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Showing content with the highest reputation since 10/22/2019 in all areas

  1. 6 points
    Just completed my latest retirement project. Refinished a Philco radio cabinet from 1940s and inserted a Ceritone Mini 20 amplifier. Sounds great and best of all my spouse likes having it in our living room because of its appearance!
  2. 3 points
  3. 3 points
    Also, the 535 has 'solid' rims. No 335 has ever had that feature. And one of my favorite differences between the two is that the 535 has the input jack mounted on the rim. I'm not aware of any 335 with a rim mounted jack. My take on it is that the Heritage founders were making subtle changes (improvements?) to what they'd been building for Gibson.
  4. 3 points
    I don't think you're recognizing the scope here. Walk into any guitar store in the world or just your local guitar center. Take a look around and count how much of the stuff on the walls is based off of (with tiny changes for, ahem, legal purposes) and/or directly using shapes/designs/parts/etc developed right in the main building on Parsons street? We're talking millions of guitars made and a huge portion of their history lies right there in lil' ole Kalamazoo. Even the "modern" stuff is just tweaks on Kalamazoo stuff. Thus, given the immense impact Parsons street had on the guitar world it's wonderful that the building and people of whom some were multiple generations involved had still been there, in some fashion, working in the tradition many many years later the right way. I don't know a lot about India beyond a trip to the local restaurant so as to what world changing things developed there that branched out which compares to Kalamazoo as such I've no clue. I don't think I'm romanticizing the blunt facts of the matter. However, we can certainly quibble of the materialist approach of "who gives a **** an axe is an axe" which I understand that side of it too. But, damn, seriously, the impact of Parsons street and the people in Kalamazoo to the guitar world can't be overstated at any level of hyperbole. Oh well.
  5. 2 points
    What KBP 810 most eloquently said...and speaking from the standpoint of the guy that was the first to pen the phrase, over and over again... Boutique amps for boutique guitars, Boutique guitars for boutique amps!
  6. 2 points
    Ha...rjsanders is the king of boutique amp knowledge and go-fast boats. That "wooden cabbed amp" you referred to is a lowly first edition '98 Fender Blues Jr., with BillM mods and a Tone Tubby speaker. Sounds great and doesn't weigh much more than a standard B.Jr. If I consider selling it, I'll post it on the HOC first. For now she's happy in Gitfiddler land.
  7. 2 points
    Ok. I see what they're doing. As the volume increases, the amp interacts differently. So, in order to get the effects at lower volume, you need something to kick in the different sounds at a lower volume. In essence it behaves like an attenuator. For the $999 I can get a real used tube Twin with all the glorious sound attributable to the real amp. Not Fender's best resolution toward replicating an original. To me, I'd rather have real tube interaction until they get the quad core processor to behave better than the original Twin. Perhaps the octal core version they release in a couple years. My pet peeve with modelers is that the don't interact the same as tubes. Yes, there are some good (expensive) modelers out there but they continue to improve and render previously released models worth very little. The other characteristic I don't like is the inability to repair solid state amps. They are disposable; something goes wrong and you get a new one. The good news is that Guitar Denter sells both versions (SS and tube). Place them side by side and try it. Better yet, go with a friend and see which sounds better! I apologize for being an old, stick in the mud. Every time I've played next to a SS amp, I can't help but feel bad that my friend has bought in to the hype. Give me big iron or give me death! I know how to use a dolly. Anyone remember @rjsanders? Boutique amps for boutique guitars! @Gitfiddler - Let me know when you're selling that Gorgeous wooden cabbed amp. I bet she's heavy and worth every Oz.
  8. 2 points
    I made a quick iPhone video of the schaller neck pickup tone in this guitar just noodling on a blues. Please ignore constipation guitar face! 😂 not sure why I stopped on the iv chord. Thought it was getting too long to upload I guess. https://youtu.be/eepkiTE_IbA
  9. 2 points
    Speaking of memories. https://web.archive.org/web/20070623101616/http://www.heritageguitar.com/Heritage 2005 Catalog.pdf
  10. 2 points
    Everyone should have a "Vader"
  11. 2 points
    I was so poor that I couldn't buy half interest in a free lunch.
