Tag Archives: review
Posted: March 29, 2016
The new Gretsch Streamliner G2622 Center Block Double Cutaway earned the front cover of Total Guitar‘s March issue. And while all the new Streamliner guitars received rave reviews, the G2622 was awarded with “Total Guitar‘s Best Buy.”
Gretsch practically dominates the issue with lengthy reviews of the new models, a Q&A with Gretsch Europe Project Manager Adam Bowden-Smith, tabs to play rockabilly, a look at five legendary Gretsch icons (from Eddie Cochran to Cliff Gallup), a list of alternative Gretsch icons (from Tim Armstrong to Jack White) and a tech piece on how to “get more from your Bigsby.”
As for the Streamliner review—which covers specs, looks and tones of the Center Blocks, Center Block Jr.’s and Hollow Body guitars—the magazine concluded with this:
“Gretsch has picked up the affordable ball and smashed it right out of the park! If you want a proper Gretsch-brand hollowbody or semi, you don’t have to put up with copies with the wrong name on the headstock any more. This trio are quite possibly the bargains of 2016 and we’re only just into the new year. Fit, finish, sound and playability are all way above what you’d expect at these prices.”
Posted: March 10, 2016
Guitar Player‘s Michael Molenda tested out a Gretsch G6120 Brian Setzer Nashville for the magazine’s February issue.
In the review, Molenda runs through the instrument’s construction, control switches, pickups, playability and tones.
“No matter what sound you’re rocking, string-to-string articulation is exceptional. The Nashville may look like a retro, rockabilly twang machine— and it is—but it’s also a guitar that can product beautiful jazz timbres, blitzkrieg-ing punk sounds, hefty classic-rock tones, and even some funky, R&B style skanks.”
Molenda wrapped up his stellar review with this:
“If I didn’t need food, sleep, or gainful employment, I could play this thing 24/7 and be a very happy camper. The only bummer about today’s Gretsches is that they’re expensive little jewels. But if you can save up the bucks, these retro beauties bleed rock and roll. The G6120 Brian Setzer Nashville ups that ante even further by delivering modern, vintage, and versatile tones with attitude to burn.”
Posted: February 8, 2016
In its February 2016 issue, Guitarist magazine features an in-depth look at the new Streamliner collection, and also bestows their “Guitarist Choice” award upon the G2622 Streamliner Center Block Double Cutaway.
“They look like Gretsch guitars and sound quite like them, too. But those prices? Gretsch opens its arms to the entry-level market and sets the bark impressively high,” notes reviewer Dave Burriuck.
One of the key features common among all three Streamliner shapes (Center Block Jr, Center Block, Hollow Body) is the new Broad’Tron humbucking pickup.
“These pickups have gone through extensive R&D specifically for these guitars,” said Gretsch’s Adam Bowden-Smith to Guitarist. “They’re punchy with a higher output, hotter-than-vintage Filter’Trons. The older ones had a larger logo; the new ones are nickel-plated with a more subtle stamped logo. The first prototypes were wound by Chris Fleming, then head of Gretsch R&D (and with extensive experience in Fender’s Custom Shop.)”
The reviewer breaks down each of the three models, and then concludes with the following verdict:
“More guitars for less money will continue to be a theme this year. It will be interesting to see if any major brands manage to do it quite as well as Gretsch has done here. Construction is crisp, seen in the important details of the neck, fingerboard and fretting. Center blocks and lightness don’t always go hand in hand, and yet here they do.
“But are we really getting a half-price Gretsch? Yes and no. The beefier pickups certainly don’t nail a classic Gretsch tonality – although if that’s what you want, the full-size pickups are easy to replace – but they do broaden the sonic potential, especially for more gained styles, while staying close to the classic iconography.
“The deep hollow body G2420T is hugely evocative and perfect for lower-volume older styles. The G2622 might well be the bargain ‘Es-335′ we’ve all been waiting for, and with the G2655, you’ll find a solid body sized center-blocked semi that might be the most ‘solid’ sounding of the trio but will handle virtually any style.”
Watch Guitarist‘s accompanying video demo below:
Posted: January 4, 2016
In its January 2016 issue, Guitar World magazine bestowed its Platinum Award to the Gretsch G6136t-LTV White Falcon.
Reviewer Chris Gill offered up a short write-up of the Falcon’s history, noting that it was originally designed to appease jazz players and promoted as the “Cadillac of guitars.” But despite constructing the Falcon to that audience, instead, the instrument soon became associated with rock and roll thanks to the likes of Neil Young, Stephen Stills, Billy Duffy and James Hetfield.
“I even fondly remember seeing Malcolm Young grappling with a huge White Falcon during a late-Seventies AC/DC concert,” noted Gill.
“Today Gretsch offers a dozen Falcon models, including versions with black or green finishes,” he continued. “Each is cool in its own way, but my personal favorite is the new G6136T-LTV White Falcon. Based upon the late ’50s version, the G6136T-LTV includes a few modern updates that make it possibly the best White Falcon ever.”
Gill goes on to explain those features, including the Adjusto-Matic bridge that is pinned into place and a pair of TV Jones TV Classic humbucking pickups, which are based on the highly desirable PAF Filter’Tron pickups of the late ’50s.
Gill’s “Bottom Line”?
“With its just-right balance of classic aesthetics and modern upgrades, the Gretsch G6136T-LTV is by far the best White Falcon model that the company currently offers, particularly for rock-minded players.”
Read the full review here, and also check out a video demo below by Paul Riaro.
Posted: April 11, 2015
It was as if Led Zeppelin’s Jimmy Page challenged the men of Royal Blood to wield the hammer of the gods when he presented them with the BRIT Award for Best British Group earlier this year, because the duo was absolutely thunderous during their Coachella performance on Saturday.
Bassist/singer Mike Kerr and drummer Ben Thatcher were relentless at the festival’s Outdoor Theatre, beginning with an electric “Come on Over” and ending with the machine-gun firepower of “You Can Be So Cruel.”
In between, it was detonation after detonation, with Kerr reeling off killer riffs on his bass and Thatcher attacking his drum kit like it owed him money.
For “Come on Over,” the first notes called all fans within earshot to sprint towards the sound, making no apologies to bystanders they may have brushed with over-aggressive air-drumming.
It only got better from there. A few songs later, Kerr shouted out, “Come on Coachella!” midway through “Figure it Out” as Thatcher stood up menacingly, banging a cymbal like a general, just to make sure everyone knew who was boss.
The Royal Blood rocket continued to blast forward with stoner-rock anthems “Little Monster” and “Loose Change,” the latter of which saw Thatcher take it to the next level by actually standing atop his bass drum as Kerr vamped towards each corner of the stage.
That was when chants of the band’s name rose up and when the mosh pit started. It only took the first staccato snaps on Thatcher’s snare to switch on the blender of humanity in the middle of the field during “You Can Be So Cruel.” Hands shot up and bodies began to circle. And those who weren’t amid the whirlpool banged their heads in approval.
Coachella has posted this video of Royal Blood performing “Figure It Out” below.
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