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Gretsch Super Axe 7681 Vintage 1978 w OHSC TRANS Black Wash FREE SHIP
Estimated price for orientation: 2 195 $
Category: Electric Guitar
Class:
Description Brand: Gretsch Exact Year: 1978 Model: Super Axe String Configuration: 6 String Body Type: Semi-Hollow Country/Region of Manufacture: United States Dexterity: Right-Handed Series: 7681 UPC: Does not apply
Here is a sleek and gorgeous Gretsch Super Axe model 7681 vintage 1978 with her original hard shell case (Blue Lined.) She has a shiny almost black finish which is what I would call a black-wash or charcoal wash. Her color is almost all black unless you are within two feet of her and at that point you can see a slight bit of the black-wash. Two of the knobs are either replaced or the top foil descriptions are no longer evident. Her finish is shiny and has a few very light scratches. Original frets and plenty of life left. Everything electronically works as it should and her original case a little beat up but is in good working condition. Read below for the specifications and electronics of this classic and unique creature: The Super Axe was a product of the Baldwin era ownership at Gretsch. The Super Axe was actually designed circa 1976 by Gretsch manager Duke Kramer in collaboration with Chet Atkins, who recalls that Atkins was always investigating ways to increase sustain in instruments, from modifying bracing to experimenting with glass nuts. Built in Arkansas, the Gretsch Super Axe was a solidbody (for sustain), glued-in neck and a slim profile, bound mahogany body that tapered toward the edges, making it very comfortable to play. These guitars were fairly wide for a solidbody, closer to a concert hollowbody, probably reflecting Chet’s preferences for that feel. The S-curve shape of the upper bout and cutaway was similar to other designs popular in the mid ’70s, including the Aria Pro II Prototype, and ultimately derived from the Rickenbacker Combo designed by Roger Rossmeisl. The bound ebony fingerboard had cool triple-block inlays. She is in a gray transparent finish ALMOST BLACK. At the heart of the Super Axe concept was a built-in effects circuit. Atkins preferred just two. In addition to master volume and tone controls, the Super Axe had compression and phaser circuits, each with its own on/off switch. With compression on, the sound waves get “squashed” or compressed, yield-ing increased sustain. This circuit had a sustain control that governed the amount of compression. The phaser circuit had a control for the rate of phasing, plus a second knob to let you determine how much of the phasing effect was blended in with the final output. In other words, you could have some background phasing effect or full-out grooviness. The result is an extremely playable guitar with remarkable tonal flexibility, but without the complexity that plagues many guitars with more onboard effects. There was some discussion about naming this guitar after Chet. However, before the guitar was introduced in March of ’77, a copy was given to Roy Clark, who was performing regularly in Las Vegas. Roy liked the guitar and began using it in his show. Some folks began to refer to the guitar as the Roy Clark model, which didn’t sit too well with its designer! Perhaps it was foreshadowing. The guitar was then deemed the Super Axe. Thank you Chet! We all miss you Free shipping in the USA lower 48. All other shipping will be through the eBay Global Shipping program and I will rebate you 25% of your total charges through the eBay Global Shipping Program in addition to covering the USA side of the shipping.
If you have any questions or concerns feel free to call me anytime at 310 462 3612
Description
| Brand: | Gretsch | Exact Year: | 1978 |
| Model: | Super Axe | String Configuration: | 6 String |
| Body Type: | Semi-Hollow | Country/Region of Manufacture: | United States |
| Dexterity: | Right-Handed | Series: | 7681 |
| UPC: | Does not apply |
Here is a sleek and gorgeous Gretsch Super Axe model 7681 vintage 1978 with her original hard shell case (Blue Lined.) She has a shiny almost black finish which is what I would call a black-wash or charcoal wash. Her color is almost all black unless you are within two feet of her and at that point you can see a slight bit of the black-wash. Two of the knobs are either replaced or the top foil descriptions are no longer evident. Her finish is shiny and has a few very light scratches. Original frets and plenty of life left. Everything electronically works as it should and her original case a little beat up but is in good working condition. Read below for the specifications and electronics of this classic and unique creature: The Super Axe was a product of the Baldwin era ownership at Gretsch. The Super Axe was actually designed circa 1976 by Gretsch manager Duke Kramer in collaboration with Chet Atkins, who recalls that Atkins was always investigating ways to increase sustain in instruments, from modifying bracing to experimenting with glass nuts. Built in Arkansas, the Gretsch Super Axe was a solidbody (for sustain), glued-in neck and a slim profile, bound mahogany body that tapered toward the edges, making it very comfortable to play. These guitars were fairly wide for a solidbody, closer to a concert hollowbody, probably reflecting Chet’s preferences for that feel. The S-curve shape of the upper bout and cutaway was similar to other designs popular in the mid ’70s, including the Aria Pro II Prototype, and ultimately derived from the Rickenbacker Combo designed by Roger Rossmeisl. The bound ebony fingerboard had cool triple-block inlays. She is in a gray transparent finish ALMOST BLACK. At the heart of the Super Axe concept was a built-in effects circuit. Atkins preferred just two. In addition to master volume and tone controls, the Super Axe had compression and phaser circuits, each with its own on/off switch. With compression on, the sound waves get “squashed” or compressed, yield-ing increased sustain. This circuit had a sustain control that governed the amount of compression. The phaser circuit had a control for the rate of phasing, plus a second knob to let you determine how much of the phasing effect was blended in with the final output. In other words, you could have some background phasing effect or full-out grooviness. The result is an extremely playable guitar with remarkable tonal flexibility, but without the complexity that plagues many guitars with more onboard effects. There was some discussion about naming this guitar after Chet. However, before the guitar was introduced in March of ’77, a copy was given to Roy Clark, who was performing regularly in Las Vegas. Roy liked the guitar and began using it in his show. Some folks began to refer to the guitar as the Roy Clark model, which didn’t sit too well with its designer! Perhaps it was foreshadowing. The guitar was then deemed the Super Axe. Thank you Chet! We all miss you Free shipping in the USA lower 48. All other shipping will be through the eBay Global Shipping program and I will rebate you 25% of your total charges through the eBay Global Shipping Program in addition to covering the USA side of the shipping.
If you have any questions or concerns feel free to call me anytime at 310 462 3612
If you have any questions or concerns feel free to call me anytime at 310 462 3612