Introduction:

Collectible Gretsch instruments are mostly the models endorsed by Chet Atkins made from 1954 to 1961 (single cutaway models). Earlier models with western ornamentation ("cows & catus") are the primary models desired.

Older Gretsch models (pre-1970) don't tend to hold up to time as well as other makes. Older binding materials and glues tend to deterior with age. This can cause expensive repairs such as neck sets and binding replacement. Additionally, Gretsch electronics (pickups, switch/knob layout) is not as sonically sound or versatile as those of other makers during the same period.

Despite the drawbacks, Gretsches from the mid 1950's have a certain "look" that is undeniably cool. Models most highly regarded are the single cutaway versions with western trim. Engraved position markers ("cow and cactus"), the "G" brand, and western pickguards is what makes Gretsches valuable and collectable. This especially applies to the 1954 to 1956 western models such as the 6120 Chet Atkins hollowbody, the 6121 Chet Atkins solidbody, the 6130 Roundup and the 6022 Rancher.

The 6136 White Falcon and 6134 White Penguin from 1954 to 1957 are also highly collectable instruments. These have DeArmond pickups, engraved pearl position markers, vertical Gretsch logo, "Cadillac" tailpieces and gold sparkle binding. Unfortuneately, after 1957 many of these attributes disappear, making later models less desirable.

The appeal of solidbody Grestch guitars seems to be more "show" than go. That is they are collectable for their unusual looks, rather than for playing or sound. Gretsch solidbody really aren't solid, but are semi-hollow construction. The most collectable solidbody models are those with western ornamentation closely related to the most desirable hollowbody models. The Duojet, which has no hollowbody equivalent, is also collectable. The custom color and sparkle top models are worth more than the standard black or red top models.

Gretsch acoustic archtops appeal primarily to collectors only, as players tend to steer clear of these models. Gretsch's reputation is based more on their electric guitars than acoustic. The quality of Grestch workmanship is not as good as Gibson and Epiphone instruments from the same period. Due to poor material and/or construction techniques, many older models haven't survived the test of time. The high-end acoustic archtops with "cat-eye" soundholes are visually appealing and collectible strickly for their unusual looks. Other models with convential "F" holes are much less desirable.

Gretsch flat tops tend to have inferior sound and playability compared to Gibson and Martin. The 6022 Rancher from 1954 to 1956 with "G" brand and engraved inlays is collectable, but mostly as an accessory to the other western models of the same period (6120, 6121, 6130). Other Gretsch models, though older and rarer, are less well known and are of little interest. The problem with Gretsch flat tops has to do largely with poor materials. Most use veneer (plywood) spruce tops with ladder bracing, opposed to solid spruce tops with "X" bracing that Gibson and Martin use.

The original Gretsch company based in Brooklyn, New York went out of business in 1981. Fred Gretsch III re-acquired the Gretsch name in the mid-1980's from Baldwin (which ran the brand into the ground and went out of business and stopped production by 1981). Then around 1990 Gretsch restarted production of Gretsch guitars in contract with Terada in Japan for the manufacturing for the Professional Series guitars. But Terada is just a factory-for-hire, and has no equity in Gretsch. Other guitar plants in Korea were contracted to build entry-level Gretsch lines (Historic, Electromatic, Synchromatic). In 2003, Mr. Gretsch contracted with Fender Musical Instrument Corporation (FMIC) to oversee manufacturing and marketing. FMIC has continued the relationship with Terada, and began a Gretsch Custom Shop in the US. Also mixed and matched Asian factories-for-hire (both Korean and Chinese) have been used to build the entry-level Electromatics. While many of the models built today observe "general" vintage Gretsch specifications, they aren't really "copies" of 1950s Gretsch guitar. The "new" Gretsches are actually a Gretsch in name, built under the auspices/ownership of the Gretsch family. Note many models not all are built towards replicating 50s guitar specs, though they rarely stray far from these original formulas.

1946 to 1957 style Gretsch label (this label is
actually from 1956). Note "T" roof Gretsch logo.

1957 to 1964 style Gretsch label starting with
serial number 25001 (this label is actually from 1963).

Gretsch General Specs.

Labels
Beginning in the late 1940's, labels have serial number printed and model number written. On solidbody and closed hollowbody models, the label is on the backside of the control cover plate or in the control cavity.
• 1946-1957: White rectangle label, "Fred Gretsch Mfg. Co. - 60 Broadway, Brooklyn, N.Y.", serial number in red, model number in blue or black. All models have this label by 1954.
• 1957-Early 1965: Gray top part, orange background for "The Fred Gretsch Mfg. Co.", beginning with serial number 25001.
• 1965-1972: No label, serial number on peghead.
• late 1960's: "That Great Gretsch Sound" across bottom of label, most with 5 digit serial number beginning with 1 or 2.
• 1972-1981: White label with black border, "Gretsch Guitars", no address.

