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New Heritage H-150 Owner (with pics)

RockingCPA

By RockingCPA
in Heritage Guitars

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Dick Seacup Proficient

Dick Seacup

Posted
Posted
...The R9 is considered by many to be the "Holy Grail" of all the Reissues.[/font][/size]

 

Huh, wonder why the H150 wouldn't be considered the "Holy Grail" of Reissues...they're still making them (mostly) the same way they did in '59 for Pete's sake!  ;)

 

EDIT:

 

Another marketing idea just occurred to me..."The Heritage...the same guys who where building them then are building them now.  Nobody else buys a "reissue" when they realize they can have an original.  Why would you?"

 

Or something.

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Thundersteel Proficient

Thundersteel

Posted
Posted
"The Heritage...the same guys who where building them then are building them now.  Nobody else buys a "reissue" when they realize they can have an original.  Why would you?"

 

Might need to add: "At 1/3 the price!"

Sparky Enthusiast

Sparky

Posted
Posted
IIRC, they are guitars supposedly built to the original specifications of that time period (reissues).

 

R2=1952, R9=1959, etc. I believe they go from R2 to R0 (1952 to 1960). The R9 is considered by many to be the "Holy Grail" of all the Reissues.

 

Thanks Thundersteel... I'm sure I'll be forgiven on this forum for my blatant ignorance of all things Gibbons.

Thundersteel Proficient

Thundersteel

Posted
Posted

What new Gibbo model is that?!?

 

It's the "You'll buy anything with our name on it" model.

Kazwell Collaborator

Kazwell

Posted
Posted
Huh, wonder why the H150 wouldn't be considered the "Holy Grail" of Reissues...they're still making them (mostly) the same way they did in '59 for Pete's sake! 

 

EDIT:

 

Another marketing idea just occurred to me..."The Heritage...the same guys who where building them then are building them now.  Nobody else buys a "reissue" when they realize they can have an original.  Why would you?"

 

Or something.

 

The long tenon design being cut out as well as use of heavier woods takes them out of the Holy Grail running I am sad to say. I wish I knew about the short tenon, it find that although the Heritage spin (short tenon, but wider I believe, less glue-not sure the details-was a discussion on another thread) makes for a sturdier neck, the sustain just isn't there compared to a long tenon.

RockingCPA Newbie

RockingCPA

Posted
  • Author
Posted
Bob...

 

     Way to creep me out dude!  Actually I think I may have played with that guy once. Do you think it was a good idea to loan your

Heritage out though?  I don't think simian guitar players wash their hands very often... you'll need new strings fer sure! ;)

 

Yeah, it's my personal policy not to shake hands with musicians like Mr. Gibbon.  I've heard they don't use toilet paper.  :-(  They often smell like an ape.

RockingCPA Newbie

RockingCPA

Posted
  • Author
Posted
The long tenon design being cut out as well as use of heavier woods takes them out of the Holy Grail running I am sad to say. I wish I knew about the short tenon, it find that although the Heritage spin (short tenon, but wider I believe, less glue-not sure the details-was a discussion on another thread) makes for a sturdier neck, the sustain just isn't there compared to a long tenon.

 

I really don't get it.  If a long neck tenon is superior, why wouldn't EVERYONE use it.  Even if it only makes a minor difference, it gives your company a design advantage you can brag about.  How much cost can the long neck tenon possibly add?  $20? $50 $100?  I would pay $100 or more for a superior design.  With modern CNC machines, how difficult can it be?

 

Like I said before, the Heritage is closer to the R9 than my standard, but it still doesn't have quite the sustain of the R9.  It's close enough to use a gigging guitar, but the R9 will probably get the nod in the studio.

 

Bob

Thundersteel Proficient

Thundersteel

Posted
Posted
With modern CNC machines, how difficult can it be?

 

Heritage don't need no stinkin' CNC machines!

Kazwell Collaborator

Kazwell

Posted
Posted
I really don't get it.  If a long neck tenon is superior, why wouldn't EVERYONE use it.  Even if it only makes a minor difference, it gives your company a design advantage you can brag about.  How much cost can the long neck tenon possibly add?  $20? $50 $100?  I would pay $100 or more for a superior design.  With modern CNC machines, how difficult can it be?

 

Don't know if this plays a role or not, but evidently in the Heritage article that is pasted at the top of this category, it is mentioned that none of the principle guys actual play guitar. Or at least past some very basic stuff-unless they are being modest.

Maybe they just can't discern a difference when strumming a guitar that their is any noticable difference. Or, it may very well be a cost issue. Otherwise, Gibson would use the long tenon on their Standards. I have heard that the long tenon is an option available on a custom order Heritage. Evidently it's not just a matter of a longer (more expensive) piece of wood. It require a great deal more labor to set the longer tenon in place. Since Heritage doesn't use CNC machines, they also have to carve a longer chunk out of the body to make room for the longer tenon.

I am sure their were some major discussions at the Heritage round table before they went ahead and did things the short tenon way for standard models.

 

Here's a definitive quote from a member here from a past thread:

 

I've looked under mine many times in the course of swapping pickups. The deal with the tenon is this. At the big "G" factory, the short-tenon models, like the Standards, Customs, Deluxes, etc., use not only a shorter tenon, but they carve the bottom like the bottom of a boat, and rock it into position, then fill it up with glue. The long-tenon joints are much more solid, as they are carved for a good fit, and you see those on the Historic series. At Heritage, they use a shorter tenon, but it's carved to fit the body cavity flush. Therefore, the wood-to-wood contact is MUCH better than a standard big "G" guitar. This is why the Heritage guitar's tone, sustain, etc., compare very favorably to that of the Historic series from big "G". It's not the length of the tenon that matters, it's how you use it.

