Post by John B on Mar 28, 2024 23:18:45 GMT -5
A acoustic lap steel, to boot. Ninety-two years old. Upon viewing, my wife exclaimed that $25K is not a bad price.
wellstrungguitars.com/guitar-highlight-jack-penewells-1932-gibson-twin-six/
wellstrungguitars.com/guitar/jack-penewell-twin-six-sunburst/
wellstrungguitars.com/guitar-highlight-jack-penewells-1932-gibson-twin-six/
wellstrungguitars.com/guitar/jack-penewell-twin-six-sunburst/
We’re honored to have such an incredible piece of history – this remarkable guitar is a 1932 Gibson “Twin-Six” Double Neck, custom-made for guitarist Jack Penewell. Born in 1897 in Madison, Wisconsin, Penewell began learning lap-steel guitar in high school, and it wasn’t much longer until he was performing in Vaudeville acts throughout the country. Penewell was an incredibly popular guitarist throughout the 1920s, appearing on numerous radio stations and recordings. These live radio performances marked his big break and expanded his audience greatly. In turn, Penewell became one of, if not the most popular guitarist in America during his time. His biggest hits include “Hello Aloha” and “Hen House Blues,” which both exhibit Penewell’s mastery and creativity on guitar. In the earlier 1920s, he placed a custom order with Oscar Schmidt Stella for a fretted ‘double six’ guitar, or as Penewell dubbed it, the “Twin Six.” Penewell explained his desire for a double-necked instrument as follows:
“My main reason for inventing the Double-Neck guitar was to get a wider range of harmony and chords, as you were very limited on only six strings no matter how you tuned it… I used to do a lot of solo work, sometimes using four guitars on stage all tuned differently. Not only that, but if you should break a string on the stage in front of a large audience, you were up against it and it would throw the whole guitar out of tune. So here was a very good point for the double-neck. Also, combining the major and E-7th tunings together made a sensational effect.”
“My main reason for inventing the Double-Neck guitar was to get a wider range of harmony and chords, as you were very limited on only six strings no matter how you tuned it… I used to do a lot of solo work, sometimes using four guitars on stage all tuned differently. Not only that, but if you should break a string on the stage in front of a large audience, you were up against it and it would throw the whole guitar out of tune. So here was a very good point for the double-neck. Also, combining the major and E-7th tunings together made a sensational effect.”
