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Does anyone know the origin of this 1992 Super Eagle. It is quite interesting.
The Venetian cutaway, apparent greater rim depth, and Epiphone-style headstock (as well as premium woods) make it most remarkable.
Check out the gorgeous back and rim:
Last edited by Greentone; 08-16-2016 at 10:07 PM.
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Happiness is a warm gun, had my finger on the trigger a couple times until the Super Patrick called to me from the other room. It is indeed gorgeous !!!
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I don't know the history on this guitar specifically. But I saw it for sale on the East Coast maybe a year ago. I wonder what happened.
The Florentine cutaway was always an option on the Heritage archtop. A few years ago it was a $500 upgrade. In the early 90's I'm sure it was less.
The argument for the Florentine cutaway is a slightly better high fret access. Some like the more angular appearance, too. As best I can tell, there is no real difference in tone.
From Heritage's perspective, the Venetian cutaway takes fewer man hours to make. But some of the rims will crack during the bending process and will then become firewood. There is less lumber lost with the Florentine.
When Patrick asked for the Super Patrick (really he wanted a compact Super Eagle), he requested a Venetian cutaway. Patrick supplied his own lumber for the rims, back and top. Heritage (Bill Paige) warned him that there is a small risk that the rim wouldn't survive the bending and that they had no extra maple to work with. After serious deliberation, which I recall well, Patrick went for the Florentine. I strongly advocate for that cutaway from the beginning because, well, I just like it. Heritage did not charge him any extra for it anyway. It turned out beautifully.
Back to the blonde SE. Until about the mid 90s, Heritage would put another headstock design on their guitars for an upcharge. You had to send a tracing or detailed diagram and they'd do it. So there are others out there with unusual headstocks. I've included one below.
That SE looks fantastic. It has triple binding on the f holes. The guy who ordered it obviously liked cloud inlays. The woods are spectacular. But what is breathtaking to me is the nice oxidation of the lacquer. That deep, slightly uneven yellowing requires a lot of time to occur. In the case of this guitar, checking would only add to the character.
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Thanks for the history lesson, Mark. I really dig that big blonde Super Eagle. It's a naturally aged beauty. I bet it sounds great acoustically and electrically, too.
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It looks like there's a little yellowing on the nut. If so, Heritage didn't wipe off all the nitro so very long ago.
When I brought my Heritage in to the factory a few days ago, I pointed out the yellow staining on my nut and asked about that and also why the yellowing of the binding is somewhat uneven and irregular. One of the luthiers said that with natural finished guitars they don't have to scrape the binding. Some of the lacquer stays on the binding and oxidizes over the years. And some is accidentally left on the nut.
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I've always liked that sort of aging. My "white" (pretty yellowed) Gibson SG Custom from the mid-60s was like that by the mid-70s. I thought it was pretty cool. The guitar wasn't banged up or dinged up in the least...just some yellowing of the white finish and the binding/nut because of the aging of the nitro. It set off the ebony board and headstock veneer really nicely.
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I bought a 1920s L-5 from a master jazz player a few decades ago- Bryce Roberson. The binding was yellowed from age and Bryce had yellowed from jaundice due to his alcohol use. Gigging in bars many, many nights over the years contributed to the yellowing on both of them.
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Yeah, THIS one !! Boy fellas trust me when I say THIS IS IT for me...
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Mike,
I am glad someone who is on the forum picked this one up. It is a beauty.
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I would definitely be done buying guitars if I had something like that. I'm glad someone on the forum got that winner.
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My only regret, and I mentioned it before, is the headstock shape and the lack of the Eagle on the Vine inlay on the headstock. I'm thinking if this thing plays and feels THAT GOOD and I think it will from speaking with the previous owner, I'll talk to Heritage about putting one on the guitar... Not changing the headstock shape but having the inlay done right on the existing one. Marty Grass what is your opinion. Man I WISH Patrick could weigh in on this one...
Big
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OMG Big, that is a pace that is hard to keep up with :-) ... This is another real beauty! I'm sure your insurance guy fell in love you :-)
no seriously - that is a fabulous collection that you have put together real fast! Play it and enjoy it ... I often spend time going through my guitars thinking "We're all just the hosts of these wonderful instruments" ... And is such a source of joy!
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WOW nice axe ! Mike leave that headstock alone. It is very cool and one of a kind. It is understated pure class.
