Tag Archives: Guitar Player
Posted: June 18, 2012
Guitar Player magazine Editor-In-Chief Michael Molenda reviewed a Gretsch G5022CE Rancher in the magazine’s July issue, honoring it with the Guitar Player Editors’ Pick award.
“The new G5022CE Rancher retains most of the awesome vibe, beauty, and tonal wonders of the much more expensive 2002 version,” said Molenda. “While adding some rock-and-roll stage worthiness with its access to the higher frets and a truly excellent Fishman Isys + preamp.”
He also said that the Rancher’s character is retained when plugged in.
“The G5022CE’s electronics are fabulous. The onboard tuner is extremely visible, and the guitar’s character is retained when amplified.”
Molenda’s final verdict said that the Rancher makes for a “versatile and stunning guitar that will inspire you to genius no matter what type of music you play.”
Get the July issue of Guitar Player here to read more on why the G5022CE Rancher got the magazine’s Editors’ Pick.
Posted: September 30, 2011
Guitar Player magazine’s September issue features a Q&A with Gretsch artist Paul Pigat.
Although known mostly as a rockabilly artist, Pigat can play anything from jazz to punk music.
“I love it, and it’s been the thing I’ve done the longest, but I wouldn’t call it defining,” says Pigat of rockabilly.
The Gretsch-wielding player also explains that his gear preference depends on what genre he’s playing.
“If I’m doing rockabilly, then Gretsch is usually my first call,” he tells the magazine. Specifically, Pigat’s model of choice is the two-tone Gretsch G6196TSP-2G Country Club played through his Gretsch Excecutive Amp.
Posted: May 5, 2011
Rockabilly and Big Band Swing’s reigning king Brian Setzer and his vintage ’59 Gretsch 6120 decorate the cover of Guitar Player’s May issue in celebration of his newest album, Setzer Goes Instru-Mental!
GP quizzed the former Stray Cats frontman about his thinking behind his first-ever solo instrumental effort, and the gear he used to fuse rockabilly, country and jazz into a potent batch of songs.
Here’s a quick sample of what the article offers:
Q: What was your setup for “Far Noir East” which has that great sounding tremolo?
A: Man, I could put that tone in a bowl and eat it. I’m using a ’61 Fender Twin Amp, which, of course, doesn’t have reverb, so I was using the matching reverb unit with it. Fender was really at the top of their game with that thing, and I just love how it sounds. But the Twin Amp does have a beautiful sounding tremolo and that’s what you’re hearing.
Q: What’s the advantage of taking out the zero fret (from his Gretsch Hot Rod)?
A: I could never get along with a zero fret because grooves would wear into it, and then the strings wouldn’t slide over it properly. Even 30 years ago, we would take a chisel and bang those things out. So if you want the original-style Chet Atkins model from the ‘50s, Gretsch still offers it—but if you want to rock with it and have it play in tune, I think my model is the logical alternative. I think about what a 6120 was used for in the 1950s—it was a guys who were trying to play like Chet Atkins. And that’s why the old Gretsches are usually in pretty good shape. Basically we’ve tried to duplicate a ‘50s guitar, but add all the things I’ve done to them over the years to make them rock.
The article also includes a link to this oldie but still rockin’ live performance of “Guitar Rag.”