PATRICK OGLE: Ah, yes.

HOWARD MELNICK: I know your pal there said he all hate Gretsches but how can you not like that, right?

PATRICK OGLE: Yeah. That's a pretty fabulous looking guitar and it looks cool. Problem is I'm in here and I'm like kind of jammed up in here with my, you know. But yeah, that is a beautiful guitar. Now, what do you use this for? Is this -- I mean is this a similar guitar soundwise to like the 335 or --

HOWARD MELNICK: No. It's actually very subtle. Yeah, you do have a little bit of feedback problems in here but it's just very warm. It's not harsh in anyway. The clean is clean, and if you want it to be distorted and dirty, it can do it. It's just a very versatile guitar and it doesn't look half bad either. It has got what I like is the -- just this unique tremolo, the Bigsby tremolo that you just, you know, you can't really get that sound out of like, say a Floyd Rose or anything like that .But I used to play this quite a lot in Fashionista and I used it a little bit here and there with Marqui Adora but yeah I used this just so I don't have to change guitars because I can go get my Fender clean sounds or just a raunchy Gibson dirty sound, so.

PATRICK OGLE: When I think Gretsch, a lot of times I do think rockabilly.

HOWARD MELNICK: And I hate that.

PATRICK OGLE: [LAUGHING]

HOWARD MELNICK: And I hate that. Actually because of this guitar I kind of retired for a while because I had some jacked up, methed out rockabilly dude running up to me after Fashionista played and was wanted me to join his band, and I'm like, "Dude, I don't like that kind of music," and just would not leave me alone.

PATRICK OGLE: He thought you were Brian Setzer or something?

HOWARD MELNICK: Right, and you know, and he just kept talking about the guitar. The more he talked about it made me that much more paranoid that he actually was going to jack it from me and, you know, I'd never see it again. So, you can only imagine my paranoia there.