Worth it ? It's really hard to find opinions on this model on the internet...
please help me.
Whats the consensus on the G6122II ?
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Oct 28, 2008 6:44 p.m. eethier:
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Oct 28, 2008 6:55 p.m. SJB66:
Oh Yes, very worth it. Great guitar, excellent player. Karl
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Oct 28, 2008 6:59 p.m. senojnad:
Given all the models and tweaked models of Gretsch guitats that have been produced and promoted over the last 10-15 years, your question doesn't provide much useful information to generate intelligent responses.
Are you talking about a 6122-II (or 6122-2 vs. 6122-S) from the mid- to late- 1990's? If so, those were "pre-FMIC" guitars. Some people consider them inferior. Others (like me) will advise that there were some excellent guitars produced during that era, but one should proceed with caution. Some from that era had electronic issues, although certainly not all. Some had body/finish issues, although not all. Problem guitars may have been the exception, not the rule. My 6122-S was (is?) a great guitar. I sold it when I bought a 6122-1959 earlier this year.
Re: "Worth it?" -- Have no clue what price range you're talking about here.... Need more information on that in order to help you.
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Oct 28, 2008 7:08 p.m. eethier:
No, I'm talking about the new ones... this model:
http://www.gretschguitars.com/gear/index.php?product=G6122II&cat1=&cat2=&a...
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Oct 28, 2008 7:28 p.m. Proteus:
Not surprising there are few opinions out there...it's rarely seen in the flesh.
Some "modernized" versions of classic Gretsch designs have been very successful - notably the Setzer 6120s and the Power versions of Jets and Tennies - but they have limited their modernization to tuners, bridges, pickups.
More radical re-workings of the classic designs have just not been as popular - or at least they're seldom seen or discussed here. Among those are the "Juniors" (14"-body versions of the Nashville, Gent/Country Classic, Falcon DC, and Anniversary - only the Anniversary remains in the line) and this 6122 II.
The issues are that the scale length has been changed to 25.5" from the classic 24.6" of the vintage era, it has open f-holes instead of the closed-body "simulated" versions, and it does away with mutes, backpad, standby switch, and zero fret. It also has an 18th-fret neck join instead of the 60s-correct 14th-fret, tone POT circuit instead of the infamous mud switch, and Adjusta-matic bridge.
All those changes were made to make the guitar less "odd" to players unfamiliar with Gretsch - more acceptable to modern buyers - while retaining the Gretsch look and vibe.
I think most of the them are good changes. I personally don't care about the backpad, always found the mutes silly, am indifferent to the zero fret, have no use for the standby switch, and can get by as well with a tone pot as with the mud switch. The 18th-fret neck join, with greater access to upper frets, is a clear winner.
Now - I do think the closed body contributes to the unique tone of the 60s-era Gent, and scale length is the biggy. A 25.5" scale guitar simply feels and sounds different - "snappier," stiffer, and brighter - than 24.6".
So when they fangled with THOSE specs, they went to the essential character of the guitar. Not for better or worse necessarily - that would be up to the individual to determine - but the 6122 II ends up being a different instrument than the classic Gent of its most influential era.
Judging from the apparent population of the 6122 II, most buyers want their 60s Gents to be more period-correct. Most of us who have doublecut Gents/Country Classics do have the 24.6" version with backpad, switches, zero fret, etc.
Honestly, I can't speak from experience to the merits of the 6122 II on its own terms. I think in many ways it's an ideal spec, and a very well thought-out and implemented design. But I've never seen one in a store, never had one in hand.
My experience with 24.6" doublecut Gents and 25.5" singlecut Gents tells me it would sound a bit more "open", as well as a touch "harder" or less spongy than the 6122-62. More resistance to the hand, harder to overplay.
It would have to be a superb instrument, and I think I would quite like it.
The fact that there aren't more of them is probably an index to just how big a role nostalgia and traditionalism play in the Gretsch market, particularly for the doublecut Gent, which is so connected with Harrison and 60s pop.
For most Gretsch buyers, most of the time, if they don't makem like they used to (only with modern consistency), it just ain't right.
