The Gretsch Pages

Like the Atkins Axe, the Super Axe was released in 1977 and was supposed to offer a completely modern instrument for the rock guitarist.

The Super Axe also shared its basic body shape with the Atkins Axe, but it benefitted from much more involvement from Chet Atkins, and a bevy of built-in effects.

A football-shaped pickguard held controls for an onboard compressor, phaser and sustain electronics, all powered by a nine-volt battery. Unfortunately, the electronics have failed with age on many of the Supers Axes, and schematics are extremely difficult to find.

The solid mahogany body is wide but thin, and it tapers toward the edges, making it both lighter and more comfortable to play than it might appear.

Beyond that, the general construction and hardware of the Super Axe show how Gretsch was aiming for a different sound and market, particularly the DiMarzio humbuckers and BadAss wraparound stop bridge. The more traditional buyer could order an optional Adjustamatic bridge/B-5 "Horseshoe" Bigsby combination.

For those willing to take the plunge on this unusual and rewarding Gretsch, three variations were offered: the dark red 7680 Super Axe, dark gray 7681 Super Axe and sunburst 7682 Super Axe.

Note that the Super Axe should not be confused with the much more ornate and altogether different Super Chet.

See Also:

• 7685 Atkins Axe
• 7681 Super Axe
• 7680 Super Axe

Comments

1. Prussia wrote:

   Happily I own a Rosewood Red stain- finished Super Axe that has FilterTrons rather than DiMarzio Humbucking pickups installed and it is just an astounding guitar to play. The most comfortable playing neck of any Gretsch I've ever owned (and I've owned nearly 30 of 'em). The FilterTrons just rip with that distinctive "Great Gretsch Sound". The quality of the craftsmanship and workmanship is A+ -- just an absolutely flawless instrument. The onboard compressor and phaser are the height of cool. Let me, however, make two corrections concerning the written comments and specifications about the guitar. First, it is a semi-hollow body guitar, not a solid body guitar. Second, it is constructed of curly maple, not mahogany. Finally, Bill Hagner told me more than 15 years ago that when Gretsch guitar-making was being transferred from 60 Broadway in Brooklyn to a Baldwin-owned banjo-making factory in Booneville, Arkansas in the early 1970's, a lot of guitars being built and a few unsold inventory items were given away/and or sold by Baldwin to many long-time Gretsch employees. He happily latched on to a Rosewood Red Super Axe and thought it was the best guitar he ever owned.

   — Jul 27, 2007 4:08 p.m.

2. Prussia wrote:

   Oops, I made a an error, chronologically speaking, regarding my conversation with Bill Hagner noted above. It was NOT when Gretsch guitar-making operations were being transferred from Brooklyn to Booneville that Bill Hagner latched onto his Rosewood Red Super Axe. The Clyde Edwards-designed Super Axe hadn't even been conceived yet. Nope. Bill Hagner latched onto his Super Axe when Baldwin shut down production at Booneville in 1981. Sorry for the mistake. I believe when the transfer from Brooklyn to Booneville occured, Bill Hagner latched on to a Super Chet, which model was just then going into the production.

   — Oct 11, 2007 9:20 p.m.

1977:

The Super Axe, with a pickguard full of onboard effects, was one of Gretsch more interesting offerings in the 70s. It would also be the last Gretsch that Chet Atkins would help develop.

Body Width

16"

Body Depth

1½"

Body Style

Single Cutaway Solidbody

Colors

• Transparent Red

Fretboard Wood

Ebony

Fretboard Markers

Small square triplets

Nut

Zero Fret/Bone

Tuners

Unknown

Neck Pickup

Humbucker

Bridge Pickup

Humbucker

Controls

• Master Volume
• Master Tone (knob)
• Pickup selector switch
• Compressor/Sustain
• Phaser Blend
• Phaser Rate
• Compressor Switch
• Phaser Switch

Bridge

BadAss

Tailpiece

None

Pickguard

Black plastic