1954 namm trade show gretsch white falcon

#1954 namm trade show gretsch white falcon full

A thinner, double–cutaway model was introduced in 1962, and Bigsby vibratos became stock in 1964.īut by the end of the decade, the White Falcon had become totally overloaded with Webster’s guitar gadgets.ĭouble mechanical string mutes, floating sound units to increase sustain, telescopic vibrato arms, padded backs, and even angled frets to supposedly “improve intonation” had been added to the guitar with mixed reactions from players.

The top–of–the–line White Falcon continued to evolve well into the 1960s. Webster was dubbed the “Father of the Touch System” and played, recorded, and gave dealer demonstrations on his tapping technique years before Eddie Van Halen was even born. Webster received a patent for his stereo pickup design and recorded an album produced by Chet Atkins called Unabridged that showcased both his stereo White Falcon and his unique two–handed tapping playing technique. Stereophonic sound was starting to gain popularity in the recording industry, and Gretsch wanted to be at the forefront of this new trend. In 1958, humbucking Filter’Tron pickups were added, as well as a stereo option that Webster called the Project–O–Sonic. Jimmie Webster and the Project–O–Sonic patent Considering the median family income was $5,000 in 1955, this 'Cadillac of Guitars' was really more in the 'Rolls Royce of Guitars' sphere. The flagship White Falcon was officially added to the 1955 lineup of colorful Gretsch guitars priced at a whopping $600 - about $5,500 today. But at this point, they had no choice but to put Webster’s prototype into production. But I'm sure their inner selves felt a little differently.īoth men realized how difficult and time–consuming the White Falcon would be to manufacture at their Brooklyn factory. (the company’s president) may have been smiling on the outside, as they had obviously hit a home run with this prototype. The music dealers’ reaction to Webster’s dream guitar was overwhelming, and they eagerly lined up to put their names on the order list. Remember, this was 1954 when guitars were rather understated and mostly available in natural or tobacco sunburst finishes. There was nothing else on the planet like it. With its bright white finish, 24–karat gold appointments, two DeArmond DynaSonic pickups, gold sparkle binding from the Gretsch drum department, a winged headstock with a vertical Gretsch logo, feather–engraved neck inlays, and a fancy gold tailpiece that looked like a Cadillac hood ornament, the White Falcon was simply a stunning statement of beauty and luxury. The same famous words that Ralphie’s dad used to describe his prized Leg Lamp in A Christmas Story also apply to the Gretsch White Falcon.

#1954 namm trade show gretsch white falcon full

He kept his eye on what was trending out of Detroit’s Big Three and even introduced two car–themed Gretsch guitar finishes in 1954: Jaguar Tan and Cadillac Green.Īnd at the 1954 NAMM Show in Chicago, Webster imitated the concept and show car idea by unveiling his White Falcon - a dazzling, bejeweled, white and gold one–off prototype he dubbed the “Guitar of the Future.” He even had it displayed on a rotating pedestal with spotlights for a full Guitarama effect. Jimmie Webster - Gretsch’s main guitar guru, designer, and ambassador of the 1950s - loved cars. None of these vehicles were ever produced, but some styling cues and technology found their way onto future production cars. In 1954, over two million car lovers flocked to auto shows to drool over the sleek Buick Wildcat II, the radically styled Oldsmobile Rocket, the GM Firebird I (basically, a stylized jet with four wheels), and many other wild and colorful show cars. These attention–getting “dream cars of tomorrow” were built to wow the public at popular auto shows and GM’s traveling Motorama. “A fantasy on wheels.” That’s one way to describe the flashy and futuristic concept cars of the 1950s.