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The G-branded control knobs are identical to those on Gretsch guitars; the aforementioned covering is the same as that used on Gretsch guitar cases of the era and there’s a ‘T-roof’ logo prominently displayed inside the cabinet’s asymmetrical speaker cut-out.
The way that the cut-out continues around the front-right corner is possibly the defining motif of Gretsch amps.
Given that it’s a mint example, it’s reasonable to compare the build and finish to Fender amps of that era.
As much as we admire vintage tweeds, this Gretsch looks and feels like a higher quality amp.
The level is pretty much identical when you plug into the bass input, but the thicker mids contribute a really enjoyable growl as the 6156 begins to overdrive – there’s no need to keep the tone control set low.
The overdrive character is also smoother and less raspy, going from garage punk to classic rock.
The power switch is a three-way device, which is off in the centre, in standby when moved to the rear and fully operational when shifted towards the front.
These power tubes may or may not have been fitted in Jimmy Page’s fabled Supro, but we like them a lot.
They were mostly used in hi-fi and jukebox amps rather than guitar amps, and although the 6973 looks like an EL84, it’s quite different.
The silk-screened control panel has a busy look, but there’s not that much going on.
The basic controls are simple enough, with just volume and tone to play with.It must have appeared more modern at the time, too.