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deytookerjaabs last won the day on January 8

deytookerjaabs had the most liked content!

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About deytookerjaabs

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  1. Seriously. You go to the Heritage Website where they use all these recycled beautiful artistic shots of salt of the earth seasoned workers slowly handling instruments in Ye Olde Parson's factory location as the sun shines through the windows illuminating the clouds of sawdust in the air. Aesthetically pleasing. When, in reality, it's a bunch of green new hire kids busting their butts in a factory that looks like Office Depot (and, yes, we've all heard the same folks with their shtick of how much improved everything is, this ain't about that). Just own it, don't give curious folks with no clue of the current brand the impression their fiddles are being made by aged builders in the vintage confines. Regardless of anyone's opinion on new vs old Heritage: It's aesthetically disingenuous. There's no problem with keeping the history alive, just put that stuff on a "years past" or historical part of the site.
  2. deytookerjaabs

    NGD SuperLight

    Nice! No nibs, was that your choice? I hope they're not doing that on all the models now.
  3. deytookerjaabs

    NHGD Sweet 16

    Good gawd....congrats!
  4. deytookerjaabs

    Roy Clark & other early Heritage Endorsers

    You'd be shocked how many high tier musicians get to a certain modest place in life/success and realize "that's enough, I'm happy." Great story(s)
  5. deytookerjaabs

    Neat article on Ren

    Yeah, hehe, here's the article about the "wall board guitar" they referenced: https://www.vintageguitar.com/27374/gibson-wall-board-guitar/ Always great to see more written about guys like Mr. Wall regardless.
  6. deytookerjaabs

    Heritage? You make the call...

    Nyet, looks like a pacific rim special to me.
  7. deytookerjaabs

    H150 Stop Bar

    Nah, I'm just being a luddite! But, yeah, at some point we got to own up to whatever the hell it means to build instruments to the tune of more than 5 a year without giving in 100% to all the advancements that make stuff perfect, or at least, exacting. As in, why bother? The only answer for me is that there has to be an underlying aesthetic/philisophical appreciation that something like Heritage could have existed in the modern era. From the standpoint of running a competitive business the old Heritage was self-defeating in oh so many ways. But, for a dude like me, it's just cool it was still there basically stuck in 1950 with all it's flaws. Just like it's cool to take a trip on a steam powered riverboat to which people put all this time/effort into preservation of something antiquated. It doesn't make any sense.
  8. deytookerjaabs

    H150 Stop Bar

    Regardless of opinion on top wraps the bottom line is that the bridge/tailpiece absolutely was designed to have a good length of travel while remaining a solid couple so as to be used on a variety of guitars with different angles & setups. It was a brilliant move (& IIRC explained as thus by Gibson engineers) to keep it when the tune-o-matic was designed for the user to tune in different amounts of force/vector/break on their guitar. It's a big part of what makes the tune-o-matic such a special design: flexibility. I even recall reading that the first tune-o-matic test run was top-wrapped from the factory! One thing is clear: It was NEVER designed with the intention to be permanently decked. That is a matter of a fickle consumer base who now sees visual variation as a sign of lack of quality or worse...claiming tone robbery!! For decades one can see guitars from California to Asia Pacific built by the thousands to exacting standards thanks to our programmable machine friends. The angles that are programmed are to suggested tolerances, they are merely a matter of opinion. I'd say, as someone who has played way too many good old american guitars: absolutist tone rules like ideal saddle height on a flattop or ideal bridge height on an arch top or ideal height of a wrap tail don't play out as having inherent superiority in real life from my experience. Worse, when you listen to luthiers/techs I've heard it all from "truss rods kill resonance" to arguing over kerfing woods. They're an insane lot who usually just justifies their method with carefully crafted rhetoric...humans y'know. In summation: if you desire a hand chiseled neck fitment and a carve hand pressed on giant rough sanding belt then you're going to be stuck with a good deal of variation. If you want those things to exact tolerances: buy a PRS or Collings etc. But, don't say the wrong top carve or wrong neck angle is a "quality" thing, that's bull****, nothing posted here was out of reasonable mechanical tolerance.
  9. deytookerjaabs

