Heritage Guitars: Squaring tradition with evolution

Heritage Guitars has been around since Gibson Guitar pulled up stakes and headed down south in 1985. But in the past few years, they have had three sets of owners, and we’ve had experience with all of them. There was the “original” Heritage owners, a “transitional” local ownership that purchased the company in 2016, and ultimately a sales and marketing agreement with BandLab in 2017. Today, Heritage guitars is effectively operated by BandLab.

The acquisition by BandLab sparked significant controversy amongst Heritage fans, and even some of their employees. This type of blow-back is not unusual when an iconic brand — even if the iconic brand is the “other” brand — is taken over and changes are made. Just think back to “Pre-CBS” and how that evokes the good old days before the big bad conglomerate took over.

At first we were worried ourselves, and the early communications from the BandLab management team had us concerned relative to our potential long term prospects as a dealer. But now that we are a couple years down the road, we’ve been very impressed with the BandLab management of the Heritage brand. And here’s why:

Without launching into a bunch of marketing mumbo-jumbo. BandLab understands brand equity, and the power of a properly managed brand. They understand and appreciate the history and emotions behind Heritage name, and what it means to players and fans. But they are also realists, and for Heritage to survive they have to deliver consistent high quality product at a price point that is competitive with similar products. The “old” Heritage had an expansive catalog of product, of which probably 4-5 models made up 80% of the sales. BandLab took the classic “80/20” rule (80% of sales comes from 20% of the products) and slashed the number of models and variations available to dealers. While at first this seems reckless, it makes perfect sense. It allowed the factory to focus and optimize the processes around their most popular products, and deliver them quickly at a high level of quality. Where the “old” Heritage would take 4+ months to make a guitar, the “BandLab” Heritage will typically ship us one in a few days, and it’s good right out of the box. Most of models that are no longer available to us we would not have ordered anyway. And you can still get them, but you have to go through the Heritage Custom Shop, which is rightfully where they belong.

Around the time of the BandLab involvement, there was also internet chatter about the loss of traditional manual processes and the introduction of increased process automation. While we have no particular insight into the manufacturing processes at Heritage, what on earth is the problem with using a CNC machine to cut the rough profile of a body or neck? Cutting out a body by hand does not make it better, it just makes it more expensive and potentially less consistent. Have people do what people do best — like polishing, binding…detail work — and let machines do what they do best. Case in point: Every Heritage guitar is processed through a PLEK machine, and people seem perfectly OK with that. If “authenticity” means that a guitar company cannot evolve and advance their technology, sooner or later the guitar company will cease to exist, or decline into irrelevance.

We are personally comfortable with the BandLab stewardship of the Heritage brand, and they understand the needs of independent dealers, and the importance of maintaining brand equity. In the past year BandLab also reintroduced the Teisco and Harmony brands, with a similar degree of sensitivity towards respecting history without being shackled to the past. The world is littered with brands and companies that have been mishandled, mangled and destroyed. Heaven knows Gibson Brands had their fair share of brand acquisition flops along to the road to bankruptcy. Successful brands are those that blend a respect for history while simultaneously adapting to change. We think that BandLab understands this better than most companies, and that Heritage is in good hands.

UpFront Guitars Goes To NAMM 2017

OK, so we just got back from NAMM, and as always it’s a fun if not tiring and slightly deafening time. This is not a blow-by-blow rundown of the show, but a few quick observations on what we did and saw.

G&L – G&L did not display at the show, but the factory is 20 minutes away and so we dropped in for a tour. We spent quite a bit of time there, and got a very detailed tour from Ben the Shop Foreman (I won’t throw out a lot of names because I did not ask them that ahead of time. But you can read their build sheets). There is a lot that goes into a guitar, but the process takes place in four major sections: Wood shop, paint, polish and assembly. It’s pretty compact facility and G&L builds in a day what Fender probably builds in 15 minutes. It’s a group of people who build guitars and love doing it. And they are doing it better than ever.

The NAMM Show – With over 1100 exhibitors for just “fretted instruments” it begs the question, “how on earth does one make up their mind on anything?” The shear number of guitar manufacturers makes you wonder how anyone survives. Especially the small builders who are often making very expensive guitars in low numbers. Some of their work is exquisite and some just weird. But how they carve out their market niche and clientele seems challenging to say the least.

The amplifier market seems to be a tale of two cities: The big and fairly big guys like Marshall, Fender, Orange and Vox, and the boutique-ish small builders scattered throughout the show. With margins very thin on amplifiers, many of the small builders seem rather disinterested in dealers, and focus more on direct sales or getting picked up by Sweetwater. Supro is currently occupying the space between average and boutique, and the guitar world needs more of that. For us, the search continues for amp line that is inspiring and reasonably affordable. Sigh.

Keeley Electronics – Except for our beloved Solodallas, we have deliberately avoided pedals. The whole market seems insanely over-saturated, and like a lot of things at NAMM, how on earth does one choose? But pedal effects are a fact of life, and I have a pedal board, so who am I to judge? So we chose Keeley electronics. Why? They have a comprehensive line that covers just about everything, they sound good, are well built, and they shy away from gimmicks and silly stuff, like calling a volume knob “urgency” and nonsense like that. Pro-level pedals for regular folks that won’t cost you $400.

Heritage Guitars – We’ve been looking at Heritage for about three years, but never quite made the jump. We’ve played a couple and they are awesome, but long delivery times, minimal marketing, and the secondary market made us skittish. But they’ve got new ownership, a renewed emphasis on artist relations and marketing, and better operations management that should bring down lead times and bolster consistency. So we are going to take the plunge, and while it will take 3-4 months to get our first batch, we are really looking forward to it.

Norman Guitars, Art and Lutherie – Acoustics have never been a big part of our business, but they are a big part of the market. We’ve dabbled in some higher end acoustics, but I’m convinced that if you can’t have Taylor or Martin, you’ll be forever swimming upstream. Their names are synonymous with the genre, like Kleenex. But everyone needs a solid, affordable acoustic, and we decided to go with two of Godin’s other historic  brands, Norman and Art and Lutherie. Both have been given a little bit of a reboot, and the new A&L guitars in particular have some very cool “Americana” finishes that are hip, and fit in well with singer-songwriter coolness. Take one to Brooklyn, and you’ll be an instant hit.

Best Booth Venue for Music – Taylor. The Taylor room always has interesting people, a nice stage and great sound. And usually a surprise or two.

Biggest Marketing Splash – D’Angelico. Where did these guys come from? Somebody has put some serious bucks into what I thought was a little jazz box company. Even Ukes for heaven’s sake. And Bob Weir was the invitation-only headliner on Friday night. It will be interesting to see where this goes.

Pianos, Band and Orchestra – This is not a guitar show, and the amount of space occupied by Piano, B&O and Sheet Music makes one think twice about what makes the industry tick.

Metal Heads – They keep the guitar industry alive and are the guitar’s most faithful supporters, even more than Blues. The autograph line for Steve Morse at the Ernie Ball booth always wraps around at least once.

Line 6 – Was not even in the convention hall, but in a ballroom at an adjacent hotel. I don’t follow the logic on that. Would you take a long walk through a crowd and security to look at a Line 6? Me neither.

Post Show Music in the Hotels – Take a nap, do whatever, but make a point of hanging out a the host hotels after the show closes for the night. The music is frequently good — at least performed well — and you never know who you will run into.