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Oct 28, 2008 8:22 p.m. farmerbrown:
I have had a 6122-II ('07 model) for almost a year now, bought it new just before I joined the GDP, I already had a Tennessee Rose ('06)purchased a year earlier which I still have. My Gent has the mud switch circuit, not the tone pot, I like it very much, but I like my 6122-'59 Gent much better. Had I have been on here for a while before I bought the 6122-II I would not have bought it as I was looking for the Chet tone which the '59 just oozes! I have an '04 DSW as well as the other 3, if I were to sell one it would be the 6122-II as the other 3 cover all the tones I want out of life. Eethier if you are looking for a 6122-II PM me, I might consider selling it. It is in perfect shape, not a mark or ding on it, plays very nicely and sounds great.
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Oct 28, 2008 9:14 p.m. eethier:
Actually I think I would prefer one without the mud switch... I find it unusable most of the time.
I don't care that much about nostalgia and I don't plan to use it in any sorts of cover bands. I play in a britpop/shoegaze group who plays original material so I think it might suit me.
Thanks to both of you for the details!
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Oct 28, 2008 9:42 p.m. gretschiam:
eethier- Glad you have a righteous opinion, and still took the time to get some input. That's what I love about the people here--very open and honest.
FWIW, I had my 68 CG and 67 Tennessean since around those times, and until I came here I never did anything except replace a pickguard. Since coming here I learned about the greatest that is TV Jones, and I learned that modifications don't necessarily hurt a great guitar. You got yourself a beauty,a nd I hope you'll appreciate it for what it is.
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Oct 31, 2008 8:51 p.m. eethier:
i'm in love :)
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Nov 13, 2008 12:39 p.m. Mojambo:
How are you liking it so far? That one has definitely caught my eye.....
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Nov 14, 2008 10:48 a.m. Ric12string:
eethier said: I play in a britpop/shoegaze group who plays original material ...
Okay, I'll bite...Just what is a "shoegaze" band? I think I get the visual image, but what genre of music is this?
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Nov 14, 2008 3:00 p.m. BigA:
Shoegaze is from the late 80's/early 90's. Mostly British indie-pop stuff. Heavily distorted guitars, wall-of-sound, sometimes droney. Big bands were My Bloody Valentine, Slowdive, Ride, etc.
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Nov 14, 2008 3:02 p.m. BigA:
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Nov 14, 2008 3:16 p.m. Ric12string:
Yep, I know exactly what you mean now. Not what I thought it was going to be.
Wasn't there some Scottish or Welsh woman that was big for a few years with this type of music over here?
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Nov 14, 2008 4:51 p.m. FrequentFlyer909:
Enya?
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Nov 18, 2008 11:21 a.m. seppi65:
I wouldn't consider Enya shoegaze, however there were a few shoegaze bands with female singers (Lush, later iteration of Pale Saints, My Bloody Valentine). I wouldn't say any ever made it particularly big in the U.S.
The term "shoegaze" has been applied to those groups years after the scene was already over (and those who were in those groups reject the label). Nonetheless, people like to label and categorize. I myself was a big fan of shoegaze back in the early 90s, but never heard the term to a few years ago (and I don't think we were all depressed with our heads down, quite the opposite). I thought it was a newer, more sophisticated, transfiguration of punk rock. But I now use the term myself because it does describe the music I played more accurately than just "Britpop from the late '80s early '90s with lots of fuzzy distortion."
The guitar of choice, for most of those bands that have been lumped into that group, I would have to argue, has been the Fender Jazzmaster - MBV, Sonic Youth (yeah, not "shoegaze" but still a major influence), Sigur Ros, et.al. There were a lot of Rics as well - Lush, Pale Saints, Slowdive, Ride.
As for Gretsch 6122, John Squire of the Stone Roses (major pre-shoegaze influence) played a '64.
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Nov 18, 2008 7:49 p.m. volt:
I like the improved access to the higher frets.
Since Guild no longer offers electrics, I'd like to see a Gretsch 6122 III (or other model name) with Power'Trons, stop-bar tailpiece, fixed bridge, etc, basically, all the features of the Gibby 335...........then I won't have to get a 335 someday. I'd also like to see a Gretsch with all the features of the Les Paul, except of course it would have that great Gretsch sound. I believe both would/could be good sellers, if priced right.
I own four Gretsch's 5120, 6119, 6120, and I 6121. I love all of them except that I wanted the 6121 to be a Gibby LP substitute. It's close, but it needs more sustain above the 12th fret.
