Designed by Duke Kramer and Chet Atkins in 1976 and launched in 1977, the Gretsch Atkins Super Axe model 7680 was built under Baldwin ownership in DeQueen Arkansas, and available with and without built-in effects. These models went out of production in 1980.
Baldwin
The Gretsch Chet Atkins 6122 Country Gentleman appeared in 1957 with the 6119 Tennessean, bracketing the popular 6120 model. These were the first of Gretsch’s thin body designs, and unlike Gibson’s new 3xx models, were fully hollow – no center block. Gretsch’s approach to feedback suppression was different, with the sealed ElectroTone body offering some resistance. Chet Atkins himself promptly switched from a 6120 to the Country Gentleman as his primary studio guitar.
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MORE →Here is a Gretsch Chet Atkins Tennessean 6119, dating to December of 1966, before the July 31 1967 sale of Gretsch to the Baldwin Piano Company. Introduced in 1958 and built until 1980, the Tennessean started as full size, hollow body and single-pickup, plainer version of the 6120. For 1961, however, Gretsch made dramatic changes to many models and the 6119 gained the new, sealed ElectroTone body and a pair of new single coil HiLo’Tron pickups.
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MORE →Built from 1968 to 1972, the Gretsch 6071 bass is a thin hollow body bass, using Gretsch’s sealed ElectroTone body and a one Super ‘Tron type bass pickup. It’s closely related to the dual pickup 6073 bass built to 1971, most famously used by Peter Tork with the Monkees. Here we’re looking at an early and largely original Gretsch 6071 bass, built in 1968, its first year of production at the Brooklyn plant. It features a laminate Maple ElectroTone body with faux F-holes.
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MORE →The Gretsch Committee G7628 came into being during the era of Baldwin ownership – summer 1967 to early 1985 – and was built from 1977 to 1980. This is a solidly Baldwin era Gretsch Committee G7628, a solid-body, through-neck double cutaway design built of Maple and Black Walnut. With a bound Indian Rosewood fingerboard, it carries a pair of humbucking pickups under a ‘bat-wing’ type pickguard. The pickguard was either opaque or transparent. The pickups feed through a mini-toggle selector switch and individual volume and tone controls. A hardtail bridge strung through the body and enclosed tuners complete the hardware.
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