Steve Hunter takes the new doublecut Duo Jet DCM for a spin.
The new doublecut Duo Jet is a thing of beauty, with its deep cherry metallic top over black back sides, and neck. But I wondered “why a new doublecut Jet, just now?”
Joe had answers for that. In the first place, for some time there’s only been the single black doublecut in the line - whereas there are multiple versions of most other models. Plus, the doublecut has a distinctive Gretsch shape that’s just right for rock & roll (ask Malcolm Young), with deep cutaways for great upper fret access.
But the existing black G6128T is spec’ed with the kind of traditional Gretsch features that might not appeal to rockers unacquainted with the brand - like a floating Space Control bridge, vintage frets, and the tone switch circuit. (Yes, experienced Gretsch slingers know how great the mud switch can be with crunch, but let’s admit it confuses the uninitiated.) So Joe figured to build a Jet with more modern hardware - a standard tone control, Adjusto-matic bridge on pinned ebony base, Schaller strap locks, and medium jumbo frets.
What about the gorgeous color? Joe wanted something that didn’t scream “I’m a Gretsch,” so none of the iconic colors would do. And he wanted it dark, befitting its target higher-gain rock demographic. But he already had a black one; I think he was inspired by some of the rich metallics Stephen Stern has done on Custom Shop instruments in recent years, and settled on the dark cherry metallic.
You almost have to see it in person. It’s a color that will fade almost to black in a dark room - until stage lights catch it, and then it will produce electric flashes of almost luminescent deep red. And in a normally lit room, the color fascinates from every angle. The color shows to pretty good effect in the video linked below.
Rock monster Steve Hunter (Lou Reed - think “Sweet Jane,” Peter Gabriel, Alice Cooper) happened through the booth and laid down a relaxed few minutes of fingerstyle blues through the new tweed 3-10 Bandmaster, and found some great tones and textures in the combination. (And we’ll forgive the tuning anomalies: I can certify that he started perfectly in tune, but unstretched new strings did what they often do.)
This is probably a good place to mention that if you haven’t heard Steve’s Short Stories album, you should do yourself a favor and order it in. Great instrumental rock reflecting a wide range of influences and styles, with a bias toward the heavier side of things. He’s working on a new album of what he calls “melodic blues” which I’ll be anxious to hear - Steve’s dynamic and soulful touch is always a pleasure to listen to.View all comments