Early on, Gretsch Jet guitars are all virtually identical, other than color. The DuoJet was black, the FireBird was a deep red, and the SilverJet was, of course, capped in silver sparkle plastic drum material. Since those early days, the Jet family has come to encompass a dizzying array of guitars, yet all are still instantly identifiable as Gretsch’s premier “solidbody” guitars. Even though they’re typically nearly hollow.
Jets differ significantly from their competition in that their mahogany bodies are extensively routed, making them, in effect, semi-solids. It also makes them considerably lighter than similar guitars and adds a special resonance to the line.
The DuoJet and SilverJet were first released in 1954, alongside the 6130 Roundup, a 6126 baritone ukelele and a 6127 4-string tenor guitar, which promptly dropped off the market.
The early Jets had two DeArmond pickups and block markers. Some Duo-Jets were finished in Cadillac Green, but they’re pretty rare. Even more rare - the Bigsby B-3 tremolo that was an extra-cost option.
By the end of the ‘50s, Jets wore “neo-classic” semi-circular fret markers, had two FilterTron pickups, the optional Bigsby was far more common and a “zero fret” had been added.
The big change came in 1961, when the Jets became double cutaways. The first double cutaways are roughly equivalent to the earlier Jets, but shortly after the changeover Gretsch began to change the Jets.
Vibrato tailpieces became standard in ‘62, but they weren’t Bigsbys. Instead, a funky, Burns-sourced whammy was used. Other changes to ‘62 included gold hardware replacing chrome and other sparkle finishes, including gold, champagne, burgundy and tangerine being offered. Gretsch made few Jets with the special sparkle finishes, and they’re quite rare today. A standby switch was also added in ‘62.
In ‘68 a Bigsby was once again offered, and the Jets were fitted with Gretsch’s SuperTron pickups. This configuration lasted until the 1970, when Gretsch, spurred on by Duke Kramer and plant manager Bill Hagner, switched back to a single-cutaway body, hoping to rekindle past glories.
The new 6127 Porsche Pumpkin RocJet and the 6130 Mercedes Black RocJet had slightly differently shaped bodies than the ‘50s Jets, but they were definitely aimed at recapturing the classics. A Country Roc model, reminiscent of the Roundup was also introduced. All had chrome parts, SuperTron pickups and Les Paul-like controls with two volume and two tone controls, plus a master volume. A metal nameplate adorned the headstock. For a few years at least, in the mid-70s, the Jet line was again treated like a respected part of the Gretsch line instead of a cheap Les Paul knockoff.
The 6127 and 6130 were later redesignated 7611 and 7610, respectively, in 1972 and were joined by the walnut-topped 7613 and the Jet FireBird-like 7612.
By the late ‘70s, though, Baldwin had again taken over the day-to-day operations at Gretsch, and the Jets were again aimed squarely at Gibson’s Les Paul line with Les Paul-type switching, a BadAss bridge and two DiMarzio pickups. They were not successful, and as the ‘70s ended, so did the Jets. By this time they had little in common in shape, sound, feel or features with the classic Jets.
Early on, Gretsch Jet guitars are all virtually identical, other than color. The DuoJet was black, the FireBird was a deep red, and the SilverJet was, of course, capped in silver sparkle plastic drum material. Since those early days, the Jet family has come to encompass a dizzying array of guitars, yet all are still instantly identifiable as Gretsch’s premier “solidbody” guitars. Even though they’re typically nearly hollow.
Jets differ significantly from their competition in that their mahogany bodies are extensively routed, making them, in effect, semi-solids. It also makes them considerably lighter than similar guitars and adds a special resonance to the line.
The DuoJet and SilverJet were first released in 1954, alongside the 6130 Roundup, a 6126 baritone ukelele and a 6127 4-string tenor guitar, which promptly dropped off the market.
The early Jets had two DeArmond pickups and block markers. Some Duo-Jets were finished in Cadillac Green, but they’re pretty rare. Even more rare - the Bigsby B-3 tremolo that was an extra-cost option.
By the end of the ‘50s, Jets wore “neo-classic” semi-circular fret markers, had two FilterTron pickups, the optional Bigsby was far more common and a “zero fret” had been added.
The big change came in 1961, when the Jets became double cutaways. The first double cutaways are roughly equivalent to the earlier Jets, but shortly after the changeover Gretsch began to change the Jets.
Vibrato tailpieces became standard in ‘62, but they weren’t Bigsbys. Instead, a funky, Burns-sourced whammy was used. Other changes to ‘62 included gold hardware replacing chrome and other sparkle finishes, including gold, champagne, burgundy and tangerine being offered. Gretsch made few Jets with the special sparkle finishes, and they’re quite rare today. A standby switch was also added in ‘62.
In ‘68 a Bigsby was once again offered, and the Jets were fitted with Gretsch’s SuperTron pickups. This configuration lasted until the 1970, when Gretsch, spurred on by Duke Kramer and plant manager Bill Hagner, switched back to a single-cutaway body, hoping to rekindle past glories.
