ну если даже профиль грифа и состаривание не стараются сделать нормально) а по звуку это обычная решка, как р9, потому что сделана из того же дерева, теми же руками рабочих Гибсон Кастом)
... и добавил:ну а про то как делают решки тоже есть нарекания)
http://www.lespaulforum.com/forum/showthread.php?167254-Bavarian-58-to-57-Conversion&p=2148505&viewfull=1#post2148505Florian wrote me the following:
" On these pictures you see one of the reasons why the Historic Reissues
don´t have the long sustain and the tonal quality of the originals. The neck
is glued into the pocket after the fretboard has been glued on the neck.
The guys at Gibson apparently don´t know how to program their CNC-routing
machines. The bottom of the longneck-tenon routing is way too deep for the
tenon. The result is that the bottom of the neck does not get in touch with
the wood of the body. There even is no drop of glue in this area, so the
legendary longneck-tenon Gibson claims to produce mutates into a bad joke.
There is actually no transmission - you guys play on air. Max: you don´t
since this moment on.
Kind regards,
Florian"
Unfortunately I have to tell you that it´s even worse. The most neckresets I have done on historics show these tenons (as in the picture). The bottom: no glue, just air. On the one side a loveless piece of mapleveneer, size: like a stamp. It´s for holding the neck in place to align with the centerseam of the mapletop. The left side of the tenon is glued with polyurethane-foam-glue. It holds the neck in place. So the longneck-tenon is a bad joke. A neckreset is definately needed within a makeover if you want TONE.
кратко- мастер пишет что на большинстве решек что он переделал, гриф в кармане висит в воздухе, карман фрезерован слишком глубоко в корпусе, и во многих решках он нахожил пустоту между нижней частью тенона грифа и корпуса
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