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+1 on what Vinny said. This axe should remain as it was built. It makes it even more unique. Just like your "Super Patrick". Congrats in advance.
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Congratulations, Very attractive guitar and while you did not ask me, I would vote to leave the headstock alone. The simplicity and uncluttered look go nicely with the cloud inlays and the rest of the guitar. Now about that 12 step program for GAS.
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Congrat's BigMike. It's your guitar. Do as you wish with the headstock. The value won't be affected one iota for it's a one off custom. Personally, I'd install the Heritage Eagle to make it a full Heritage SE...now it doesn't look like a Heritage, for my taste.
Last edited by 2bornot2bop; 09-11-2016 at 03:03 PM.
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Frankly with my weak eyes it looks too much like a Eastman headstock (not that that's a bad thing) and this IS a Super EAGLE !!! And that backside looks like something out of a Russ Meyer movie... Hubba hubba come to Papa...
Last edited by BigMikeinNJ; 09-10-2016 at 03:21 PM.
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As far as the appearance is concerned, let me use my 18" Heritage Gretsch as an example. I also wanted to have an identifying inlay installed. My headstock is similar to yours, Mike and it says in plain letters Gretsch. We all know it plays way better than any Gretsch ever made (except maybe the one played by Freddie Greene) and it's made far better in many respects. Since we all know who made it, it's essentially a Super Eagle and if we take it even a historical step further, it's a fully acoustic Super 400 since it was made by some old school Gibson experts. When I took it out to play, the greatest majority of people in the audience didn't know the difference between a Gretsch or a Grotsch, so the only one affected was me. Therefore, YOU know who made the instrument, YOU know how it plays, WE know who made the instrument and how it plays. I'd leave the headstock alone and save the money. I learned how to rationalize this argument in high school geometry. Good luck with your decision.
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It's strictly up to you to do what you will with your guitar. I seriously doubt there would be any ill effects from adding and after market eagle. I could do the installation of an inlay on mine and refinish the headstock myself but I'd probably wind up putting on a Chrysler Building inlay and call it a Gretsch East 42nd St. Synchromatic or maybe a Lexington Avenue.
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You know the merchant had this listed on eBay for $4700.00 and Reverb for a bit less with a best offer, I took a chance on Labor Day and offered them $3800.00 plus I'd pay shipping... I AM anxious to see how nice the headstock looks in person. Face it man, it's a Custom Heritage from 1990, gonna be a tasty guitar... Finger licking good !
Last edited by BigMikeinNJ; 09-11-2016 at 06:51 PM.
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I sent the best offer on Labor Day, the guy is at a family picnic when his cell tells him he has mail from Reverb. He calls me and in 10 pleasant minutes he's made $3800.00 probably while sipping on a beer. I gave him a couple good sources for cigars in the process and he got a far better price on his favorite cigars.
Box is here, UPS had to use a "furniture box" I opened it out at the dumpster, never seen more peanuts, and then tore down the box into smaller elements with a box knife. A little bushed. The case is safely enrobed in triple bubble wrap. The ubrobing will commence momentarily, I got a little tucker out with all that hauling and cutting.
10 minutes later: she's unwrapped and on the casting couch in my office. LOL... Really lovely, so light weight !!! What a nice piece. I'll get my usual lackluster photos up in a bit... Doggone it's nice, the headstock actually looks very pretty...
Last edited by BigMikeinNJ; 09-12-2016 at 04:26 PM.
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Like I said she is light as hell, hard to believe when you go to pick her up but true. Here ya go. Gonna let it rest about 90s minutes while I have dinner at my local mexican place. Then tune her up and spend part of the evening on the porch playing. Never seen someone remove the bridge and then tighten the strings way up thus holding down the tailpiece. Expert packing inside the case in every way (folded newspaper padding the fingerboard and all crevices where there might have been some wiggle or give, all tightened down nicely). Top notch dealer.
Big
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It wasn't hot here today and the guitar felt quite cool so after 30 minutes I tuned her up and played my obligatory new/old Everly Brothers tune DON'T BLAME ME... on her (need 3 of you to do the guitar parts, listen to them, amazing... Chet Atkins you think ??). WOW a very comfortable and fast neck. I kept going up too high because the neck seems so long when I would reach for the upper bar chords I was two frets above where I was supposed to be. LOL... Now for some porch time.
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