The new 6127 Porsche Pumpkin RocJet and the 6130 Mercedes Black RocJet had slightly differently shaped bodies than the ‘50s Jets, but they were definitely aimed at recapturing the classics. A Country Roc model, reminiscent of the Roundup was also introduced. All had chrome parts, SuperTron pickups and Les Paul-like controls with two volume and two tone controls, plus a master volume. A metal nameplate adorned the headstock. For a few years at least, in the mid-70s, the Jet line was again treated like a respected part of the Gretsch line instead of a cheap Les Paul knockoff.
The 6127 and 6130 were later redesignated 7611 and 7610, respectively, in 1972 and were joined by the walnut-topped 7613 and the Jet FireBird-like 7612.
By the late ‘70s, though, Baldwin had again taken over the day-to-day operations at Gretsch, and the Jets were again aimed squarely at Gibson’s Les Paul line with Les Paul-type switching, a BadAss bridge and two DiMarzio pickups. They were not successful, and as the ‘70s ended, so did the Jets. By this time they had little in common in shape, sound, feel or features with the classic Jets.
Early on, Gretsch Jet guitars are all virtually identical, other than color. The DuoJet was black, the FireBird was a deep red, and the SilverJet was, of course, capped in silver sparkle plastic drum material. Since those early days, the Jet family has come to encompass a dizzying array of guitars, yet all are still instantly identifiable as Gretsch’s premier “solidbody” guitars. Even though they’re typically nearly hollow.
Jets differ significantly from their competition in that their mahogany bodies are extensively routed, making them, in effect, semi-solids. It also makes them considerably lighter than similar guitars and adds a special resonance to the line.
The DuoJet and SilverJet were first released in 1954, alongside the 6130 Roundup, a 6126 baritone ukelele and a 6127 4-string tenor guitar, which promptly dropped off the market.
The early Jets had two DeArmond pickups and block markers. Some Duo-Jets were finished in Cadillac Green, but they’re pretty rare. Even more rare - the Bigsby B-3 tremolo that was an extra-cost option.
By the end of the ‘50s, Jets wore “neo-classic” semi-circular fret markers, had two FilterTron pickups, the optional Bigsby was far more common and a “zero fret” had been added.
The big change came in 1961, when the Jets became double cutaways. The first double cutaways are roughly equivalent to the earlier Jets, but shortly after the changeover Gretsch began to change the Jets.
Vibrato tailpieces became standard in ‘62, but they weren’t Bigsbys. Instead, a funky, Burns-sourced whammy was used. Other changes to ‘62 included gold hardware replacing chrome and other sparkle finishes, including gold, champagne, burgundy and tangerine being offered. Gretsch made few Jets with the special sparkle finishes, and they’re quite rare today. A standby switch was also added in ‘62.
In ‘68 a Bigsby was once again offered, and the Jets were fitted with Gretsch’s SuperTron pickups. This configuration lasted until the 1970, when Gretsch, spurred on by Duke Kramer and plant manager Bill Hagner, switched back to a single-cutaway body, hoping to rekindle past glories.
The new 6127 Porsche Pumpkin RocJet and the 6130 Mercedes Black RocJet had slightly differently shaped bodies than the ‘50s Jets, but they were definitely aimed at recapturing the classics. A Country Roc model, reminiscent of the Roundup was also introduced. All had chrome parts, SuperTron pickups and Les Paul-like controls with two volume and two tone controls, plus a master volume. A metal nameplate adorned the headstock. For a few years at least, in the mid-70s, the Jet line was again treated like a respected part of the Gretsch line instead of a cheap Les Paul knockoff.
The 6127 and 6130 were later redesignated 7611 and 7610, respectively, in 1972 and were joined by the walnut-topped 7613 and the Jet FireBird-like 7612.
By the late ‘70s, though, Baldwin had again taken over the day-to-day operations at Gretsch, and the Jets were again aimed squarely at Gibson’s Les Paul line with Les Paul-type switching, a BadAss bridge and two DiMarzio pickups. They were not successful, and as the ‘70s ended, so did the Jets. By this time they had little in common in shape, sound, feel or features with the classic Jets.
The Gretsch-GEAR database includes 76 different models
and 412 examples
in the Jets family, including
Billy Zoom Jet, Black Penguin, Chet Atkins Solidbody, Country Roc, CS, Double Neck, Duo Jet, Duo Jet Tenor, Duo-Jet, Duo-Jet Double Neck, Elliot Easton Jet, George Harrison, Gold Sparkle Jet, Green Sparkle Jet, Jet Firebird, Malcolm Young I, Malcolm Young II, Nashville Solidbody, New Jet, Pearl Sparkle Jet, Power Jet, Power Jet Firebird, Power Jet Flame Top, Pumpkin Jet, Roc Jet, Roundup, Silver Jet, Sparkle Jet
and
White Penguin
models.
Updating a classic is never easy, and the 6114 New Jet proved it. On paper, they looked great — take the classic Jet formula, add some hot TV Jones pickups, flamed maple tops and the kind of features that would lure Les Paul players away from their Gibsons, and watch ...
New Jets were never particularly common, and the AS are easily the least common version. In fact, they may have never been an official offering at all. The AS stood for Antique or Amber Sunburst, depending on who you asked. In practice, that meant a very Les Paul-like cherry burst, ...
