mark555 Posted July 1, 2021 Posted July 1, 2021 If I could chose an H150, it would more than likely be this one. I don't know who it belongs to, I found it on the net but what a finish. Just thought I'd share it.
yoslate Posted July 2, 2021 Posted July 2, 2021 I did. I can't describe how over the moon I am with this thing!
Gitfiddler Posted July 2, 2021 Posted July 2, 2021 @Yoslate...That new H-150 looks like a 'new vintage' guitar to me! Gorgeous. How would you describe the neck profile? Apologies if you've already done so. Also, some of the best H-150's and Les Pauls I've played have an acoustic ring to them. That phenomenon is difficult to quantify, but my ears know it when they hear it. What say you, professor?
Spectrum13 Posted July 2, 2021 Posted July 2, 2021 2 hours ago, Gitfiddler said: @Yoslate...That new H-150 looks like a 'new vintage' guitar to me! Gorgeous. How would you describe the neck profile? Apologies if you've already done so. Also, some of the best H-150's and Les Pauls I've played have an acoustic ring to them. That phenomenon is difficult to quantify, but my ears know it when they hear it. What say you, professor? Quote I can't describe how over the moon I am with this thing! Tim, He already said he can't describe his CC150. Guess there is no use asking Rob something like that.
yoslate Posted July 2, 2021 Posted July 2, 2021 4 hours ago, Gitfiddler said: @Yoslate...That new H-150 looks like a 'new vintage' guitar to me! Gorgeous. How would you describe the neck profile? Apologies if you've already done so. Also, some of the best H-150's and Les Pauls I've played have an acoustic ring to them. That phenomenon is difficult to quantify, but my ears know it when they hear it. What say you, professor? 1 hour ago, Spectrum13 said: Tim, He already said he can't describe his CC150. Guess there is no use asking Rob something like that. Planning another post, but won't be able to get to that for a bit. And since it's you, Tim...no apologies necessary. And Dan, way to hit my button! Well played! Although I can describe the guitar; it's right here. Being over the moon, not so much, as I've never been there...well, not literally. Tim, the paradox of "new vintage" and what's implied there gets very close! Let me try this: There's nothing that seems "new" about this guitar. I have a superb PRS David Grissom on the block, locally. An excellent instrument, and everything about that guitar is "new." It's the only PRS I've ever owned...or wanted to. About as fine a build as one could find. Minus some of the truly obsessive touches Terry McInturff builds into his guitars, the build quality of the PRS was right there with the McInturff. I see the finish on both of those guitars as the "icing" that makes their truly superb builds seem so nearly perfect...and so very "new." You almost hesitate to take those jewels out of their plush cases. Still getting to know it, but the overall build quality (fretwork, joints and seams, hardware installation, etc.) of the Custom Core seems to be in that neighborhood. It's not without its "flaws," if you want to call them that (small fingerboard edge and binding file marks are about all I've found), or perhaps those are better seen as evidence of a human being having been there. Take your pick. But the effect of the "Artisan Aging" just eliminates that glossy, inviolate newness so much a part of a PRS or McInturff. I know a lot of owners here like that quality and go to great lengths to preserve it, and good on ya! But I know I've more than once stifled my guffaws at the tear-stained, angst-ridden posts about what to do with (Gasp!) polishing rag swirl marks. But if it's your guitar, to quote Steve Winwood, "Do what you like"! This one, when I opened the case, was just begging to be picked up, looking like it would be nowhere near the first time that'd happened. And I love that feel in a guitar! And that aging, to me, so visually pleasing (a textured glow, rather than a completely virgin gloss), is a marvelous tactile experience as you wrap your hand around the neck (yep, aged everywhere) to pull the guitar from the case. The only thing missing was that unmistakable vintage case smell. More on the "Artisan Aging" (I know, Artisan Ad Copy) elsewhere, later. Restrung the guitar with my preferred wires within an hour of unboxing it. And forgot to put the calipers on it.... It's healthy. Factory spec sheet says "'50s C (.8910" – .9805")." So there. But that "C." Hard to describe, but the best I can do is: If you took a large, perfectly round dowel, the diameter of this neck, and cut it perfectly in half length-wise, that kind roundness is what you feel in the palm of your hand. I know to say "rounded 'C'" seems redundant, but there it is. And it's been a long time since I've played any '59's (a pretty unforgettable experience), but as I recall, this is it! My R-4 Custom, which had a very healthy neck (1st fret: 0.899"-12th fret: 0.987"), had that same feel. Very authentic 50's profile! Acoustically, Not surprisingly loud, not surprisingly bright, but very present and articulate, very clear. You get very good note separation in chords, and individual notes in lines are snappy and balanced up and down and across the board. And the guitar vibrates top to bottom when you hit chords. Very lively!
