Most guitarheads are aware of the enormous contributions of the late Chet Atkins, the Country Gentleman, to American popular music, from his complex fingerpicking style to producing early rock records. Not to mention the classic Gretsch hollowbody electric guitars that bore his name.
But far fewer know how his quest for sustain yielded two obscure Gretsches of the ’70s – the Super Axe and its humbler sibling, the Atkins Axe – or that Roy Clark almost got the credit!
The Super Axe was a product of the Baldwin era of ownership at Gretsch. The Super Axe was actually designed circa 1976 by Gretsch manager Duke Kramer in collaboration with 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 fine guitar. A solidbody (for sustain!), it had a set neck and very slim bound-mahogany body that tapered toward the edges, making it very comfortable to play. They were fairly wide for a solidbody – closer to a hollowbody, probably reflecting Chet’s preferences for that mode. 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, ultimately derived from the Rickenbacker Combo designed by Roger Rossmeisl. The bound ebony fretboard had small block inlays that went from one per fret to two, then three. The pickups on Gretsch guitars by this time were produced in Japan, and they kick butt.
At the heart of the Super Axe concept was a circuit board with built-in effects. 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, eliminating extreme highs and lows and yielding increased sustain. This circuit had a sustain control that governed the amount of compression. The phaser circuit had a control for rate plus a second knob to determine how much of the phasing was blended with the final output. In other words, you could have 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 the guitar after Chet. However, before it 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 began to refer to the guitar as the Roy Clark model, which didn’t sit well with its designer! Perhaps it was foreshadowing; the guitar with effects was called the 7680 Super Axe and finished in translucent Red Rosewood, while a version without, the 7685 Atkins Axe, was translucent Ebony. Both were made from ’76/’77 through ’80/’81. By ’78, Atkins had severed his relationship with Gretsch, making the Super Axe his last model. How many of these Atkins Gretsch swan songs were made is unknown, but given how seldom you see one, not many. But if you get a chance to play one, be sure to say, “Thanks, Chet!”
This feature was first published in the October ’03 issue.
This article originally appeared in VG’s June 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Facts Only
Chet Atkins collaborated with Gretsch in the 1970s to develop the Super Axe and Atkins Axe guitars.
The Super Axe was designed by Gretsch manager Duke Kramer around 1976.
The Super Axe was a solidbody guitar with a set neck and slim mahogany body.
It featured built-in compression and phaser effects with dedicated controls.
The Atkins Axe was a version of the Super Axe without built-in effects.
Both models were produced from 1976/1977 to 1980/1981.
The Super Axe was initially considered for naming after Chet Atkins.
Roy Clark received a copy and used it in performances, leading to some referring to it as the "Roy Clark model."
Atkins ended his relationship with Gretsch by 1978.
The Super Axe was finished in translucent Red Rosewood, while the Atkins Axe was finished in translucent Ebony.
The exact number of Super Axe and Atkins Axe guitars produced is unknown.
The guitars were built in Arkansas and featured Japanese-made pickups.
Executive Summary
Chet Atkins, the renowned guitarist and producer, collaborated with Gretsch in the 1970s to develop two obscure guitar models—the Super Axe and the Atkins Axe—driven by his quest for increased sustain. Designed by Gretsch manager Duke Kramer, the Super Axe was a solidbody electric guitar with a slim mahogany body, set neck, and built-in effects, including compression and phaser circuits. The Atkins Axe was a simpler version without effects. Both models were produced from 1976 to 1981, with the Super Axe initially considered for naming after Atkins, though Roy Clark briefly used it in performances, leading to some confusion. Atkins ended his relationship with Gretsch by 1978, making these models his final contributions to the brand. The guitars are rare today, with their exact production numbers unknown.
The Super Axe featured a unique design influenced by mid-1970s trends, including an S-curve upper bout and a wide body resembling hollowbody guitars. Its electronics included master volume and tone controls, along with compression and phaser effects, offering tonal flexibility without excessive complexity. The guitars were built in Arkansas and equipped with Japanese-made pickups. Despite their innovative features, they remain obscure, likely due to limited production and Atkins' departure from Gretsch shortly after their release.
Full Take
The narrative around the Super Axe and Atkins Axe guitars highlights Chet Atkins' relentless pursuit of innovation in guitar design, particularly his focus on sustain. The strongest version of this story credits Atkins and Gretsch for creating a unique instrument that blended traditional craftsmanship with cutting-edge electronics, reflecting the experimental spirit of the 1970s. The inclusion of built-in effects like compression and phaser was ahead of its time, offering players tonal versatility without the clutter of external pedals. The article also acknowledges the ambiguity around the guitar's naming, with Roy Clark's brief association adding a layer of complexity to its legacy.
Patterns detected: none
The paradigm driving this narrative is one of artistic and technical exploration, where musicians and manufacturers collaborate to push boundaries. The unstated assumption is that innovation in instrument design is inherently valuable, even if the resulting products remain niche or obscure. Historically, this echoes the broader trend of guitar manufacturers in the 1970s experimenting with electronics and materials to meet the evolving demands of musicians.
For human agency and dignity, this story underscores the importance of creativity and collaboration in shaping cultural artifacts. The beneficiaries are musicians and collectors who value rare, innovative instruments, while the costs are borne by those who may overlook these models due to their obscurity. Second-order consequences include the potential rediscovery of these guitars by modern players seeking vintage tones and the preservation of Atkins' legacy beyond his more famous contributions.
Bridge questions: How might the Super Axe's design principles influence modern guitar manufacturing? What other obscure instruments from this era deserve reconsideration? How does the tension between tradition and innovation play out in other areas of music technology?
Counterstrike scan: If this narrative were part of a coordinated influence campaign, the playbook might involve exaggerating the rarity or significance of the Super Axe to drive up collector interest or manipulate market values. However, the content does not align with this pattern, as it presents the information as a historical account without overt commercial intent.
Sentinel — Human
While some synthetic indicators were detected, the overall analysis suggests a high probability of human authorship. The presence of idiosyncratic style, unique argumentative structure, and personal anecdotes strongly support this conclusion.