Updating a classic is never easy, and the 6114 New Jet proved it. On paper, they looked great — take the classic Jet formula, add some hot TV Jones pickups, flamed maple tops and the kind of features that would lure Les Paul players away from their Gibsons, and watch ...
Updating a classic is never easy, and the 6114 New Jet proved it. On paper, they looked great — take the classic Jet formula, add some hot TV Jones pickups, flamed maple tops and the kind of features that would lure Les Paul players away from their Gibsons, and watch ...
The 6121 Chet Atkins Solidbody is often confused with the 6130 Roundup. Both debuted in late 1954 alongside and were pretty similar, featuring the a Jet-style body with the usual western appointments — G brand, steer's head on the headstock, cactus inlays — plus recessed leather binding engraved with campfire ...
The modern-era take on the classic 6121 Chet Atkins Solidbody, borrowing the vintage 6130 Roundup's model name, the 6121 Roundup was offered from 1989 until about 2007, when Chet Atkins came back into the fold.
A modern era reissue of the original Dynasonic-equipped Chet Atkins Solidbody. Prior to 2007 it had been known as the 6130 Roundup, which had always been a bit of a misnomer. About the only change from a late-model 6130 was the Bigsby Compensated Rocking bridge replacing the 6130s Melita.
A circa-2007 short run that married mid-50s 6121 Roundup specs -- leather tooling, cowboy kitsch and all -- with Filtertron pickups. So you got a tone-pot circuit, small headstock and all the other Dynasonic-era features, only with FilterTron pickups.
Introduced in January 2005, the NAS was a serious attempt at recreating the late-50s 6121 Chet Atkins soldbody, with just one little catch: Gretsch had not yet re-acquired the rights to use the Chet Atkins name. It wasn't long until they did, and the NAS was phased out to make ...
We're not exactly sure who was asking for Gretsch double-necks, and we've never seen one in the wild, but apparently someone in Savannah felt the world needed a six-string/12-string Duo Jet in the '90s. Both sides used pre-Fender style ceramic Filtertrons and the unloved ABM adjustamatic roller bridge. The 12-string ...
The Elliot Easton Signature Jet was designed by Easton with one thing in mind: create a Jet that could --in his estimation -- do anything. Features included alnico FilterTrons, a narrow headstock with Sperzel locking tuners and small vintage keys, a custom 25" scale, and graphite nut. EE Jets were ...
In 2010 Gretsch released a limited edition Custom Shop model faithfully recreating George Harrison's famed '57 Duo Jet, with the model number 6128-GH. Only sixty were made, and they cost more than a decent car. In 2011, the one mere mortals had been waiting for arrived: and it was known ...
Take a '60s double-cutaway style Jet, cover it in Dark Cherry Metallic paint and you've got the 6128-T-DCM, a short-lived but gorgeous addition to the Jet line. Features included a bound headstock, bone nut, zero fret, HS Filtertrons, a B3C Bigsby and Schaller Strap locks.
A limited edition Jet produced in late 2010 and 2011, the 6128T-TV-TM can be easily spotted by it's western stained flamed maple top. Other features include Sperzel locking tuners, TV Jones PowerTron pickups and a factory Tru-Arc aluminum bridge. Only 16 were produced.
The TSP was a short, special run of Jets made around 2004-2005. Features included Dynasonic pickups, a Space Control bridge, humped block markers a V-cutout B-3 Bigsby vibrato, and it was generally considered the closest reissue at the time to George Harrison's '57 Duo Jet.
Probably the most distinctive and unusual of the classic Jet family, the 6129 Silver Jet is easily spotted thanks to its silver sparkle top, made of Nitron drum material
Introduced in 2008, the Billy Zoom Jet was a limited edition custom shop effort to duplicate Billy's well-used classic Silver Jet as closely as humanly possible. The internal chambering, for example, is identical to mid-'50s Jets, and it faithfully duplicates the changes Zoom made over the years. In fact, compared ...
Introduced in 1995, the 6129-TG followed the standard Jet formula, only with an unusual bright breen sparkle top. Other than the unusual color it was identical to the 6129T of the time, right down to the Bigsby B3C V-cutout tremolo and ceramic Filtertrons.
"Roundup" has always referred more to a style than any one guitar. Originally there was the 6130 Roundup and the very similar 6121 Chet Atkins Solidbody, which is often mistaken for a Roundup. There have been several "cowboy jet" models since then, all of which have been called Roundups at ...
A faithful recreation of the original 6130 Roundup, right down to the knotty pine top, beltbuckle tailpiece, cactus/steerhead leather trim, the KP was a limited edition reissue in 2008. Only 75 were produced.
Original vintage White Penguins are among Gretsch's rarest and most sought after models. Based on the Duo-Jet, the Penguin was released alongside the White Falcon and featured similar deluxe appointments, right down to the winged headstock and gold binding. Except it was never really released. It made one brief appearance ...
The 7620 Country Roc was sort of a '70s revival of the classic 6121/6130 countrified Jet theme. To a paraphrase a contemporary -- and infinitely more successful -- product of the '70s, "this is not the revival you're looking for."