MartyGrass Posted July 3, 2021 Posted July 3, 2021 5 hours ago, yoslate said: It's not without its "flaws," if you want to call them that (small fingerboard edge and binding file marks are about all I've found), or perhaps those are better seen as evidence of a human being having been there. I can tell you with authority that to date there is no local ordinance against humans building guitars. Kalamazoo has long been tolerant of such behavior. I got a new G&L two days ago. There is no sign a human was even in the same room as it. A couple of weeks ago I got a 45 minute less on fret filing by Steve Cowles, Aaron Cowles's son. Aaron, for those who don't know, was a premier luthier at Gibbons for years before going out on his own. He did the tap tuning for Heritage in their first two decades. Steve learned from his dad when Steve was growing up about how to file frets. He was taught at first to focus on producing a certain sound with the file. Shaping and leveling followed down the line. I learned a few things from Steve, as I did from Aaron. First, don't let perfect be the enemy of damned good. Second, machines will never fully replace a good craftsman. They are just more tools. Third, if you are looking for problems you'll either find them or invent them. Those who have spent time with the original Heritage owners will recognize this same attitude with them. Ren Wall also was from the same philosophical upbringing. G&Ls are fine instruments. They are not in the same league as the Custom Cores.
yoslate Posted July 3, 2021 Posted July 3, 2021 18 minutes ago, MartyGrass said: I can tell you with authority that to date there is no local ordinance against humans building guitars. Kalamazoo has long been tolerant of such behavior. I got a new G&L two days ago. There is no sign a human was even in the same room as it. A couple of weeks ago I got a 45 minute less on fret filing by Steve Cowles, Aaron Cowles's son. Aaron, for those who don't know, was a premier luthier at Gibbons for years before going out on his own. He did the tap tuning for Heritage in their first two decades. Steve learned from his dad when Steve was growing up about how to file frets. He was taught at first to focus on producing a certain sound with the file. Shaping and leveling followed down the line. I learned a few things from Steve, as I did from Aaron. First, don't let perfect be the enemy of damned good. Second, machines will never fully replace a good craftsman. They are just more tools. Third, if you are looking for problems you'll either find them or invent them. Those who have spent time with the original Heritage owners will recognize this same attitude with them. Ren Wall also was from the same philosophical upbringing. G&Ls are fine instruments. They are not in the same league as the Custom Cores. Bingo...on all points. Love the quote: "... don't let perfect be the enemy of damned good."
Gitfiddler Posted July 3, 2021 Posted July 3, 2021 @Yoslate & @MartyGrass: I love it when two of HOC's best wordsmiths wax poetically (anecdotally and rhetorically) about these wonderful guitars and how they've come to be.
rockabilly69 Posted July 3, 2021 Posted July 3, 2021 On 7/1/2021 at 3:31 PM, mark555 said: If I could chose an H150, it would more than likely be this one. I don't know who it belongs to, I found it on the net but what a finish. Just thought I'd share it. Mine doesn't have that much flame, but in the right light, the color of mine is very similar. Darkbursts are my favorite of all burst style finishes!
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