plectrum version (the EPG-150, with a 27" scale). The ETG-150, was in continuous production until 1972. In the mid-1950s electric solid-body tenor guitar models began to appear from companies such as Gibson, Gretsch, Guild, and Epiphone. These were mostly produced as one-off custom instruments but, for a short time in 1955, Gretsch manufactured an electric solid-bodied tenor guitar, the Gretsch 6127 DuoJet. Renewed interest in the tenor guitar led to the introduction of new solid-body electric models in the early 21st century, with companies such as Fender beginning production of a tenor version of their Telecaster model. Tuning Tenor guitars are normally tuned in fifths, usually C−G−D−A, similar to the tenor banjo, mandola, or viola. Other tunings are also common, such as Chicago tuning D−G−B−E same as the top four strings of a standard guitar or a baritone ukulele Irish bouzouki tunings G−D−A−D A−D−A−D Octave mandolin or Irish banjo tuning G−D−A−E like an octave mandolin or tenor violin, one octave below the usual violin and mandolin tuning along with various "open" tunings for “slide” playing. The tenor guitar can also be tuned in parallel octaves to a soprano, concert, or tenor ukulele, using various versions of G−C−E−A tuning. Plectrum guitar The "plectrum guitar" is a four-stringed guitar with a scale length of and tunings usually based on the plectrum banjo, C−G−B−D or D−G−B−D. They are also commonly tuned like a mandocello, C−G−D−A, one octave down from the tenor guitar, much as the relationship between a viola and cello. Plectrum guitars have not been made in as large numbers as tenor guitars and are rarer. One of the best known plectrum guitarists from the Jazz Age was Eddie Condon, who started out on banjo in the 1920s and then switched to a Gibson L7 plectrum guitar in the 1930s. Use and performers Tenor guitars are now very closely associated with the tenor banjo with its similar standard CGDA fifths tuning and they initially came to significant commercial prominence in the late 1920s and early 1930s as tenor banjos were slowly being replaced by six-string guitars in jazz bands and dance orchestras. Tenor banjo players could double on tenor guitars to get a guitar sound without having to learn the six-string guitar. This is a practice still carried out by many contemporary jazz banjo players. This period is generally regarded as the initial "golden age" of the tenor guitar. Two of the