Heritage made vs. completely custom built

[Guest mgoetting]

A local jazz player has a pretty good collection of guitars, among them Heritages. He was telling me what the benefits are of guitars hand made by a local luthier as opposed to owning a Heritage.

 

Before I paste his points in this posting, let me say that the value of a brand name is in resale. Is there anything else?

.......................................

 

1. Each of Jim's guitars are hand carved. Each piece of wood is shaped according to it's distinct qualities. Heritage shapes their tops and bodies in a machine. The wood is placed in a jig and shaped exactly the same as every other. With each step in the carving process Jim maximizes the tonal qualities of the individual piece of wood.

 

2. Jim uses a special, hand applied instrument varnish much the same as found on expensive violins. Many well known luthiers offer varnish as an value added upgrade. Each coat of varnish is hand sanded and rubbed and the final coat is hand buffed. Like most factory produced guitars Heritage uses lacquer who's primary attribute is that it applies quickly and dries without much sanding of buffing.

 

3. Jim uses wood binding with purfing to accent the shape of the guitar. Heritage and most manufactures uses prefabricated plastic binding. The visual difference is obvious.

 

4. As Jim builds each instrument the bracing is tuned to add to the acoustic qualities of the the guitar.

 

5. Each of Jim's necks are hand carved and fretted. The end result being a neck that is as straight as a piece of wood can be and the frets are even. Most factory instruments require fret work right out of the case.

 

6. Last but not least Jim is available to make certain that his guitars will play as best they can and he has personal stake in seeing this happens.

 

There is more but I believe this is a good start.

...........................................

 

I'm interested in your comments. I'm not buying the guitar, but maybe some year. The cost is only a few hundred more than a comparable Heritage.

 

What are your thoughts?

[pcovers]

A local jazz player has a pretty good collection of guitars, among them Heritages. He was telling me what the benefits are of guitars hand made by a local luthier as opposed to owning a Heritage.

 

Before I paste his points in this posting, let me say that the value of a brand name is in resale. Is there anything else?

.......................................

 

1. Each of Jim's guitars are hand carved. Each piece of wood is shaped according to it's distinct qualities. Heritage shapes their tops and bodies in a machine. The wood is placed in a jig and shaped exactly the same as every other. With each step in the carving process Jim maximizes the tonal qualities of the individual piece of wood.

 

2. Jim uses a special, hand applied instrument varnish much the same as found on expensive violins. Many well known luthiers offer varnish as an value added upgrade. Each coat of varnish is hand sanded and rubbed and the final coat is hand buffed. Like most factory produced guitars Heritage uses lacquer who's primary attribute is that it applies quickly and dries without much sanding of buffing.

 

3. Jim uses wood binding with purfing to accent the shape of the guitar. Heritage and most manufactures uses prefabricated plastic binding. The visual difference is obvious.

 

4. As Jim builds each instrument the bracing is tuned to add to the acoustic qualities of the the guitar.

 

5. Each of Jim's necks are hand carved and fretted. The end result being a neck that is as straight as a piece of wood can be and the frets are even. Most factory instruments require fret work right out of the case.

 

6. Last but not least Jim is available to make certain that his guitars will play as best they can and he has personal stake in seeing this happens.

 

There is more but I believe this is a good start.

...........................................

 

I'm interested in your comments. I'm not buying the guitar, but maybe some year. The cost is only a few hundred more than a comparable Heritage.

 

What are your thoughts?

 

All good observations and "reasons" a one man shop might be better. But here is the indisputable, proven over and over, bottom line reality, there are tons of guitars made in a large shop, some even rather highly automated, with as much playability, tone, and that magic dust mojo as there are from a one man shop. I know because I have owned plenty of commissioned one man shop guitars electrics and acoustics, and when I put my purely objective hat on and throw to the side emotion and bias associated with how much I spent and the wonderful experience I had working with the lutheir, the bottom line is that most of what was written above is part of the whole "sounds good but there is little proof of it" lore.

 

Let's take "hand selected, tap toned and custom braced to provide the optimum tone offered by the 100 year old wood selected" kind of thing. I have played some really special Taylor and Martin and Tacoma shop Guilds where none of that magic time consuming special selection for optimal qualities kind of tap toning bracework was done....and yet, some were just superb.

