Gretsch Model 6120 Chet Atkins Hollow Body Arch Top Hollow Body Electric Guitar (1957)
LOADING IMAGES
Gretsch Model 6120 Chet Atkins Hollow Body Model Arch Top Hollow Body Electric Guitar (1957), made in Brooklyn, NY, serial # 22057, Western Orange lacquer finish, laminated maple body, maple neck with rosewood fingerboard, period grey hard shell case.
The 1957 Model 6120 Chet Atkins hollow body is considered to be among the Gretsch company's most classic creations, one of the iconic '50s American vintage guitars. Along with the flashier but much rarer White Falcon, the "Western Orange" 6120 has long embodied the Gretsch aesthetic, especially symbolic of the early rock'n'roll era and the 1950s in general.
Gretsch guitars of the 1950s often evolved quickly; in 1957 the features of the "Chet Atkins hollow Body" were transitioning from the full-out western blitz of the first 1955 models towards the sleeker '60's stylings. This guitar is from early 1957 (the second batch of the year) and is distinguished by a fairly deep "Western Orange" lacquer, somewhat more subdued if arguably more authentically "western" look comparted to many of its brighter or paler orange brethren.
Many of this guitar's features are specific to this period. The hump-block inlay in the bound rosewood fingerboard was only used around this time, replacing the earlier blocks with western engraving. The guitar mounts two DeArmond Dynasonic pickups, used by Gretsch on all electric guitars up into early 1958. Chet Atkins himself was not enamored of these units, and so requested they be replaced with the Filter 'Tron humbuckers designed for him by Ray Butts, which Gretsch was happy to do as it allowed them to bring the manufacture in-house. These earlier DeArmonds impart a sharper, more cutting sound with a lot of attack, especially for a fully hollowbody instrument.
A distinctive appointment for this year is the Bigsby tailpiece with the rotation stop built integral to the cast arm with a slot-screw attachment. This fitting is nicknamed the "Duane Eddy" arm as it equipped his iconic 6120, and he used it a lot! The next year Bigsby simplified the design with a flat metal arm, the arm stop moving to the cast support piece; this earlier design was only used for a year or so. This guitar mounts an aluminum Bigsby bridge saddle on a wooden base, a fitting also specific to the earlier 6120.
As noted the finish is a fairly dark variant of the "Western Orange" look often seen particularly on guitars in this specific period. The Model 6120 used by Duane Eddy on all of his early records had features nearly identical to this one; that guitar has a serial number some months earlier, but has a look consistent with this one. This guitar received an early factory neck re-set at Gretsch (indicated by the presence od a heel dowel) and the angle is excellent, one of the best we have ever seen offering plenty of break between Bigsby and bridge. This is a major factor in making this one of the nicest playing Gretsch guitars we have ever had, a real stunner too look at with a sound and feel as good as they come!
Overall length is 41 1/2 in. (105.4 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 2 3/4 in. (7 cm.) in depth, measured at side of rim. Scale length is 24 1/2 in. (622 mm.). Width of nut is 1 11/16 in. (43 mm.).
This beautiful 6120 shows some fairly minor wear but overall looks great remaining largely original condition. The finish has some very minor typical checking, most heavily on the headstock face. There are some random dings, dents and scuffs but really not a lot of finish disturbance. The finish on the back of the neck is the only area with any really notable loss, down to the wood in the center area; this guitar was not played in the "cowboy Chord" area so much, but must have been a hot picker's piece!
The instrument is original except the riser rings under the pickup have been neatly replaced with correct replicas. As the originals often suffered Celluloid disintegration which can damage both the finish and the pickups. There is a slight seam separation into the veneer on the face of the headstock running through the D to the A tuners, solidly sealed but visible. This is endemic to period Gretsch models as they ran the tuners through the laminated seam where the wings were glued to the neck blank.
The guitar shows no other issues; there is NONE of the common binding deterioration at all. The neck angle is excellent, as noted there is evidence of a factory neck re-set done VERY early on. This has held up perfectly since, showing no movement at all. The guitar has been refretted with wire somewhat taller than the original that play very well, with virtually no wear. The metal Bigsby bridge saddle was notched slightly deeper than usual but does not present any problems.
