Modern Gretsch Guitars

Flat wound strings and an aluminum Tru-Arc


Shuggie you have described it very well. I have heard that the internals on the 225 are sturdier than on the 125 or 330 but never knew much more about it. I had a beautiful '60 125 which sounded great but not as rich and full as my RI ES-225. The bridge pickup on the RI is exactly as you described it in your article. It's a big, fat slab of twangy goodness which rivals any other Gibson for authority and size. And I find the neck pickup a lot more usable than on my Les Paul. As you state, the in-between sound is gorgeous.

I suspect that a lot of players here would love these guitars if they ever got the chance to try one. I really would like to keep the unique tailpiece arrangement on mine because it sounds so good. And Tim, if you ever make a bridge which sounds the same, looks much the same (within reason of course!) and fits I'll have one. I think that all it really needs is a front edge cut away to intonate it. I guess it's tricky to balance the cut with the radius but I'm sure you can do it because hey - Serpentune! All we really need is the bar bridge. The rest of the bits are good.

And Yavapal - I just noticed: you have done exactly what I did and put '60s reflector knobs on yours! They're easier to grab, aren't they?


Good spot! Yes, I like the shape of them better. I ordered 2 sets of these Gibson reflectors for a good friend in Scotland who wanted them for a couple of Historic Les Pauls that he was rebuilding. I got them from Gregg Rogers in Washington (like the rosewood Gibson ABR-1 base) when he was selling out his stock before closing the business last year so he kindly sent me the 3 sets that he had left for the price of two. The extra set ended up on my ES-225.

I really do like the tone of the underwound Gibson MHS P90s on this guitar. (7k Ohms) especially with the pickup shimmed closer to the strings to balance the output of the neck one. Oh, and shimming both so that they're parallel with the strings gives a smoother tone.......probably due to the magnets being of equal distance from the strings.

A box of these makes the job easy. https://www.lollarguitars.c...

(Wow! They've gone up in price a lot.)


Yup - I did the same thing too! Unlike the original mine didn't have any shims under the bridge pickup so it was interesting to learn that the original did. So I got a couple of Lollar's sets of shims and yes I went to the trouble of making the pickups parallel to the strings too. The stock pickups are amazing - hard to say because I have never tried any other pickups in the 225 but they are so good I have no interest in changing them. They're plenty powerful enough but have great definition and clarity. The thing I love about this guitar is that it can sparkle and then sound more brutal than anything else. Higher output pickups would compress too much and you would lose the impact.



Need an address and whether you just want to see the bar bridge or the whole unit.


Whole thing, I guess. Really just need the threads at the end of the trapeze - but that will entail the whole thing. Address can be found at (One of the only things that can be found there...)


Got it!

On its' way in a day or so.

I was planning on sending the whole unit anyway so you could assess the geometry of it fully assembled.


I use thomastik nickel 12g flats w my tru-arc stainless, its beautiful. Chromes have a hexagonal core and dont bend very well but the T.I.'s have a round core as do my pyramids and feel quite comfortable.


Can't wait to see how this TruArc twist on the 225 turns out



I've been traveling quite a bit recently but finally got back to Arizona.

The Bale bridge set is all packed up and ready to go. Where do I send it?


Yeah Tim - where does he send it??


Never really fell in love with flats till I tried a slightly used set of thomastik that failed to remain on three other guitars I tried them on. Put them on my Joe Pass Epi that has a neck position Benedetto and a Gibby Classic 57 bridge and that guitar came alive. I agree with Tavo, if you're a string bender the thomastik's are an easy transition. I use the 11's.



Tim sent me a direct Email with his address.


Yeah Tim - where does he send it? me, of course.


I am quite excited about what Tim might be able to do with this bridge - thanks for sending your bridge to him Yavapai! I can't send mine to him because I'm using it.

I was playing my 225 just today, using it to test some pedals I built recently. I just built a version of Expandora which has a bass pot, and it sounds surprisingly good with the 225. The best thing is that when I use the "forbidden" setting (which is a ferociously gated high gain fuzzy sound as used by Billy Gibbons) the gating prevents the 225 from feeding back uncontrollably. And the bass pot lets me get a much fuller sound than standard which I prefer.


I use flatwound strings on my Aluminum Bigsby compensated bridge and they sound great. They are Pyramids Golds. I couldn't imagine a better sound for me!



Haven't heard from Tim but I guess he's working on it. Tim?

Meantime, I've started plugging my ES-225 into this GA40 amp. Now, that's a sound I like. No effects, just the mild harmonic distortion of the amp's "Instrument" channel.


Wow - perfect! I have heard that some of those old Gibson amps sound a lot like Fender Tweeds - does that one? I love a good tweed.


Not exactly to my ears but if you crank up the guitar volume a bit then it does. To me it sounds more like a mix of a Fender Deluxe and a Vox AC30.

Still nothing from Tim.

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