 

I have owned 13 one man shop commissioned acoustics. Beautiful guitars, wonderful experiences, great players, when all the hype is set aside, none were particularly "better" in raw tone than a number of other larger shop, CNC neck made guitars I have owned.

 

I respect what others perspectives are. But, I have yet to see any evidence that is repeatable that says most of the hype is more than hype. I certainly respect the luthier's art, skills, and craftsmanship and the beauty of what they produce. The whole process is very special. But the beliefs about the outcomes are driven as much by reality as by bias (if you have $10k invested in a dream, you better believe some of what you hear and feel will be from those lost dollars invested in that dream). Lots of really great players choose - choose - in favor of large shop guitars over so called superior one man shop builders.

 

I will end this with one example that was provided:

 

Each piece of wood is shaped according to it's distinct qualities.

 

This implies something that is self fulfilling. I say, so what. Everything has "distinct qualities". It makes a statement that presumes you buy into it. I don't. If it was that credible, builders would simply make superior guitars by focusing on doing something with those distinct qualities. I say mostly BS. I love Heritage guitars. There is a basic process that I think they have mastered. Once you mater that basic process and have the skills to tweak as needed, I think you produce a good quality guitar with whatever material you have. As you can see, I am not much of a "believer".

[Guest mgoetting]

All good observations and "reasons" a one man shop might be better. But here is the indisputable, proven over and over, bottom line reality, there are tons of guitars made in a large shop, some even rather highly automated, with as much playability, tone, and that magic dust mojo as there are from a one man shop. I know because I have owned plenty of commissioned one man shop guitars electrics and acoustics, and when I put my purely objective hat on and throw to the side emotion and bias associated with how much I spent and the wonderful experience I had working with the lutheir, the bottom line is that most of what was written above is part of the whole "sounds good but there is little proof of it" lore.

 

Let's take "hand selected, tap toned and custom braced to provide the optimum tone offered by the 100 year old wood selected" kind of thing. I have played some really special Taylor and Martin and Tacoma shop Guilds where none of that magic time consuming special selection for optimal qualities kind of tap toning bracework was done....and yet, some were just superb.

 

I have owned 13 one man shop commissioned acoustics. Beautiful guitars, wonderful experiences, great players, when all the hype is set aside, none were particularly "better" in raw tone than a number of other larger shop, CNC neck made guitars I have owned.

 

I respect what others perspectives are. But, I have yet to see any evidence that is repeatable that says most of the hype is more than hype. I certainly respect the luthier's art, skills, and craftsmanship and the beauty of what they produce. The whole process is very special. But the beliefs about the outcomes are driven as much by reality as by bias (if you have $10k invested in a dream, you better believe some of what you hear and feel will be from those lost dollars invested in that dream). Lots of really great players choose - choose - in favor of large shop guitars over so called superior one man shop builders.

 

I will end this with one example that was provided:

 

 

 

This implies something that is self fulfilling. I say, so what. Everything has "distinct qualities". It makes a statement that presumes you buy into it. I don't. If it was that credible, builders would simply make superior guitars by focusing on doing something with those distinct qualities. I say mostly BS. I love Heritage guitars. There is a basic process that I think they have mastered. Once you mater that basic process and have the skills to tweak as needed, I think you produce a good quality guitar with whatever material you have. As you can see, I am not much of a "believer".

 

 

I do agree with you. That makes two of us who got up on the wrong side of the bed.

[111518]

All good observations and "reasons" a one man shop might be better. But here is the indisputable, proven over and over, bottom line reality, there are tons of guitars made in a large shop, some even rather highly automated, with as much playability, tone, and that magic dust mojo as there are from a one man shop. I know because I have owned plenty of commissioned one man shop guitars electrics and acoustics, and when I put my purely objective hat on and throw to the side emotion and bias associated with how much I spent and the wonderful experience I had working with the lutheir, the bottom line is that most of what was written above is part of the whole "sounds good but there is little proof of it" lore.

 

Let's take "hand selected, tap toned and custom braced to provide the optimum tone offered by the 100 year old wood selected" kind of thing. I have played some really special Taylor and Martin and Tacoma shop Guilds where none of that magic time consuming special selection for optimal qualities kind of tap toning bracework was done....and yet, some were just superb.

 

I have owned 13 one man shop commissioned acoustics. Beautiful guitars, wonderful experiences, great players, when all the hype is set aside, none were particularly "better" in raw tone than a number of other larger shop, CNC neck made guitars I have owned.