Gretsch Logo

• Script logo: introduced late 1930's, used on most models until mid 1954. Last script logos used on Synchromatics in late 1950's.
• "Grestch N.Y.C.", used in the 1930s and 1940s on low end models.
• "T" roof logo ("T" extends from "G" to "H"): introduced on some models in 1933 on the BroadKaster, mid 1940's for the New Yorker, and model 6003 flat top in 1951. All other models got this logo in mid 1954.

Fingerboard Markers

• Pre-1957: "Humptop" or block inlays on mid to upper line models. Humptop inlays are usually made from celluloid, and the block inlays can be either celluloid or pearl. In this era, humptop inlays are rare, with block inlays being the norm on mid to high end models. Low end models used dot inlays.
• 1955 to 1956 "Cowboy" Markers: On certain Chet Atkins and solidbody models (6120, 6121 and 6130 Roundup), Gretsch used block celluloid fingerboard inlays panographed with "Cows and Cactus". After panographed, the engraving is filled with gold paint (which quickly turns green and then black from playing). The Cow and Cactus inlays are probably one of Gretsch's coolest features, at least in my eye.
• 1957 to early 1958: "Humptop" celluloid inlays on mid to upper line models (block markers discontinued). As a general rule, humptop inlays on a Gretsch means 1957 or early 1958. Low end models still used dots.
• mid 1958 and later: "Neoclassic" or "thumb print" pearl inlays on mid to upper line models. Low end models still used dots.

Cow and Cactus fingerboard inlays on a 1955 Gretsch 6130 Roundup.
Often the inlay at the first fret is not engraved. The 3rd fret engraving
is a cactus on this guitar. Notice the peghead's engraved steerhead.

Truss Rod
• 1933 to 1951: No truss rod cover.
• 1951 to 1952: Truss rod adjustment at butt of neck by body.
• 1953 to 1955: Truss rod adjustment at peghead, small truss rod cover.
• 1956 to 1970: Truss rod adjustment at peghead, large bell-shaped truss rod cover.
• 1970 to 1980: No truss rod cover on peghead.

Peghead Plates
Used on some models from 1958 to 1970. Square metal plate with engraved model name. White Falcon and Country Gentlemen also have their serial number on plate till 1965.

• Country Gentlemen: 1958 to 1970.
• Anniversary, Double Anniversary: 1958 to 1970.
• White Falcon: 1959 to 1970.
• Tennessean, Nashville: 1964 to 1970.
• Viking, Monkees: 1965 to 1970.
• Van Eps, Roc Jet, Streamliner: 1968 to 1970.

Zero Fret
This "feature" used a fret as the actual nut (though there was a nut too for guiding the strings to the tuners only). Gretsch called this their "Action-Flo" nut.

• Chet Atkins models: 1959 and later.
• Duo-Jets: 1962 and later.
• White Falcon, Country Club: 1963 and later.
• Sal Salvador, Astro jet: 1965 and later.
• Viking, Anniversary, Rally, Broadkaster, Rancher: 1968 and later.
• Clipper, Corvette: never got a zero fret.

Gretsch Pickups and Bridges:
DeArmond (upper left), Filter'tron (upper right),
HiLoTron (lower left), SuperTron (lower right).
The bridge in the upper right is a Melita,
and the bridges in the lower photos are Space Control bridges.

Pickups

• 1949-1957: DeArmond Gretsch Dynasonic (Fidela-tone), single coil, black face, poles adjust by a separate set of screws. Because the screws and the poles are each in a separate row, these are often confused as being a "humbucker" pickup.
• 1957-1958: Filter'Tron, double coil (humbucker), 2 rows of poles, no markings on cover, smooth plastic frame.
• 1958-1960: Filter'Tron, "Pat. Applied For" stamped on cover, smooth plastic frame.
• 1960-1970: Filter'Tron, patent number 2892371 on cover, ridged plastic frame.
• 1961-1980: Hi-Lo'Tron: single coil, poles thru black face, low-end models only. Really a single coil version of the Filter'tron.
• 1970-1981: Filter'Tron, black face, no cover markings, height adjustable, open metal frame (same case as Hi-Lo'Tron).
• 1964-1980: Super'Tron: double coil, 2 metal bars (blades, no screw poles). Used on high end models like the Viking, Country Gent and Monkees.
• 1958-1959: Optional Project-o-Sonic stereo split stereo pickups, each pu with 3 pairs of poles on 1 side, bass/treble split. White Falcon and Country Club models only.
• 1959-1980: Optional Project-o-Sonic 4 switch system, 6 pairs of pole screws per pu, 4 switches on upper bass bout, many tone combinations. Used on White Falcon (1959-1980), Country Club (1960-1962), and Double Anniversary (1960-1962, 1 pu per channel) only.
• 1976-1980: DiMarzio or generic Japanese Humbucking pickup were used on some models, screw poles, metal cover.

