to outsource the job. i do love the effect, though. i changed both cap values and just love it. just wish the "dark" setting was a touch less dark.

I didn't really want 'The Gretsch' sound so I want worried about going from jazz to Gretsch sounds.

for shame, sir!

That would be very hot. Those are my favorite too. They are gorgeous in real life. One just sold for $1800 on eBay.

the sad part is that their being available used is a very recent phenomena. believe me. i prowled ebay for years waiting. it simply didn't happen. now that my needs are all met and i've moved away from buying more guitars, they start showing up. it kills me to see them at $1800. but i'm not willing to part with anything, and most guitars (especially this one) have a huge parts and labor cost attached to them to make it what i want, since i love messing with pups and caps and bridges and tailpieces and such. i'd be in close to their new price when all is said and done. mine would be way better, and i can space out the financial hit, but still.

and yet, its tempts me still... they are so pretty... and the dynasonic sized supertrons look so cool!

[GNAPPI]

The sound post is there for structural reasons. You shouldn't be suggesting any tinkering with that.

Agreed.

I have a cheap 3161 "historic" and it sounds very good post and all. If it's too bright it's easily fixed with the single master tone pot or the EQ on the amp or pedal.

[50Hz]

Love those G6192's, but I'm not sure I'd ever willingly call myself a "lounge jazz" player lol.

[zigzag]

While I LOVED the sound and playability of my 6120 with Filtertrons, I HATED the Bigsby and didn't like the poor upper fret access, so I gave it to a buddy of mine who wanted it for twang music. I may pick up a Penguin at some point, but I suspect that, because I'm downsizing, I won't include a Gretsch in the harem again.

I can understand how people don't want to play traditional jazz on a guitar that doesn't have a traditional jazzbox sound, but can't jazz be played on any guitar?

[TheGrandWazoo]

Cal Collins thought so.

[Woody Sound]

I've only had my hands on a G a couple of times, but IIRC the fingerboards are flat, no radius. Is that true for all models?

[TheGrandWazoo]

The 6120s, CCs, Falcons, have 12" radius.

[Jazzman35]

What is your opinion on hollowbody gretsches (white falcon, 6120 etc.), are they unfit for jazz? I mean they are designed pretty much the same way as gibsons with same hollowbody, f-holes and humbuckers and a floating bridge. Curious of what you think of them, what makes you play or not play them?

Peace out

[Webby]

Love 'em!
Without any doubt they're convincing Jazz-guitars, although the Filtertron Pickups have their very own sound.
Guess the biggest problem many Jazzcats have is, that in the first place they're associated with Rockabilly music (which I like). Also the Bigeby is probably a turndown for many.
Still love to play my Gretsch, and I really dig the looks of them!

Paul

[princeplanet]

ditch the bigsby and turn down the treble a little, voila, ready for bitchin' hard bop! But you gotta be pretty cool to get away with playing one.....

[PTChristopher2]

They are in general rather a quirky design - both in terms of the box itself, and the electronics. But they certainly can play and sound great. Some like the look, others find it an attack on their quality of life apparently.

My one nearly-significant gripe is the Filtertron PU. Played with sufficient crunch, it sounds balanced. But played super-clean, the high E is noticeably weak.

I have my un-fascinating views as to why this is the case, but that sort of detail goes over poorly on the world-wide web.

Of course many players got a great clean sound on these PU's, much as many just get used to compensating for all sorts of guitar un-even-ness.

I just find the Filtertrons a needless reach for a full clean sound when compared to other HB designs.

Chris

[Woody Sound]

I was always under the impression that they are built quite heavily (thick laminates), but I could be wrong.