eljay Posted June 29, 2012 Share Posted June 29, 2012 1. why does H offer so many jazz guitar models? or, perhaps, how do they differ? 2. it seems like the "true" jazzers, that is, not counting the 575 or 525, all have the 25.5" scale rather than 24.75." is there a rationale for this? failing minds want to know! thank you for insights, eljay Link to comment Share on other sites More sharing options...
schundog Posted June 29, 2012 Share Posted June 29, 2012 I dunno. So, order one of each, Larry, and please get back to us with your findings. Link to comment Share on other sites More sharing options...
eljay Posted June 29, 2012 Author Share Posted June 29, 2012 I dunno. So, order one of each, Larry, and please get back to us with your findings. [cue the beach boys] wouldn't it be nice! Link to comment Share on other sites More sharing options...
DC Ron Posted June 29, 2012 Share Posted June 29, 2012 Let's see...if you count carved archtops as "true" jazzers, the big difference is body width, which equates to both volume and comfort. At 16" is the Sweet 16. At 17" is the Eagle, Eagle Classic and Golden Eagle; differences are type/quality of wood and appointments. 17" is probably the most traditional archtop size, so they cover a lot of price points with the three model range. At 18" is the Super Eagle. These three size approximate three traditional G* archtops: L-4, L-5 and Super 400. Longer scale length = more volume, everything else being equal, but is also the scale length that G* uses on their archtops. As a true custom shop Heritage can make you just about anything you like, though. So throw the traditional stuff out the window if you wish... Link to comment Share on other sites More sharing options...
eljay Posted June 29, 2012 Author Share Posted June 29, 2012 thank you, dc ron! Link to comment Share on other sites More sharing options...
DetroitBlues Posted June 29, 2012 Share Posted June 29, 2012 I've often wondered the same thing, but some things are just not meant for me to understand.... Link to comment Share on other sites More sharing options...
Guest HRB853370 Posted June 29, 2012 Share Posted June 29, 2012 1. why does H offer so many jazz guitar models? or, perhaps, how do they differ? 2. it seems like the "true" jazzers, that is, not counting the 575 or 525, all have the 25.5" scale rather than 24.75." is there a rationale for this? failing minds want to know! thank you for insights, eljay Without reading the replies below your OP first, I can answer the first question easily. Gibson staked its reputation on acoustic guitars and hollowbody electrics after WW2. That was their bread and butter and what they were known for. Heritage simply followed in that longstanding tradition, building some of the best hollowbody electrics in the world. The other questions, I will not attempt to answer. Link to comment Share on other sites More sharing options...
kbp810 Posted June 29, 2012 Share Posted June 29, 2012 1. why does H offer so many jazz guitar models? or, perhaps, how do they differ? Because they know there are guys like us out there who want one of each! Link to comment Share on other sites More sharing options...
MartyGrass Posted June 29, 2012 Share Posted June 29, 2012 Loar, a Gibson designer about a 100 years ago, worked on how to get the guitar to cut through an orchestra. Prior to that time the guitar mostly was used in a quieter setting. Loar created the archtop with f holes for this purpose. The guitar became much brighter and could punch through brass and woodwinds adequately. Still it was mostly a percussion instrument. The archtop grew from a smaller box to an 18" with 3 1/2" depth to increase the volume. Within a few years amplification changed everything. Charlie Christian could then solo as loud as a trumpet. The guitar size and the need for spruce and maple wasn't essential. Then the solid body emerged and everything went to hell. Thanks, Lester and Leo. There are clear differences among all of Heritage's archtops, including a wide range of price differences. The sound differences are most notable when played acoustically. Most of the great jazz players would be comfortable with any of them. Some have clear preferences though. Alex Skolnick, for example, could have any one of them but chose the 575 as his workhorse. The main reason seems to be that the scale length is the same as his H150. Mimi Fox plays the 17" and 16" guitars with equal finesse. Henry Johnson likes a deeper box and is old school that way. Link to comment Share on other sites More sharing options...
MartyGrass Posted June 29, 2012 Share Posted June 29, 2012 The longer scale length was believed to provide more volume through more string mass. Link to comment Share on other sites More sharing options...
peteraltongreen Posted June 29, 2012 Share Posted June 29, 2012 Right,the longer the scale,the tighter the string has to be to achieve pitch,therefore,generally,a 25 1/2" scale will twang better than a 24 3/4 ".The shorter the scale,the further you can reach for those difficult chords ! The Byrdland has a 24" scale,The Johnny Smith has a 25" scale.If you hold the guitar in the correct position,your fingers spread to their natural span. ( As explained & shown to me by Johnny Smith ) I can easily reach 5 frets,and another if plan how the chord I want is to be achieved. ( 6 frets from the 'F' position,like the Chuck Berry rhythm,25 1/2" scale,and no,I have an average hand size ) Why do Heritage do Jazz boxes...Because they do it better than anyone else ! Enjoy . Link to comment Share on other sites More sharing options...
eor Posted June 29, 2012 Share Posted June 29, 2012 correction, pete: a byrdland has a 23.5" scale length fretboard. Link to comment Share on other sites More sharing options...
peteraltongreen Posted June 29, 2012 Share Posted June 29, 2012 Thanks for that.It's been a long time ! Link to comment Share on other sites More sharing options...
peteraltongreen Posted June 30, 2012 Share Posted June 30, 2012 Spurred on by my long lasting interest in all things 225 Parsons,I dug out my 1962 Gibson catalogue to double check I was wrong on the scale length of the Byrdland...and I was !. I do recall pawing this catalogue on the Byrdland page to look at the ES350.At that time,Chuck Berry played one,and I loved it and him !. I wanted one,then ...short scale ! The only alternative in my part of the world was an Epiphone Sorrento.Thin body,Pointy cutaway,2 Humbuckers,24 3/4 " scale ! Bought a beauty in Royal tan,loved it.Then came Wes Mongomery with his L5.I wanted one ! Bye to the Sorrento ( with much regret),hello L5 ( I still have it ) As luck would have it,a Sorrento in Royal Olive came my way in the 1970's for about $100.A bargain ! I still have it,a 1964 model. The enclosed photo shows my 1967 guitar set up.Sorrento,Vox AC10 twin (1965) and the original Vox amp. metal stand (1964),which for some reason,I painted black.This all still sounds great.Talk about a lucky guy ! Link to comment Share on other sites More sharing options...
Spectrum13 Posted June 30, 2012 Share Posted June 30, 2012 Peter... $100 for that Sorrento? So sweet what a rare find. Link to comment Share on other sites More sharing options...
Guest HRB853370 Posted June 30, 2012 Share Posted June 30, 2012 Peter... $100 for that Sorrento? So sweet what a rare find. There is one in GC right now, not sure of the price though. Link to comment Share on other sites More sharing options...
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