Leaderboard

They are brothers but not identical quads. Each has a different quality. The far left is one is a 1991, one of the earliest. It has a 12 pole pickup installed on a second pickguard Heritage made. It's 17" across and 3" deep. It weighs 5# 9 oz. It's in a natural finish. Next to it is a 1992 rose natural with an 18" body and 3" depth. It is 6# 11 oz. It has a Floating #3. The next one is a green burst 17" by 3" weighing 5# 14 oz with a Floating #3. This came from 1996. Lastly, the antique natural is 6# 12 oz and also was made in 1996. It has a stock pickup. Its measurements are 18" by 3.25". I don't know how many HJSs were made. Over the years I had a few others. I'm guessing there were a few hundred made, but I don't know. I doubt Heritage has records. Maybe. There's an irony about this model. Johnny left Gibson because he was concerned about quality and consistency. He knew JP Moats from the Gibson building days and worked toward the design specs on the HJS. Johnny specifically wanted a custom finish they called rose natural to be an option along with the usual natural on his guitars. The first ones came out in 1989. It didn't take long for variants to emerge. This eventually led to Johnny leaving Heritage and eventually joining Guild. By 1996, Heritage built HJS with bodies ranging from 16-18" and various other finishes. The 16" guitars were not labeled HJS, but they were the same sort of build without inlays. I believe the quality remained high, and the Heritage workers confirmed that they treated HJS with special care. But the build specs were what was ordered, not necessarily what Johnny wanted. I have a couple of Heritage ghost-built Gretsch Synchromatics built around the same time period, the early 1990s. It should be no surprise that their weight and dimensions are almost identical to the 18" HJS. The second pic shows how they line up. The main difference besides cosmetics is the nut is 1 3/4" on the HJS. That's all I got for today.

No disrespect but does your engineer hat cover your ears? For real. All talk and studies on what is or is not on pickup design and construction lack two of the most important considerations especially for players and listeners as we age. When was your last hearing test and what is the spectrum of frequencies you can actually hear? There is as much a chance everybody you are communicating with has the same number of hairs on their heads as the same drop off of high frequencies. Fact The way our brain interprets sounds and vibrations hitting our eardrum is unique to each of us. Suggest you read

That (SD 59/JB pair) is exactly what is in my Fender Robben Ford model. Curiously, the basis guitar that Robben was playing, the Fender Esprit, (have on of those too from 1984) had a very unique set of pickups that Schaller made specifically for the Fender "Master Series". While the pickups have a unique appearance and some very cool features, the LCR (inductance, capacitance, resistance) values are right in line with the '59/JB pairing. These were used on the three D'Aquisto designed Fender models made in Japan during the CBS-to-private ownership transition in the early/mid 1980s: The Esprit, The Flame and the D'Aquisto jazz guitars. They're quite nice, largely unknown and pretty rare. The Esprit was slightly changed and became the Robben Ford model. Pickups are one of those weird things. What was hailed a few years ago, is dogged on today on the internet. My H535 (2001) has the HRW pickups in it. I absolutely love them. They're similar electronically to the SD "Jazz" SH-2 set. When the HRW was a new girl in town, the online crowd praised them and now the internet talks them down. LOL. It is flavor of the month on the internet.

Oops. I can count. There are four. I started the thread and then recalled i had a fourth in storage. I forgot to change the title. My go-to guitar is a H-535 these days, but I was raised on jazz boxes.

Yours is stunning.