The third guitar in my signature series, the GG6FG is a variation on my GG6. The basic body and neck design is the same, with the same stylish, classic lines and immaculate playability, but there the similarities between the two guitars end. For this new guitar, Perry (Ormsby, master luthier) and I decided on different woods and electronics this time around, to create an instrument that was instantly recognizable as a GG series, but with its own individual aesthetic and sound.

The most noticeable change with the GG6FG from its siblings is the absence of lacquer or paint. The Korina Wood body is oil finished, giving it an earthy, organic vibe that says “workhorse”. The neck is a beautiful piece of natural finish Birdseye Maple bound with Wenge, and the contrast between the two very different looking woods is at once striking and easy on the eye. This is also the first of my guitars to feature fretboard position markers, with offset gold Mother of Pearl dots providing a subtle and artistic touch to the neck. The twelfth fret inlay is the same custom GG design, this time in Wenge and Gold Mother of Pearl, which ties the whole look of the neck together beautifully. Designed to visibly age with playing, the fretboard already has the look of a well-loved vintage while still showing the unique Birdseye Maple grain. This (intentional) discoloration of the Maple fretboard blends perfectly with the slightly darker colouring of the Korina body, which is not something I had considered when we were designing the guitar, but is a nice touch and an aesthetic bonus. 

As with the GG6, the "FG" features a gold Floyd Rose recessed locking tremolo which gives me all the whammy tricks that are an integral part of my style, as well as perfect tuning. The gold hardware looks stunning against the natural wood (as with the other GGs, the tuners are Gotoh), and gives the impression that while this guitar is a workhorse, it’s still a thoroughbred.

Another departure from the other two GGs is in the pickups. The GG6FG has a humbucker in the bridge position and a single coil near the neck, both designed and hand wound by Perry Ormsby. I have to say at this point that Perry has done it again – these pickups are as good as anything I have ever heard. The single coil pickup in the neck position was originally installed as a stopgap while a hotrails-style pickup was being made, but once I heard the amazing tone from this beauty, it had to stay. I have yet to hear another single coil pickup with so much warmth and tone, and it is a perfect match for the humbucker, which has a slightly lower output than the Duncan JBs in my other guitars. This allows more articulation from the amplifier while maintaining rich tone and killer sustain. Again, the immaculate bolt-on neck joint on this guitar loses nothing, and is comparable to any set neck or neck through instrument.

This final member of my mighty Ormsby guitar triumvirate has the same ‘played in’ feel of the others right off the bench, and completes my stylistic and tonal palette. It is a rare and beautiful thing when a guitar can make its owner feel complete, and these guitars have done just that. I have complete confidence in my instruments every time I walk onstage or into a studio, and nothing but respect and admiration for their builder. I am fortunate indeed to be the owner of such beautiful guitars, and the fact that they bear my name is a source of immense pride. Australia has produced many world-beaters in its short history, and Ormsby Guitars is one of them!

Graham Greene