 

I respect what others perspectives are. But, I have yet to see any evidence that is repeatable that says most of the hype is more than hype. I certainly respect the luthier's art, skills, and craftsmanship and the beauty of what they produce. The whole process is very special. But the beliefs about the outcomes are driven as much by reality as by bias (if you have $10k invested in a dream, you better believe some of what you hear and feel will be from those lost dollars invested in that dream). Lots of really great players choose - choose - in favor of large shop guitars over so called superior one man shop builders.

 

I will end this with one example that was provided:

 

 

 

This implies something that is self fulfilling. I say, so what. Everything has "distinct qualities". It makes a statement that presumes you buy into it. I don't. If it was that credible, builders would simply make superior guitars by focusing on doing something with those distinct qualities. I say mostly BS. I love Heritage guitars. There is a basic process that I think they have mastered. Once you mater that basic process and have the skills to tweak as needed, I think you produce a good quality guitar with whatever material you have. As you can see, I am not much of a "believer".

 

I can't claim nearly the depth of personal experience with owning artisan-made guitars as pcovers, but this is a very eloquent statement of my perception of the whole boutique phenomenon. I think what pcovers is saying, and that I think gets lost in an "either/or" perception, is that the value in custom work is in the relationship you have with the builder and the instrument, not in the production of some measureably, objectively, "superior" tone machine. That's making a commodity out of a relationship, and the commodity as commodity is rarely going to objectively justify the greater cost. Trying to justify the expense in terms of a "superior product" creates the kind of self-fulfilling logic that pcover suggests --superior according to what standard?

 

If we still had karma points, this would be a "+ much karma" response in my book.

[big bob]

Mark that looks like a nice piece of wood..you will find that individual luthiers also have name brand added value, ie steve anderson, linda manzer, etc.

When you buy a guitar you should be looking for the guitar, not the resale value. but beware, there are luthiers who make claims that like some bigs brands just are not true.

 

Lets look at your points

 

1. Each of Jim's guitars are hand carved. Each piece of wood is shaped according to it's distinct qualities. Heritage shapes their tops and bodies in a machine. The wood is placed in a jig and shaped exactly the same as every other. With each step in the carving process Jim maximizes the tonal qualities of the individual piece of wood.

 

Heritage starts each guitar top in a jig Yes, but after the rough shape each top is hand sanded/carved to shape by a person on what I can only describe as the worlds largest belt sander. As for maximizing the tonal qualities Heritage will Tap tune any top for an extra fee. If this jim carves each of his tops with out first routing some of the wood away he is just adding hours of labor that are simply not needed or beneficial to end sound. Imagine if a person claimed that each toothpick they made was hand carved from a 2" x 2" x 2" piece of hard maple. Heritage will also carve the top of a custom to your specs, I know this because I am having it done.. (deep dish top)

Tap Tuning explained http://www.siminoff.net/pages/siminoff_boo...itcorexTAP.html

 

 

 

2. Jim uses a special, hand applied instrument varnish much the same as found on expensive violins. Many well known luthiers offer varnish as an value added upgrade. Each coat of varnish is hand sanded and rubbed and the final coat is hand buffed. Like most factory produced guitars Heritage uses lacquer who's primary attribute is that it applies quickly and dries without much sanding of buffing.

 

I have never seen a better finish on a guitar than on heritage. if you want a violin finish ie shellacked, you could ask... but why.. it will not affect tone to an audible point (though I bet Kuz could hear it) just kidding Kuz..Hell some super High end guitars come with poly..

 

3. Jim uses wood binding with purfing to accent the shape of the guitar. Heritage and most manufactures uses prefabricated plastic binding. The visual difference is obvious.

Heritage will do wood binding as an extra, at least I have seen some.. Jay wolfe has one. I like the plastic myself, but you are correct in binding/ornamentation other company's will offer far more..

 

4. As Jim builds each instrument the bracing is tuned to add to the acoustic qualities of the the guitar. See tap tuning, and I would imagine it is hard to tune the bracing before the top is attached

 

 

5. Each of Jim's necks are hand carved and fretted. The end result being a neck that is as straight as a piece of wood can be and the frets are even. Most factory instruments require fret work right out of the case.

 

Heritage necks are the schizzle, you will be hard pressed to find better. Heritage will do any frets size material you want for a price..

 

6. Last but not least Jim is available to make certain that his guitars will play as best they can and he has personal stake in seeing this happens.

Have you ever talked with any Heritage employee? Because I truly believe the new generation of heritage employee Ie Kate and Chris, have more pride in what they do than anyone out there..

 

When you find that guitar that is the one, you wont care who or when it was made.

Mark I have made several guitars in my garage that sound and play as well as any out there.. are they better? I would bet that Michale Tuttle could set up a 1960's silvertone to sound and play equal to anything made. But at what cost?

Find the guitar that you bond with, have it made? make it yourself? All the other stuff is just stuff.. I would Imagine you don't play well enough to notice the difference between a 800.00 dollar guitar and a 20,000.00 dollar guitar (not that I do)

If you want to collect them, there is fun in that too..

 

I guess my point is this, why worry about the who why and when. Heritage dose as well if not better than 99% of the folks out there. I sure don't play well enough to be able to notice better quality any where..

I have been to the factory and talked to the owners and employee's. I drank beer with them and played guitar with them and their families. I feel like I might even be part of the family just a little. That's why they are special to me..

come to psp iii and find out. or hell you live in town just go by for a visit.. If you don't click with them then find someone who you do click with. For me I can't think of anybody I would rather have build my guitars, than Kate and Chris and Jack and Bill and all the kids.. I can't wait for Aug 6th..

Peace

Lance

[Kuz]

Everything Lance said plus Heritage will/does tap tune the top of their archtop for a slight up grade.

 

AND could Vince Lewis, Kenny Burrell, Mimi Fox, Henry Johnson, ect...... all be wrong?!!! (and remember that Heritage doesn't pay it's endorsers)

 

Heritage based it's foundation and reputation on Archtop building.

 

I have spoken several times to our PSP3 secret special guest and with no probing or solicitation he has told me that Heritage guitars are the best he has ever played.

 

BUT (and everybody sit down) I have a one person hand-built Carolina Custom made by Terry McInturff (same design as a 150) that I love equally as well (not more, but equally) as my Heritage 150s.

IF YOU CAN SWING IT, GET BOTH. BUT I WOULD BET YOU WOULD LOVE A COMPARABLE HERITAGE MODEL JUST AS WELL!!!!!

[Kuz]

And one final thought....

 

The litmus test for owing a Heritage should always be......

 

DO YOU WANT A GUITAR AT LEAST AS GOOD AS A VINTAGE CLASSIC GIBSON FROM THE '40S-EARLY '60S WITH BETTER PLAYABILITY AND QUALITY BUT JUST AS GOOD TONE???

 

This would have been the question I would have asked your Jazzier friend. His answer may have been "No I don't want a vintage classic L5", then I would have said "Oh, you don't want a Heritage then."

[Steiner]

Wow!!! I knew I was a scientist by avocation but never, until today, dreamed I may be going mad.

 

+1 (agree + karma) Rotund Robert!

 

 

 

Mark that looks like a nice piece of wood..you will find that individual luthiers also have name brand added value, ie steve anderson, linda manzer, etc.

When you buy a guitar you should be looking for the guitar, not the resale value. but beware, there are luthiers who make claims that like some bigs brands just are not true.

 

Lets look at your points

 

1. Each of Jim's guitars are hand carved. Each piece of wood is shaped according to it's distinct qualities. Heritage shapes their tops and bodies in a machine. The wood is placed in a jig and shaped exactly the same as every other. With each step in the carving process Jim maximizes the tonal qualities of the individual piece of wood.

 

Heritage starts each guitar top in a jig Yes, but after the rough shape each top is hand sanded/carved to shape by a person on what I can only describe as the worlds largest belt sander. As for maximizing the tonal qualities Heritage will Tap tune any top for an extra fee. If this jim carves each of his tops with out first routing some of the wood away he is just adding hours of labor that are simply not needed or beneficial to end sound. Imagine if a person claimed that each toothpick they made was hand carved from a 2" x 2" x 2" piece of hard maple. Heritage will also carve the top of a custom to your specs, I know this because I am having it done.. (deep dish top)

Tap Tuning explained http://www.siminoff.net/pages/siminoff_boo...itcorexTAP.html

 

 

 

2. Jim uses a special, hand applied instrument varnish much the same as found on expensive violins. Many well known luthiers offer varnish as an value added upgrade. Each coat of varnish is hand sanded and rubbed and the final coat is hand buffed. Like most factory produced guitars Heritage uses lacquer who's primary attribute is that it applies quickly and dries without much sanding of buffing.

