B1332 - Gretsch G6128T53 Vintage Select Duo-Jet with Bigsby (7.4lb)
This Gretsch is a players dream...at an affordable price.
Check out this review from Guitar World!
The original Duo Jet was Gretsch’s answer to a solid body guitar, albeit with a chambered mahogany design, which is lovingly recreated here on the Vintage Select ’53 Duo Jet. Gretsch adds distinctive tweaks with a curvaceous Gretsch logo on the headstock and modern upgrades like a pinned bridge and two TV Jones T-Armond pickups that replace the original DynaSonic pickups.
Apart from that, this Duo Jet uncannily looks and feels like a brand-new guitar from 1953.
Fit and finish is outstanding, with deluxe features such as an arched laminated maple top, aged white binding and aged pearloid block inlays, mahogany neck, 22 medium jumbo frets, rosewood fingerboard, bone nut, one-ply vintage white pickguard, aluminum compensated bridge with a rosewood base, Grover Sta-Tite die-cast tuners, Treble Bleed circuit with Squeezebox PIO capacitors, two volume controls, master tone and master volume controls, three-way toggle switch and a Bigsby B3CCB vibrato.
Compared to the many vintage Duo Jets I’ve played throughout the years, I can report Gretsch’s Vintage Select ’53 Duo Jet is a seriously well-made instrument. Having a pinned bridge for spot-on intonation along with a 24.6–inch scale length certainly contributes to its flawless setup, but I also believe the 2-inch thickness of its chambered mahogany body adds incredible dimension and a smoother bass response.
The gloss black finish is both striking and classy, but it’s abundantly clear the guitar is meant for the gigging musician who wants rich, authentic tones with minimal fuss. The TV Jones T-Armond pickups are well suited for this amazing instrument, having bell-like clarity and sweetness in the midrange.
There is no shortage of rockabilly twang when playing the ’53 with a clean tone, and the guitar really starts to snarl as you turn up the amp for overdrive, where you can actually feel the body start to vibrate and edge into musical feedback. I also was struck by how well the guitar responds when pounding out Link Wray-style power chords while gently depressing the Bigsby vibrato a few semitones down, and having the guitar remarkably return in tune to concert pitch.