Tag Archives: Premier Guitar
Posted: December 9, 2014
The Gretsch Center-Blocks continue to get love from the various music mags, including a great review recently from Premier Guitar.
“The 24.6″-scale 5620 is a shining example of how Gretsch’s Electromatic line has evolved over the last few years,” wrote reviewer Shawn Hammond. “What once seemed a dipping of the toes into entry-level waters has, in many ways, become a deep dive revealing impressive quality and beauty. Our review guitar came in a rich “rosa red” gloss-urethane finish through which you can subtly detect grains of the underlying maple spreading across the sumptuous arches and curves. The rosewood-topped maple neck features a 12.5″-radius fretboard inlaid with 22 remarkably clean, neatly dressed medium-jumbo frets. And peaking inside the cat’s-eye soundholes reveals straight, cleanly cut kerfing and no stray glue.”
In summary, PG had this to say:
“Gretsch’s beautiful G5620T-CB has so much going for it. For the price, it packs a serious punch in almost every category, from visual vibe to practical appointments, control flexibility, and ergonomics.”
Posted: September 15, 2014
Premier Guitar recently caught up with the guys in Fall Out Boy during a tour stop just outside of Nashville, and frontman Patrick Stump walked them through all his gear, including his signature Stump-O-Matic guitar.
“When I had this designed, I really was going for something that was a Swiss Army knife,” Stump said. ”I wanted something that could accomplish everything. I have a big collection of vintage guitars, and it’s really fun to play around with them, but on stage, on a tour, I want something that is consistent and easy.”
Learn more about what Stump plays live in the video below.
Posted: January 29, 2014
Not only does he discuss his amps and pedals, but Duffy also pulls out his signature White Falcon model that he plays on the road.
Duffy noted that he has several prototypes of the guitar at home, but he plays a production model while on stage.
Posted: June 1, 2012
The Cult’s Billy Duffy is featured in the June issue of Premier Guitar, where he gave an extensive interview about his band, his sound and his gear.
Midway through the QxA, the longtime White Falcon player talked about where he got his original Gretsch G7593.
“It’s a mid-’70s White Falcon. I ordered it in 1982 in England — I had to go and score it from a guitar shop on Denmark Street in London. In those days, you’d put down the deposit, and then they’d go and find it. Then it was weeks of ‘Where’s my White Falcon?’ ‘It’s coming, it’s coming!’” Duffy said.
“Now, I already had a doublecutaway Gretsch, a stereo model, also from the ’70s. It had the same neck, same [Bigsby] whammy bar setup, the square inlays on the neck — and I like those all right — but the body isn’t very thick. Those guitars are more like a [Gibson] 335. So I really still wanted a single-cutaway, which were hard to find in England. Basically, the one that became my trademark guitar is actually my second White Falcon. I just liked the single-cutaway better — it was fatter.
“My understanding at that time was that all the single-cutaway Falcons were custom-ordered, and it was the double-cutaway that was the production model. Now, because you had to order them, they were all slightly different. Mine has a sort of patch on the back to protect the guitar from your belt buckle — from your country pants [laughs]. But the other one from the same era doesn’t.”
The Cult released Choice of Weapon earlier this month, their first new studio album in five years.
Posted: December 21, 2011
The latest issue of Premier Guitar takes a look inside the Chet Atkins exhibit that is currently open at the Country Music Hall of Fame in Nashville.
While the Grammy Awards, photos and instruments are all impressive, the magazine calls Atkins’ legendary workbench a highlight.
“It’s full of vacuum tubes, pickups, homemade effects boxes, snapshots, and a soldering iron,” writes Craig Havighurst. ”It looks like the inveterate tinkerer just stepped out of the room. It’s a microlevel look at an outsized legacy.”
“This prototype had a carved top and back, in the traditional style. Fred W. Gretsch, current president of the company and great grandson of its founder, says the model quickly took an interesting turn toward a more rigid top and back to offer a more stable mounting for the pickups. ‘Plywood tops and backs with electric guitars made a lot more sense,’ Gretsch says. ‘And we were doing plywood drums and had been doing them since the late ’20s and we had done a lot of refinements in the early ’50s. So we tried out some plywood tops and backs with Chet and he dug the tone. So we migrated to plywood on this model.’
“Introducing the model just as Chet first hit as a recording artist with ‘Mr. Sandman,’ Gretsch couldn’t have timed it better. This guitar inaugurated a 25-year relationship between artist and company.”
Meanwhile, Havighurst recently contributed another piece about Atkins to NPR.
In it, he quotes Country star Steve Wariner, a longtime Atkins friend and protege. Count Wariner among those wowed by the Atkins exhibit, especially the workbench.
“I had goose bumps,” Wariner says. “It’s exactly the way it looked at his house when you walked into his control room.”
For more information about the Chet Atkins exhibit, which is open until June of 2012, visit the Country Music Hall of Fame’s official website.