Even if not absolutely original (though very close!) this is simply an exceptionally fine playing and sounding 6120 from one of the classic years; a treat for any Gretsch fan and in particular the Duane Eddy afficionado. It includes a period mid-line Gretsch case (not the cowboy case) still in solid shape some general wear. Overall Excellent - Condition.
The 1957 Model 6120 Chet Atkins hollow body is considered to be among the Gretsch company's most classic creations, one of the iconic '50s American vintage guitars. Along with the flashier but much rarer White Falcon, the "Western Orange" 6120 has long embodied the Gretsch aesthetic, especially symbolic of the early rock'n'roll era and the 1950s in general.
Gretsch guitars of the 1950s often evolved quickly; in 1957 the features of the "Chet Atkins hollow Body" were transitioning from the full-out western blitz of the first 1955 models towards the sleeker '60's stylings. This guitar is from early 1957 (the second batch of the year) and is distinguished by a fairly deep "Western Orange" lacquer, somewhat more subdued if arguably more authentically "western" look comparted to many of its brighter or paler orange brethren.
Many of this guitar's features are specific to this period. The hump-block inlay in the bound rosewood fingerboard was only used around this time, replacing the earlier blocks with western engraving. The guitar mounts two DeArmond Dynasonic pickups, used by Gretsch on all electric guitars up into early 1958. Chet Atkins himself was not enamored of these units, and so requested they be replaced with the Filter 'Tron humbuckers designed for him by Ray Butts, which Gretsch was happy to do as it allowed them to bring the manufacture in-house. These earlier DeArmonds impart a sharper, more cutting sound with a lot of attack, especially for a fully hollowbody instrument.
A distinctive appointment for this year is the Bigsby tailpiece with the rotation stop built integral to the cast arm with a slot-screw attachment. This fitting is nicknamed the "Duane Eddy" arm as it equipped his iconic 6120, and he used it a lot! The next year Bigsby simplified the design with a flat metal arm, the arm stop moving to the cast support piece; this earlier design was only used for a year or so. This guitar mounts an aluminum Bigsby bridge saddle on a wooden base, a fitting also specific to the earlier 6120.
As noted the finish is a fairly dark variant of the "Western Orange" look often seen particularly on guitars in this specific period. The Model 6120 used by Duane Eddy on all of his early records had features nearly identical to this one; that guitar has a serial number some months earlier, but has a look consistent with this one. This guitar received an early factory neck re-set at Gretsch (indicated by the presence od a heel dowel) and the angle is excellent, one of the best we have ever seen offering plenty of break between Bigsby and bridge. This is a major factor in making this one of the nicest playing Gretsch guitars we have ever had, a real stunner too look at with a sound and feel as good as they come!
Overall length is 41 1/2 in. (105.4 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 2 3/4 in. (7 cm.) in depth, measured at side of rim. Scale length is 24 1/2 in. (622 mm.). Width of nut is 1 11/16 in. (43 mm.).
This beautiful 6120 shows some fairly minor wear but overall looks great remaining largely original condition. The finish has some very minor typical checking, most heavily on the headstock face. There are some random dings, dents and scuffs but really not a lot of finish disturbance. The finish on the back of the neck is the only area with any really notable loss, down to the wood in the center area; this guitar was not played in the "cowboy Chord" area so much, but must have been a hot picker's piece!
The instrument is original except the riser rings under the pickup have been neatly replaced with correct replicas. As the originals often suffered Celluloid disintegration which can damage both the finish and the pickups. There is a slight seam separation into the veneer on the face of the headstock running through the D to the A tuners, solidly sealed but visible. This is endemic to period Gretsch models as they ran the tuners through the laminated seam where the wings were glued to the neck blank.
The guitar shows no other issues; there is NONE of the common binding deterioration at all. The neck angle is excellent, as noted there is evidence of a factory neck re-set done VERY early on. This has held up perfectly since, showing no movement at all. The guitar has been refretted with wire somewhat taller than the original that play very well, with virtually no wear. The metal Bigsby bridge saddle was notched slightly deeper than usual but does not present any problems.
Even if not absolutely original (though very close!) this is simply an exceptionally fine playing and sounding 6120 from one of the classic years; a treat for any Gretsch fan and in particular the Duane Eddy afficionado. It includes a period mid-line Gretsch case (not the cowboy case) still in solid shape some general wear. Overall Excellent - Condition.