    H150 Stop Bar

    That's exactly what the stop bar was designed for, before the abr the tailpiece was the bridge.
  10. deytookerjaabs

    Change at Heritage Guitar

    We're talking a pretty fancy outsourced cases in terms of how those were built, cases have come a long way since then! I was pretty much just pointing out that inflation is simply one metric in a bigger picture. But, if we dig deeper... Comparison to 1959 is crazy talk. Like, if you consider the whole operation. In the "interviews" section of Gil Hembree's book a female employee starting on the floor rim sanding was paid $1.65/hr her first day on the job in '55 which is about $15. If you read the rest of the interviews it's clear people had lots of room for movement, pay went up quick with experience/tenure and many employees had family members come work there, they also had full benefits etc. The sales staff & higher ups all made bank too. Beyond that, consider the scale of the in-house operation. Think of all the things they designed & produced in house in '59 that most places just buy today, that was old school manufacturing: lots of dirty man hours from polishing tailpieces to cutting sheets of royalite etc went into each instrument....you know..all the stuff people advocate Guitar companies shouldn't do! Here's one: in 1965 a pack of Fender "Light Gauge Rock'n'Roll" 10 gauge strings was $3 bucks. In 2018 you can get a set of GHS Boomer 10's, practically the same strings that are wound in the USA right in Michigan with pretty much the same processes done in the 60's one string at a time, for about $4.19 shipped to your door. Inflation is just one metric.
  11. deytookerjaabs

    Change at Heritage Guitar

    First off....a Les Paul Standard was $265 (which is the apt comparison to an H-150) thus adjusted from 1959 to present is $2300, you simply used a Les Paul Custom as reference calling it just a "Les Paul." .............I caught that. Also, those were MSRP top dollar suggested prices for catalog distribution, many parts of the country went significantly below those prices if you're familiar with original receipts on vintage pieces...which I know you are. So, under 2K adjusted for inflation was probably about what the average of a 'burst Les Paul was. That was also a time when it was normal for buyers to be able to make payments on instruments without having to take out a loan or line of credit, a laid back layaway was typical in musical instrument shops really until a while after the credit card era. Wellssss..... here's another Reality Check, thanks to wage stagnation, materials cost, and technology we've been able to produce many products at cheaper prices on all sorts of domestically manufactured goods. Certainly can't say Heritage has taken advantage of mass production but in materials & wages I bet they did okay. That said, for a long time the guitars were a solid deal. The latest articles I've read discuss average incomes just coming back to what they were in 2008! Wages have been...well, yeah. But, wasn't that long ago a new H-150 could be had for $1500 new, now they're 66% higher. Question, are people making 66% more money than they were when an H150 was $1500? Economist E.F. Schumacher once said: I feel we can say this of guitar manufacturing: anyone can make for tighter tolerances in woods/parts/assembly/weights/etc and increase their price convincing a consumer of their "superior product." But, it takes a genius or some sacrifice to go the other direction.
  12. deytookerjaabs

    Change at Heritage Guitar

    The Harmony thing is odd, afaik Harmony was just another licensed brand for the Chicago made mail order & small shop guitars; Supro, Valco, National, Danelectro etc to which there's already a bunch of companies in the game. Although the new guitars are certainly not reissues I'd think they'd have been better off with a new name versus lumped into the re-branding game but that's just me. The history of Heritage was at least a real company, not an office licensing a name out to a separate factory.
  13. deytookerjaabs

    Change at Heritage Guitar

    If I understood correctly, Heritage guitars are made at the lot of 225 parsons in one of the 60's expansion buildings? But, not the 1917 iconic pre-war location. Is that right?
  14. deytookerjaabs

    Heritage Guitar Family Photos

    That is a fine stable!
  15. deytookerjaabs

    H150 Stop Bar

    Huh, well through the years I've always seen a lot of variance on the pre-plaza guitars. Another pic of mine from the 00's (formerly), tailpiece decked and bridge height very shallow: IMO if they could consistently do it like this with perhaps a hair more dish to the carve that'd be the ticket.