![]() ![]() ![]() The value of that would be that then you could compare pot codes on Falcons to pot codes on more common models. If I could snap my fingers and conjure up a complete set of data points it would be pot codes for this batch of Falcons. But when you see a single cut with flip-up mutes, it makes you realize that nothing can be assumed. Then finally double cuts with flip-up mutes. Then some double cuts with dial-up mutes. Then you'd see a handful of single cuts with dial-up mutes. The most logical order of things would be that the start of this batch would be single cut, no mutes. But exactly how production flowed would be pure conjecture. And there probably wasn't much point in dedicating the time and resources to labor intensive guitars that they knew would be ordered only on a sporadic basis compared to other models. Dan Duffy mentioned how much the factory workers hated dealing with Falcons, so that may be at least partially the reason for spreading out the misery. Did they fabricate 10 or 50 or 100 bodies at once? Bind them all together, one at a time, or small batches? Same with attaching necks, or finishing. But I haven't got the slightest clue what may or may not have happened before then. When you see certain features that didn't exist before a certain time, that suggests it couldn't have been completed before a certain time frame. When I say "completed" that's exactly what I mean. Sound clip: Can't at the moment, but happy to do one this weekend if there's any interest.Click to expand.There's absolutely more than meets the eye. Love it or hate it, it's one of a kind, and I think it's something every serious guitarist should at least try out once. What else: The Falcon is an elegant axe from a more civilized age. It can handle balls-out distortion without going to mud, but doesn't sound particularly good that way. ![]() In my experience its tone is best with mild to moderate crunch, slapback delay, and plenty of verb. I've also personally found it incredible for doing more atmospheric instrumental pieces. It's great for any genre short of metal, particularly rock and blues. Versatility: This guitar is usually associated with rockabilly and jazz, neither of which I personally play. The most obvious thing would be pinning the bridge, now that I've settled on a favourite string gauge for it (11s) so I'll likely look into that soon. TV Jones FilterTrons are another possibility, although I love the way the guitar sounds now so I feel no major urge. What would I change/upgrade: Locking tuners would make sense and counteract some of the natural go-out-of-tuneness that comes with a Bigsby, but I would never consider this until locking versions of the Grover Imperials exist. Is it much different than other high end (6000 series) Gretsch hollowbodies? I can't much say from personal experience. It's certainly nothing like any other guitar I own (and I've got quite a few), and different even than other hollowbodies I've played. It's a classy gal and shouldn't be smacked around like some common trollop. Again to be clear, it's not awkward or uncomfortable at all - just too big for any crazy "meedle meedle" action, at least for average-sized hands. This forces a slower, more thoughtful and purposeful approach to playing which I find creatively interesting and inspiring. This is not a lightning-fast shred guitar, it's big, roomy and comfortable - a luxury car rather than a sportscar. Me, I could stare at this thing for hours (and do).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |