CAGinLA
Active member
- Joined
- Jan 4, 2016
- Messages
- 489
You can only sell so many of these when they are almost exclusively being purchased by the same small pool of wealthy customers.
Another thing that always got me was their inconsistency with hardware ageing (see fender custom shop for how to do it). I accept you never going to get similar tops - ball park yes is the best you can expect. But I’ve seen nickys with aged pup covers and poles my pup covers look brand new, so quality control and ageing were suspect.
.....and let's not forget those CC original guitar owners who were stiffed by Gibson when they went into Chapter 11. All outstanding royalty payments as of that date went up in smoke.
The whole process was a royal pain in the ass and, IMHO, the guitars were anything but "choice".
Most, if not all, CC guitars were aged by third parties outside the Gibson factory (and one in particular). I have photos of one of the Ralphs production run getting the good news.
Did not know that. I was lead to believe it was done in the area of the shop with the 10 or so 'aging' people.
Mine were done in house. Never heard a mention of them being done elsewhere. :ganz
Correct me if I'm wrong, but weren't most of the CC models sold out and completed by the time Gibson filed for Chapter 11 bankruptcy? That being the case, many of the original owners who collaborated with Gibson more than likely received timely royalty payments. And we're not talking about huge sums of money here either.
Payments were, if memory serves, to be remitted quarterly. In general it was $100/guitar, most runs limited to 300 (although I have a vague memory that they lied to Tom about numbers produced on Sandy). That's $30k.....rather in my pocket than theirs, and not entirely insignificant to most. The early CC runs were probably paid out in full, but that's certainly not the case for the later runs.
In my case, I directed that Gibson pay Mick Ralphs 100% of production royalties (it's his name they used, so it seemed appropriate).............he's still waiting!
So, Gibson shafted some CC original guitar owners, shafted third party builders, shafted "celebs" names used for branding, produced generally crap guitars that bear no real resemblance to the original..........and kept all the money.
As Mark Agnesi would probably say, "Let's keep it real Gibson".
Payments were, if memory serves, to be remitted quarterly. In general it was $100/guitar, most runs limited to 300 (although I have a vague memory that they lied to Tom about numbers produced on Sandy). That's $30k.....rather in my pocket than theirs, and not entirely insignificant to most. The early CC runs were probably paid out in full, but that's certainly not the case for the later runs.
In my case, I directed that Gibson pay Mick Ralphs 100% of production royalties (it's his name they used, so it seemed appropriate).............he's still waiting!
So, Gibson shafted some CC original guitar owners, shafted third party builders, shafted "celebs" names used for branding, produced generally crap guitars that bear no real resemblance to the original..........and kept all the money.
As Mark Agnesi would probably say, "Let's keep it real Gibson".
So, my oft repeated question in relation to Gibson's new dawn little house on the prairie, everything's coming up roses etc etc ad nausea nonsense..." who didn't get paid...? " is finally answered.
A laugh a minute this eh Lads?
That's the upside/downside of Chapter 11 bankruptcy...depending on which side of the fence you are on.
Sadly, Mark Agnesi's mindless parroting adds zero to Gibson's credibility, he comes across as a hired mouthpiece and nothing else, maybe the younger kids admire him but I personally loathe his arrogant manner
So with regards to actuall quality of these CC guitars, what would you guys recommend for someone looking to get one of these, are they really worth the average 8000 usd price tag? They cost as much as true historic murphy aged guitars, and it makes me wonder if they live up to that monster price tag, or I am basically getting an inflated historic with some random aging
In my case, I directed that Gibson pay Mick Ralphs 100% of production royalties (it's his name they used, so it seemed appropriate).............he's still waiting!