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deytookerjaabs

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deytookerjaabs last won the day on November 3

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About deytookerjaabs

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  1. 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)
  2. 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.
  3. deytookerjaabs

    Heritage? You make the call...

    Nyet, looks like a pacific rim special to me.
  4. 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.
  5. 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.
  6. deytookerjaabs

    H150 Stop Bar

    That's exactly what the stop bar was designed for, before the abr the tailpiece was the bridge.
  7. 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.
  8. 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.
  9. 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.
  10. 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?
  11. deytookerjaabs

    Heritage Guitar Family Photos

    That is a fine stable!
  12. 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.
  13. deytookerjaabs

    H150 Stop Bar

    ^^^^^^ That's a good example, it looks from the photos like your Heritage bridges are at similar heights and so are the string break angles but the tailpieces look to be at different heights. IMO, if so, that gives credence to Heritage's email that the belly of the carve makes a difference. Also, I'd say your guitars' saddles are slotted to normal spec, slots as deep as 1/2 the string diameter like the OP's guitar ain't normal. I'd say the reality here is the culture of "outrage" media has crept it's dirty psychological tricks into far too much of our brethren's brain matter. Like oh so many things of the guitar world which do not rely on some constitutional set of black/white standards this issue boils down to opinion & experience. One person feeling a modestly tall bridge/tailpiece is tantamount to murder, another looking at his guitar he's loved & used for decades for the first time realizing "hey, my bridge is kinda high, so what." I think the line that needs to be drawn is who is Heritage competing with? Because of it's much bigger, older, brother it has certain expectations in the marketplace whether ya like it or not. If they're competing with the Custom Shop one can say that you rarely see an R7,R8,R9 with a bridge & tailpiece set that high. But, for USA Nashville/Memphis guitars this is not a rare thing whether it's 'birds, lesters, standard 335's, etc. IMO, at $2500+ a pop for H150's/535's, given the relatively small name and exposure of the company they should be attempting to be on par with certain "custom shop" expectations while giving a better value at the purchase price. If I ran things I'd say it's time to say "**** it" (regardless of my personal opinion) and just move to ABR bridges with traditional posts but do Nashville on request for those who want the expanded intonation deck. Then, keep the bridges under a certain height via balancing the belly of the carve with the neck set angle just like the custom shop does. It's really a small change and like the extra inch of neck heel going into the pickup cavity it makes a world of difference for those who, as my buddy's pops use to say, "think their **** don't stink!" I'd say the same with keeping the darn guitars under 10lbs, you have more to gain than you have to lose. A heritage set up & appointed like a USA Gibson guitar just doesn't make sense at the prices they're currently charging.
  14. deytookerjaabs

    H150 Stop Bar

    If you're gonna quote the MLP'ers when asked about the bridge height here ya go: "Picture looks ok." "From what little I know, that doesn't look too bad at all." "I see nothing wrong here." "I wouldn't worry about that bridge height, but the TP looks higher than I'd care for" "Yup...I would deck that tailpiece and topwrap!" " As soon as the OP provided a pic, members could readily see that the setup falls into the norm." "Right, 1/4 inch, not bad." "Looks fine to me as well." http://www.mylespaul.com/threads/bridge-height-question.401068/
  15. deytookerjaabs

    H150 Stop Bar

    Intonation is set by the string break so as long as the saddle is in it's right place and breaks the string there will be no ill effects on intonation. If there is tone robbing then every Telecaster & Stratocaster ever suffers the same tone robbing fwiw. That said, for a small production place it looks like what some Les Paul folks' refer to as "Violin Bridge" which certainly appears on some "Friday Afternoon" Les Pauls. The saddle slots are notched ridiculously deep and the base of the bridge seems wider than a normal ABR along with the angle and/or plane of the top carve (it is a combination of factors) all combining for a stupid looking setup. It would probably look better with a proper ABR & saddles that don't have a huge notch but I'm guessing the strings would still hit if the tailpiece was all the way down. I'm more surprised they're cool with a tailpiece dangling up that high if that's how they sent it to ya. I don't know how deep those studs are but damn. Still, optimally, scoping out the relief in person is important too. You can really raise a bridge/saddles if you have a ton of relief with modestly set action.
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