 

I have never seen a better finish on a guitar than on heritage. if you want a violin finish ie shellacked, you could ask... but why.. it will not affect tone to an audible point (though I bet Kuz could hear it) just kidding Kuz..Hell some super High end guitars come with poly..

 

3. Jim uses wood binding with purfing to accent the shape of the guitar. Heritage and most manufactures uses prefabricated plastic binding. The visual difference is obvious.

Heritage will do wood binding as an extra, at least I have seen some.. Jay wolfe has one. I like the plastic myself, but you are correct in binding/ornamentation other company's will offer far more..

 

4. As Jim builds each instrument the bracing is tuned to add to the acoustic qualities of the the guitar. See tap tuning, and I would imagine it is hard to tune the bracing before the top is attached

 

 

5. Each of Jim's necks are hand carved and fretted. The end result being a neck that is as straight as a piece of wood can be and the frets are even. Most factory instruments require fret work right out of the case.

 

Heritage necks are the schizzle, you will be hard pressed to find better. Heritage will do any frets size material you want for a price..

 

6. Last but not least Jim is available to make certain that his guitars will play as best they can and he has personal stake in seeing this happens.

Have you ever talked with any Heritage employee? Because I truly believe the new generation of heritage employee Ie Kate and Chris, have more pride in what they do than anyone out there..

 

When you find that guitar that is the one, you wont care who or when it was made.

Mark I have made several guitars in my garage that sound and play as well as any out there.. are they better? I would bet that Michale Tuttle could set up a 1960's silvertone to sound and play equal to anything made. But at what cost?

Find the guitar that you bond with, have it made? make it yourself? All the other stuff is just stuff.. I would Imagine you don't play well enough to notice the difference between a 800.00 dollar guitar and a 20,000.00 dollar guitar (not that I do)

If you want to collect them, there is fun in that too..

 

I guess my point is this, why worry about the who why and when. Heritage dose as well if not better than 99% of the folks out there. I sure don't play well enough to be able to notice better quality any where..

I have been to the factory and talked to the owners and employee's. I drank beer with them and played guitar with them and their families. I feel like I might even be part of the family just a little. That's why they are special to me..

come to psp iii and find out. or hell you live in town just go by for a visit.. If you don't click with them then find someone who you do click with. For me I can't think of anybody I would rather have build my guitars, than Kate and Chris and Jack and Bill and all the kids.. I can't wait for Aug 6th..

Peace

Lance

[Guest mgoetting]

Good conversation.

 

I grew up sharing dinner tables with Gibson families and am quite familiar with Heritage. I am one of their biggest supporters. I really do get it.

 

This friend of mine has nothing against Heritage and plays them, much better than I ever will.

 

I posted his comments to get your opinions.

 

Lance, you are right. I don't think I can hear the differences between a good Sears and a Stradivarius hardly. (Well, maybe I'm overstating.) Heck, I'm still exploring the wonders of my Roland Cube 80x. It's really amazing. But that's a different thread!

 

There is something cosmic about a craftsman spending a hundred hours on a musical instrument. Since we can't quantify that, it may not exist for everyone. As a student of cosmology and string theory, I understand our "doors of perception" are limited, and that most of what exists we cannot sense most of the time. But I reckon that's yet another thread.

 

http://en.wikipedia.org/wiki/String_theory

 

http://superstringtheory.com/

 

Now I must change a tire.

[GuitArtMan]

In the end, it's only a guitar. I've owned guitars that had all the right ingredients that in the end were uninspiring to play. Then I've owned guitars that one would laugh at but played and sounded great. One thing you didn't mention was price. My guess is your friend has three or four or five times as much money in "Jims" guitar as he has in a Heritage. I truly hope he did get something "better".

[Guest mgoetting]

The luthier is building a large boxed guitar for him. When it's done he will sell the one I posted for $3400.

 

I have no idea how much he payed new for it or how long he has had it. He's not trying to sell it now.

[pcovers]

In the end, it's only a guitar.

I wish I had been that succinct.

