In addition to being an instrument with a historical legacy and holy grail-esque vibe, the Tri-Sonic prototype helped push Currie to start his own guitar company, Echopark Guitars, in 2010.
“I’ve wanted to build replicas of this guitar for years, but I wanted to do it in the most reverent and accurate way possible,” says Currie. I’m currently using it as a template for my Tryphonic line that uses the same slab-body construction and I added Victorian rose textile patterns on the guitars’ tops, which are silk-screened between the nitrocellulose lacquer coats.
He spends his free time with his pitbull Doozy, collecting tattoos, and trying his hand at being a hipster by gathering vinyl anywhere he can find it.
He's one of the lone sports nuts on staff and cheers on the Cubs, Cowboys, and Michigan Wolverines.
However, there are other names on the musical landscape that are not so obviously the children of Leo Fender, as represented here by this ’81 G&L F-100-I.
Even after Fender sold Fender Musical Instruments to CBS during the corporate feeding frenzy of 1965, he couldn’t walk away from the love of his life.
FACTOIDS & TRIVIA By late 1992 BBE switched from the veneer rosewood fingerboard used by Leo Fender on his G&Ls to a slab rosewood board.
Currie made a maple neck at G&L, but it broke during a gig at Al’s Bar in 1993 so he made the current maple neck—currently on its third refret—at Tak Hosono’s shop (Hosono now oversees the Ibanez Custom Shop).In the case of Leo Fender and G&L, a 1969 Tri-Sonic R&D prototype covered in 20 years of dust, dirt, and grime.“It was in ’91, one week after Leo’s funeral, and I was cleaning out Leo’s lab when I found it in a small loft just to the left of the front door of his shop,” recalls Gabriel Currie, a G&L employee at the time who was working in the neck department.While with G&L, Currie worked in the mill, the wood shop where he was selecting blanks, gluing, milling, and routing all the guitar and bass bodies.With all his expertise gathered at the plant, the eager Currie began plotting his next moves to correctly, and more importantly, complementarily finish building an instrument started in the late ’60s by Leo Fender.