Bridges
• 1930's: Ebony bridge on mid to high-end models.
• 1930's to 1980: Rosewood bridge on low-end models.
• late 1930's to 1953: Rosewood stairstep bridge with extended stairstep on bass side.
• 1951 to 1957: Melita bridge with individual adjustable intonation (intonation could be locked in place).
• 1954: Metal (Aluminum) Compensating Bigsby bridge. Seen mostly on Bigsby Chet Atkin models, a simple aluminum bridge without string intonation, this bridge was designed by Bigsby to be used with their tremolo system.
• 1958 to 1980: Metal bar bridge. Mostly seen on Chet Atkins models. No adjustment for intonation or string spacing.
• 1958 to 1980: Space control bridge. This was a metal threaded rod with individual rolling string guides to adjust string spacing. No adjustment for intonation.
• 1965 to 1972: Floating Tuning Fork bridge. Unattached to the body, tuning fork extends thru hole into body. Usually seen with Space Control bridge. Very unpopular and often removed.
• 1970 to 1980: Adjustamatic bridge. Much like Gibson's tuneamatic bridge.

Tailpieces
• 1933 to 1980: Trapeze tailpiece used on many archtop models.
• 1930's to 1954: "Chromatic" Harp shaped tailpiece used on Synchromatic models.
• 1951 to 1980: "G" tailpiece with a "G" cutout.
• 1955: Bigsby vibrato with fixed arm.
• 1956 to 1958: Bigsby B-6 vibrato with rotating arm (DuoJets used the smaller B-3, and Corvettes used the horseshoe B-5 Bigsby).
• 1958 to 1980: Gretsch Bigsby B-6 vibrato, "V" cutout (Gretsch name now on the Bigsby tailpiece).
• 1963 to 1980: Burns vibrato with a 3 sided pyramid base and long arm.
• 1963 to 1968: Palm vibrato with a short arm.

Pickguards
• 1930's to 1980: many acoustic models use tortoise grain celluloid pickguard material.
• 1954 to 1980: many electric models have a 1/4" thick clear acyrlic plastic pickguard that is back-painted gold or silver.

Knobs (electrics)

• 1949 to 1954: Clear knobs, barrel shaped.
• 1954: Plain top, gold or chrome plated brass, cross-hatch pattern on side.
• 1955 to 1957: Arrow on top ("plain arrow"), gold or chrome plated brass, cross-hatch pattern on side.
• 1957 to 1967: Arrow thru a "G" on top, gold or chrome plated brass, cross-hatch pattern on side.
• 1966 to 1980: Aluminum knob, arrow thru "G" on top.

Mutes

• 1961 to 1963: Single mute with 1 rotate knob (hollowbody Chet Atkins models only).
• 1961-1963: Double mute with 2 large rotary knobs. Used on White Falcons and Country Gentlemen only.
• 1963 to 1972: Single mute with 1 small lever knob. Used on Chet Atkins hollowbody models. Also used on Country Clubs (1963-1965), Country Gentlemen (1966-1971), and Viking (1968-1969).
• 1963 to 1972: Double mute with 2 small level knobs. Used on Country Gentlemen (1963-1966) and White Falcon (1963-1972).

Gretsch Model Numbers.

Left: The serial number and "made in usa" stamp
on a November 1967 (the "107" part of the serial number)
model. This was the 58th instrument made that day.
Right: The serial number on a February 1967 (the "27"
part of the serial number) Chet Atkins Nashville 6120.
Note the lack of a "made in usa" stamp.
 

Gretsch Serial Numbers.

Only approximate year of manufacturer can be determined by Gretsch serial numbers before 1965. It is best to date your pre-1965 Gretsch by serial number and by specs. Although Gretsch's during this period seem chronologically ordered (and in many cases are), the numbers and labels often can not determine the exact year of manufacture due to spec inconsistences.

The serial number on a 1963 Gretsch 6128 DuoJet,
under the backside control panel cover.


For example, two 1957 gretsch models could have consecutive serial number, but different specs. Examples include a later numbered model having humptop inlays and no zero fret (earlier specs), and an earlier numbered model having thumbprint inlays and a zero fret. This is the opposite of what the consecutive serial numbers would indicate.

The serial number on a 1958 Gretsch 6129 Silverjet single cutaway model.
Note the mistaken model number crossed off and restamped! It looks like
some of the wiring has been replaced on this Gretsch, which is very common
on 1950s Gretsch models. Often the wire's insulator cracks, shorting the wires.