[Patrick]

To mgoetting; Mark, I think your comparison would have been much more relavent if you were comparing a true "assembly line mass produced" type of a guitar to the individual luthier. As compared to Heritage, I agree with each and every reply I've read. In fact, I'll go even one further than that . . . there may even be advantages to Heritage's processes and additional eyes and hands on the guitars. Each of the skilled and talented people working at Parsons Street are indeed craftsmen (and woman). There are guitars that are manufactured and assembled . . . then there are guitars that are crafted. Heritage's guitars are crafted . . . they're not to be considered as manufactered and/or assembled.

[cod65]

at a certain point everything is subjective. 'mojo' can easily be (like the Wizard's gifts of courage and intelligence to the Lion and Tinman) a product of the imagination.

 

A certain Guitar Player mag cover comes to mind, with David Lindley playing a Sears Silvertone. Man, those things are like playing a cheese grater!

 

Varnish and shellac do sound good to me, but don't splll a drink on it!

[brentrocks]

im not an achtop guy, but as far as solid bodies, i have had a couple custom builds and i always go back to my Heritages

[Guest mgoetting]

Of course they are craftsman at Heritage. Each is responsible for a portion of the making of a guitar. The custom luthier is responsible for virtually every step of the creation.

 

There are merits to each approach. Someone who makes thirty necks in a day probably does a slicker job on necks than someone who does one a month. And there's an economy to specialization. On the other side, there's devaluation of the individual with consequent diminished feeling of ownership of the final product when a worker is only a contributor to the process. This mandates a separate person for QC, who is also anonymous to the purchaser. The guitar is a corporate, not an individual, creation.

 

This is all about what was lost and gained with the industrial revolution.

 

Before I get lynched, let me say that I'd go for the Heritage. Objectively, I like what they make- the tones, the specs, everything. Subjectively, I'm a big fan of the industrial revolution. More importantly, I like the vibes of Heritage. I can't quantify that and I don't even need to try.

 

Corporations can have hearts, sort of.

[Patrick]

Of course they are craftsman at Heritage. Each is responsible for a portion of the making of a guitar. The custom luthier is responsible for virtually every step of the creation.

 

There are merits to each approach. Someone who makes thirty necks in a day probably does a slicker job on necks than someone who does one a month. And there's an economy to specialization. On the other side, there's devaluation of the individual with consequent diminished feeling of ownership of the final product when a worker is only a contributor to the process. This mandates a separate person for QC, who is also anonymous to the purchaser. The guitar is a corporate, not an individual, creation.

 

This is all about what was lost and gained with the industrial revolution.

 

Before I get lynched, let me say that I'd go for the Heritage. Objectively, I like what they make- the tones, the specs, everything. Subjectively, I'm a big fan of the industrial revolution. More importantly, I like the vibes of Heritage. I can't quantify that and I don't even need to try.

 

Corporations can have hearts, sort of.

 

Mark: I usually agree with most of what you say and think. However, I couldn't disagree more as it relates to your comments on "devaluation of the individual with consequent diminished feeling of ownership of the final product". That might be some theoretic BS you learned in some school somewhere . . . . but it doesn't always apply. As is the case in this situation. You totally discount the value of how each of those involved at Parsons Street feel about being part of the team that created the final product. They know that they are interdependent, and they thrive on it. There is not one person there who is of the opinion . . . "I really don't give a shit how the guitar turns out . . . I did the neck and I'm sure that it was done correctly". Each and every one of those craftsmen (and woman . . . I should just start saying craftspeople) take pride and complete ownership in the end product and in the team concept and approach. You and I could sit and debate the pros and cons of the individual builder vs the team built approach, as it is at Heritage. And there are positive and negative aspects of either.

 

Don't get me wrong, I am a big fan of the concept of having only one set of hands ever touch a guitar from its inception. As I said before, Aaron Cowles of Vicksburg MI, a former Gibson employee as well, has hand crafted me a 17" X braced arch top that is one of the finest arch tops I have ever seen or heard. .. . and he is currently building me an 18". However, Heritage is a very unique situation. It's like you have 20 or so people thinking and acting like one.

[Jazzpunk]

That's a fine looking guitar and a great price for a one man shop.

 

I think there is something very special about having a single luthier make the guitar of your dreams. Usually it's a much pricier endeavor though. If you feel this luthier has the 'mojo' I'd say jump on a custom order before his reputation grows and his prices sky rocket!

