Quote:
Originally Posted by DanR
This is my most recent electric guitar purchase, a 1967 Gretsch Double Anniversary:
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That one's a bit of a rare bird, and a perfect example of how the Brooklyn Gretsch operation often used whatever parts were on hand to complete an instrument. As a '67 model yours dates from the Baldwin transition era and, while IMO it's constructed entirely from genuine Brooklyn parts, it's kind of a cross-pollination of Anniversary and post-1962 Electrotone Tennessean features: while the Bigsby was a non-catalog Double Annie option, more often associated with the Brian Jones-approved green 6118 than the jazzbox-looking sunburst (most post-1960 trem-equipped models instead sported the Tone Twister screw-on - similar to Gibson's rare guitar-shaped Vibra-Rest in function and IME virtually useless in practice), the bar bridge and zero-fret fingerboard - assuming of course that both are original to the instrument - are traditionally associated with the Tennessean, as are the Van Ghent tuners (these in fact made their debut on the Double Annie by 1966 - 12-18 months before yours was built - and were used interchangeably with the open-back chrome-button Grovers seen on earlier versions, until existing stock ran out)...
BTW I see you also like the neck position on yours: I get some of my favorite Gretsch tones that way - sweet. clear, almost acoustic-sounding through the right amp...
Use it well, often, and twangy...
