1 Proteus 2 months ago I have an instinct for double-cut electric guitars which my realization that a single-cut Jet with Dynasonics is The Ultimate Electric Guitar has done nothing to dull.Maybe it's because a single-cutaway electric guitar still retains an obvious functional link with its dull, boring, staid acoustic forbears while a doublecut unambiguously proclaims itself fit for duty in the future: you wouldn't need those cutaways if you weren't boldly going new musical places where no old-fashioned gitbox has gone before.I guess I don't consider the Gretsch double-cut Jet the most beautiful guitar ever: the high waist and stubby horns give the impression the body was stunted before it grew into something more graceful. But I don't know how I'd improve it, and the classic Gretsch has grown on me. My first Gretsch, in fact, was (and is) a 12-lb pre-FMIC goldtop Electromatic with mini-buckers. An extremely solid solidbody.While that guitar pretty much scratched my doublecut Jet itch, and I haven't been much tempted by pro-line doublecuts, I was intrigued by the 5655 centerblock Electromatic Jet from the time it debuted at the 2014 NAMM Show.First, it was "chambered." Entirely solidbody guitars and more-or-less full hollow guitars (with various sorts of bracing) mark the extremes of construction options, and there are classic examples of both which are universally and deservedly revered. We all know and love'm. But I'm continually fascinated by the subtle range of tone and response to be found in chambered and centerblock guitars, particularly those in the 14" - 16" body size. I usually find completely hollow (maybe sound-posted) - but completely closed-body - guitars sonically entertaining, but they don't suit every purpose. Guitars which are chambered or "planked" to various degrees suit more traditionally solidbody purposes while retaining some "air," but lose some of the open character of the fully hollow variants.But I just know that somewhere along the continuum from really hollow to mostly solid there's a formula which will magically combine the best features of both approaches with none of the compromises of either.So for me the question is less whether a Jet/Paul-sized guitar should be solid or hollow, and more just how hollow it should be. The chambering of the 5655 would, I thought, at least give me another data point in this ongoing search - if it didn't prove to have perfected the formula.But what really pushed me over the edge was the 5655's shapely, graceful arched back - an indicator, at least in Gretsch construction, that despite appearances, the guitar is not a solidbody. Here was a Jet-sized guitar, but with elements of Gent construction. Similar, I guess, to the old Gent Jr - or a mini-335. In any case, it was a unique spec unavailable (to my knowledge) anywhere else in the Gretsch line.That made the 5655, like the CVT, a unique product, not a version of something in the pro series. I always appreciate uniqueness.The rest of the spec was fine as well. Neoclassics, check. Standard-size Filtertron pickup routs, check - so there would be options if the standard pickups didn't ultimately serve. Straightforward control set, no mud switch, yep. Tension-bar top-mount Bigsby: well, OK. We're used to them. If it's what goes on a TV Jones Spectra Supreme, it must be OK here. Mini-Grovers: good. Maybe not as distinctive as the Waverly-looking open-back tuners on some of the 5400 series, but smooth and even, arguably, more reliable.Also, I've been going through a red thing for a few years - and there it was in Rosa Red. But in 2014, it wasn't like I needed another guitar. (It still isn't.) So I didn't succumb just yet. In fact, I'll admit the triple-pickup catseyed 16" 5622 in Georgia Green had fascinated me a tad more - probably because it was an affordable way to get into Gretsch centerblockness and had 3 of the new SuperHiloTrons. (And yep, I like that guitar plenty good!)In the fullness of time, however, the 5655 called out to me again, and Rocky at Street Sounds made me a good deal on a Rosa Red. It came to me flawless from head to toe and impeccably set up. Action was just right. At the same time I ordered the guitar I also consulted with TV Jones about replacement pickups for it. Why? Man, I don't know. Because having a new platform for a different variety of TV Jones pickup was part of the attraction in the first place. I'd already had plenty of experience with the SuperHiloTron on the 5622 - where I love having three of them deployed and have never considered swapping them out. So I figured I'd want something different in the neck position of the 5655. And the blacktop FilterTron at the bridge? Well, I've tried. I have a 5420 with blacktops and I've heard others get great sounds from them. But I just don't get along with them. But I do like the notion of a double-coil for slightly fatter tone at the bridge, and a single-coil for more crisp at the neck; I've configured many guitars that way through the years. So the 5655 already had its heart in the right place. (I know the SuperHiloTron isn't really a single-coil, but it's brightish. I characterize it as a cross between a mini-humbucker and a HiloTron.)The neck MagnaTron and bridge Classic Plus on my Anni Jr make a perfect combo. But TV has all those other options to try. I just didn't know which for this project, so I called him and we discussed it. (I'm not recommending that everyone call Tom every time they want to choose a pickup. His website does a fine job of guiding you through options.) I thought maybe I'd try the Setzer sigs, but after discussion we hit upon the Paul Yandell Duo-Tron at the bridge and ... I'm not sure what I have at the neck. Black, single row of big fat slug polepieces. On the back it says "SpectraSonic Standard Neck," but isn't a SpectraSonic a guitar, not a pickup? This is my fault - Tom told me what pickup it is during our conversation, but by the time I got the package I'd forgotten. And I haven't been able to find its like on his website. So. Mystery TV Jones pickup.Anyway, self-evidently a single at the neck and a double at the bridge. Only I didn't put them in as soon as I got the guitar. Thought I'd try the stockers first, and who wants to tear apart a perfectly good guitar as soon as it comes in the door, without even playing it?I did play it - in constant rotation for many months. Whatever else I had out, the 5655 was always close at hand. I was enjoying it, but there's always a honeymoon, right? You gotta get through that to know where you really are. Sure, the guitar was good - but where did it stack up against all the other options? It takes time to figure that out.During this long period of adjustment, its only live outing was at last year's Hoosier Daddy Roundup, where I didn't seem able to get what I needed from the stock pickups. Maybe I needed to optimize amp and pedal settings (something there's never time for at a Roundup). Also, I'd put 11s on it in place of the stock 10s - knowing better but still failing to open the slots up a little) - so, no surprise, the nut was grabby. Also, some pinging and creaking at the bridge; maybe to be expected with an Adjusta-matic that close to a tension-bar Bigsby. Also. My gawd is this even a SPRING in the Bigsby, or is it a solid tube of steel? Pretty stiff! So Rosa was going to need some tuning for the track. And this thread is about the process of getting "her" (OK, I don't generally feminize my guitars - or gender them in any way - but "Rosa," right?) dialed in.