 

rooster.

Kuz Mentor

Kuz

Posted
Posted
Don't know if this plays a role or not, but evidently in the Heritage article that is pasted at the top of this category, it is mentioned that none of the principle guys actual play guitar. Or at least past some very basic stuff-unless they are being modest.

Maybe they just can't discern a difference when strumming a guitar that their is any noticable difference. Or, it may very well be a cost issue. Otherwise, Gibson would use the long tenon on their Standards. I have heard that the long tenon is an option available on a custom order Heritage. Evidently it's not just a matter of a longer (more expensive) piece of wood. It require a great deal more labor to set the longer tenon in place. Since Heritage doesn't use CNC machines, they also have to carve a longer chunk out of the body to make room for the longer tenon.

I am sure their were some major discussions at the Heritage round table before they went ahead and did things the short tenon way for standard models.

 

Here's a definitive quote from a member here from a past thread:

 

I've looked under mine many times in the course of swapping pickups. The deal with the tenon is this. At the big "G" factory, the short-tenon models, like the Standards, Customs, Deluxes, etc., use not only a shorter tenon, but they carve the bottom like the bottom of a boat, and rock it into position, then fill it up with glue. The long-tenon joints are much more solid, as they are carved for a good fit, and you see those on the Historic series. At Heritage, they use a shorter tenon, but it's carved to fit the body cavity flush. Therefore, the wood-to-wood contact is MUCH better than a standard big "G" guitar. This is why the Heritage guitar's tone, sustain, etc., compare very favorably to that of the Historic series from big "G". It's not the length of the tenon that matters, it's how you use it.

 

rooster.

 

Ren Wall is an excellent player and so was his dad Rem.

 

And since Ren runs the place....

drewzee87t Apprentice

drewzee87t

Posted
Posted

Nice bunch of H150 type guitars you have. I am glad to see someone who just looks at the guitar as a player and plays it. Economically, you should probably not modify anything for resale value, but most heritage guitars stay put with the owner. More interesting was your name, as I am a cursed CPA, CISA myself, work in L.A. big4 and might be in the office next to you for all I know.

 

If you were in The How* - heh

RockingCPA Newbie

RockingCPA

Posted
  • Author
Posted
Nice bunch of H150 type guitars you have. I am glad to see someone who just looks at the guitar as a player and plays it. Economically, you should probably not modify anything for resale value, but most heritage guitars stay put with the owner. More interesting was your name, as I am a cursed CPA, CISA myself, work in L.A. big4 and might be in the office next to you for all I know.

 

If you were in The How* - heh

 

Hi drewzee87t,

 

I'm not a Big4 CPA firm kind of guy (it was the Big 8 when I started), and I have my own small firm.  I specialize in entertainment industry.  I'm Eddie Money's business manager (look at the contact page @ his site).  I get to play with him occasionally at private gigs. I did a private about 3 weeks ago with him for the CA Assoc of Realtors.  Now, THAT is a wild crowd.  I think a couple of them even took off their ties.  woo hoo!! hehehehehehe.  It's nice to male bond with a fellow white collar professional guitar player.  Most of us had to find a way to support ourselves when reality set in and we didn't become the rich and famous guitar gods.  LOL  I played in RATT in 1981 (before record deals and hits  Totally different band.) with Jake E Lee and the bass player and drummer went on to a band called Rough Cutt (I was in that band briefly, too).  They all had record deals and I went to college, so now I don't have to sell a guitar to buy a new one.  :-)  If I had every guitar I owned before 1984 I'd have a very nice collection (1958 Les Paul TV Special, 1962 Dakota Red hardtail Strat, early 60s Les Paul Jr, and a 1976 Flying V I played in RATT, to name a few that got away).  I try not to think about what they might be worth.  :-(

 

Now I'm a very happy Heritage owner and happy to be a part of this community.  I lurked for a while before posting, and all the guys seem really nice and helpful here.  My thanks to everyone for having me.

 

Bob

Dick Seacup Proficient

Dick Seacup

Posted
Posted
...I'm Eddie Money's business manager

 

I originally parsed that as "Eddie Murphy's business manager."  LOL!

 

If I had every guitar I owned before 1984 I'd have a very nice collection (1958 Les Paul TV Special, 1962 Dakota Red hardtail Strat, early 60s Les Paul Jr, and a 1976 Flying V I played in RATT, to name a few that got away).  I try not to think about what they might be worth.  :-(

 

I honestly believe that you have to look at past actions in the same light as sunk costs.  They're done and gone; there's little you can do other than gain some experience from the, uh, experience.  Still, even with that attitude, that would have been a special stable of guitars.  But, as the man once said, "Regrets, I've had a few.  But then again, too few to mention." ;)

Kazwell Collaborator

Kazwell

Posted
Posted
Ren Wall is an excellent player and so was his dad Rem.

 

And since Ren runs the place....

 

My apologies. Thats what I get for tapping second hand sources. :-[

Thundersteel Proficient

Thundersteel

Posted
Posted
Eddie Money's business manager  I played in RATT in 1981 with Jake E Lee

 

and the bass player and drummer went on to a band called Rough Cutt

 

Wow! You've played in some well-known bands!  You're lucky to have done so. I'm in my mid 40s, and just joined my first band.

 

What great experiences those must have been! 

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