[tulk1]

Just because I don't want to be left out --- I have two guitars made by a one man shop luthier. Chris Stambaugh of Stambaugh Designs. It's all Chris does. His forte` is bass guitars. But he builds 6 strings when asked. My Stambaugh Tele-esque is a wonderfully put together guitar. The biggest flaw with it is I had too much input on certain aspects. Should have left more of that to Mr. S. My Heritage guitars are, well ... much better guitars than the Tele-esque. The bass, however, is one of the best guitars I own. I told him I wanted a body style, a neck profile and headstock style. The rest I left up to him. What an amazing piece of functional art. Hmmm, not sure what my point is, other than I needed more post counts 'cause I'm chasing Brent's.

[Jazzpunk]

There is one thing I'd like to comment on as far as the idea of 'better' is concerned. I admire many different builders and definitely enjoy dreaming about owning a guitar from the likes of Tom Ribbecke or David Myka some day when I win the lottery!

 

That said it ultimately comes down to feel and tone for me. This is something that most Heritage guitars seem to have in spades. If a guitar does not have both of these characteristics than it is a worthless hunk of wood and nothing more.

 

I know tone is subjective but for me personally, I'd say 99% of the guitar tones that I consider to be benchmarks were all recorded on production line guitars like ES-175's, Strats, Les Pauls, etc.

 

Kinda makes you wonder where the real magic comes from don't it?

[Guest mgoetting]

Mark: I usually agree with most of what you say and think. However, I couldn't disagree more

 

 

Can't win 'em all.

 

I know what you're saying. The Heritage team is probably the best in the guitar world. I would never knock them.

[blueox]

A guitar has several areas that can be judged: playability, appearance, tone, and so on. Heritage reigns high in all areas, for my money. Heritage also has something that many individual luthiers do not have: experience. Technically, Heritage begain in 1985, however it can really trace its beginnings from around 1894 when a guy named Orville Gibson began selling his hand-made instruments out of a one-room workshop in Kalamazoo, MI. Too many luthiers are Johnny-come-latelies that copy classic guitar shapes and construction methods of others. Along with everything else, Heritage offers that elusive something called soul. That can be found in any off-the-shelf Heritage. Of course, if one wants something even more different, a custom-order Heritage might be the way to go.

[Gitfiddler]

Heritage made vs. completely custom built is the thread topic.

 

To me this is an apples to oranges issue since producing one-off, super high-end archtops is not what Heritage Guitars is all about. There will always be great luthiers out there making incredible guitars. I've owned and played a few custom made one-off guitars. Yet I find more good old fashioned joy from playing my Heritages.

 

Here's what the President of Heritage has to say about their purpose and philosophy.

 

 

Vince Margol discusses Heritage Guitars

[Guest mgoetting]

A guitar has several areas that can be judged: playability, appearance, tone, and so on. Heritage reigns high in all areas, for my money. Heritage also has something that many individual luthiers do not have: experience. Technically, Heritage begain in 1985, however it can really trace its beginnings from around 1894 when a guy named Orville Gibson began selling his hand-made instruments out of a one-room workshop in Kalamazoo, MI. Too many luthiers are Johnny-come-latelies that copy classic guitar shapes and construction methods of others. Along with everything else, Heritage offers that elusive something called soul. That can be found in any off-the-shelf Heritage. Of course, if one wants something even more different, a custom-order Heritage might be the way to go.

 

 

I understand what you mean. But I wouldn't buy a Ford just because they've been making them for over a hundred years (and I worked for Ford!). Before anyone gets excited, let me clarify. I would buy a Ford because of their current quality and because my relatives and friends work there.

 

We are on the same page as being Heritage fans.

[Guest mgoetting]

Heritage made vs. completely custom built is the thread topic.

 

To me this is an apples to oranges issue since producing one-off, super high-end archtops is not what Heritage Guitars is all about. There will always be great luthiers out there making incredible guitars. I've owned and played a few custom made one-off guitars. Yet I find more good old fashioned joy from playing my Heritages.

 

Here's what the President of Heritage has to say about their purpose and philosophy.

 

 

Vince Margol discusses Heritage Guitars

 

 

I saw this. He's right. Heritage does manufacture but they are liberal about customization.

 

I'm a part owner of a Burger King (long story, not my plan, just worked out). They have a standard menu and customize to requests. Same deal. Except Heritage won't cause coronary artery disease (unless you're stressed about your guitar order being a few months late).

 

Yes, it's true. I'm now comparing a premier guitar to a burger.