However, the Synchromatic 400, which is one of the larger and more detailed guitars by Gretsch, has many extras, including thirteen layers of binding.  It covers everything guitar players want: it looks great, it sounds great, and it’s incredibly playable.  While the Synchromatic 200 and 300 were made more for those who just want a great instrument, the 400 version was made to be the top of the line.  In fact, it was created to outdo the Gibson Super 400, and some say it succeeded.

The Synchromatic 400 is based on the 250, but unlike the 250, it has much more of an artistic style and look to it.  It features what Gretsch has labeled the Seven Points of Supremacy, and these seven points were often used when marketing the guitar.

Like the other Synchromatic guitars, the Synchromatic 400 wasn’t built in any large quantity, and it soon fell off the assembly line.  However, it is one of the most sought after guitars by those looking for acoustic archtops, and it is still in demand today.

As a general rule you break vintage Synchromatics into three periods: 1939 – early 1940’s – late 1940’s – 1951 & 1951 – 1953. In the last period the Synchros began losing a number of the more deluxe characteristics such as the “cat’s eye” soundholes.

While relatively few Synchromatics were made over their short lifespan, they quickly established their legendary status among archtop acoustic guitars.

With a sunburst finish, maple sides and back, curved spruce top, 2 “f” style soundholes, 2 stripe adhered back and crest, rosewood fingerboard with pearl inlays, and a stair-step bridge, The Synchromatic 100 was an appealing looking archtop guitar. The 100 underwent a lot of modifications over the course of its life. In ‘33 it debuted as the 100f. Then in ‘39, the company changed it’s name to the Synchromatic 100. In ‘46, the logo was positioned on the headstock and the soundholes and pickguard were bound. In ‘47, the headstock was made bound. In ‘49, the model number changed from 100 to 6014 in order to be incorporated into the new Gretsch model numbering system. In ‘52, the binding was taken away from the soundholes, headstock and pickguard. In ‘55, the Synchromatic was given the name the Corsair and eventually production stopped altogther in 1960. As was mentioned above, the Synchromatic 100 was unlike all the other models in the Synchromatic series as it featured the traditional f soundholes rather than the signature “cat¹s eye” soundholes.

This vintage Gretsch guitar belongs to what many call the first period of the vintage Synchromatics (1939 through the end of World War II).  While the later Synchromatics that were built during the early 50s weren’t quite as extravagant, the Synchromatic 300 includes all the features that these guitars came to be known for, such as the cat-eye soundholes.  In some ways, the Synchromatic 300 was a more extravagant version of the 200, which also debuted in 1939, but it wasn’t quite as large or as fancy as the 400 model.  Unfortunately, even though it was a very solid instrument, few Synchromatic 300 models were built, and the guitar was fairly quickly replaced by new models.  However, many Gretsch aficionados and those who love acoustic archtop guitars continue to seek out the Synchromatic 300.