  12. 2 points
  13. 2 points
    Its funny that people used to complain that they couldn't buy a Heritage because they didn't sell through places like GC, MF or Sweetwater. They simply didn't have the staff and facility to crank out the numbers that it would take to supply those places, especially with the broad catalog they had. Plus the largest number of models were archtops which aren't the biggest sellers. I've said this before, but I think that Marv, Jim and the rest of the old staff just loved making those nice archtops. They take more effort and time than cranking out a 137 slab or even a 150. The company HAS TO MAKE A PROFIT, or it wouldn't exist. Otherwise its an expensive hobby for somebody. So they have limited the line, updated the distribution channel, and concentrated on putting out a more consistent, and still high quality guitar. I think its a good path. As for the prices rising, I don't think they are outrageous. I look at Heritage in a similar light to folks like Anderson, Suhr, Collins. A Suhr or Anderson strat will cost you $2500-3000. I haven't bought anything simply because I've got all the bases pretty well covered with the ones I have. Likewise for amps. I keep looking at Ceriatone OTS and HRM amps, but I REALLY don't need one. I've got a half dozen amps and I can find a sound I like from one of them. I prefer the path they are on to the one that Heritage Amplification went down, or Hamer, or Parker, or Robin.
  14. 2 points
    For some reason my old photo links were bad, but here's my two H150s with my Gibson Historic RO. My darker H150 has a Faber bridge and tail on it now and a pickguard...
  15. 2 points
    Wait a minute, is it MINT Green? Haha... I crack myself up!
  16. 1 point
  17. 1 point
    Good one. I'll get out my Twin this week and give it a go, it's been a while. You jogged my memory, I had an Acoustic 4 x 12 / 200 w beast back in the early 70's. It was loud, not sure I was aware of other subtleties back then. And I had a LP SG back then as well. I've been kicking around the idea of getting an acoustic amp as I have one electric acoustic guitar that does not sound great with my tube amps. Maybe one of these new crop of amps can do double duty. Thanks, great info.
  18. 1 point
    Back in the1980s, a popular little amp in Britain was the Sessionette 75. Compact (about the size of a Blues Junior), reasonably priced and decent sounding, and at the time there was some concern about the future availability of valves/tubes so people were open to alternatives. They were well reviewed at the time, had an overdrive channel and a spring reverb tank. These days the can be had for around £150 - £200, but the best bit is that although they were discontinued years ago, the designer (Stewart Ward) has come up with a modification to the power stage which makes them more valve like. He calls it "Retrotone"... I picked one up for a reasonable price a few years ago, got it Retrotoned, recovered it with cream vinyl, and it's my go to amp for rehearsals or gigs where there's not enough room for the Drive King and 1x12 cab. I also swapped out the Celestion G12-100 for a Celestion G12 Neo Creamback, which is half the weight! I tend not to use the drive channel on the amp and instead partner it with a Seymour Duncan Twin Tube Classic o/d pedal. Here's a video where I was using it clean, with just the boost on the Nova System for soloing. The guitar is the VSB H150 with Bare Knuckle Stormy Monday p/ups.
  19. 1 point
    What do you need an attenuator for with solid state? It's not like you need to turn up the volume to get the circuit to give up the goods. Sounds quite gimmicky to me.
  20. 1 point
  21. 1 point
    For quite a few years I had an ES-347. It was really good, but now I have an H-535 with ThroBak ER Customs that feels and sounds better for me.
  22. 1 point
    rockabilly69 you rule 🙂
  23. 1 point
    Running a band, as I have said previously, can be a totally different experience to playing in one. Once I am up and playing, I enjoy the experience, especially when we are getting a good response from the audience. We seem to get that regularly, playing our local venues and pleasing the audience. finding new gigs is always a pain in the neck but it has to be done. A few of our venues are closing down, due to not being able to make it pay or dwindling club membership, and some just keep on booking us which is nice. Some are really popular venues and we compete with bands across the local scene to play their. We are getting known as one of the better bands in the area for what we do, which is great, but that doesn't mean that the competition isn't out there. However, issues arise that never should and when they come from your own band members it really hurts. We have one venue we play and go down very well at, it's called The Travellers Inn and is about 20 miles away from where I live. Unfortunately the two bookings we have for next year have had to be cancelled due to a mix up on their part, double booking with other acts who were booked their first - how these things happen is beyond me but they do. My way of dealing with this is to say OK, we will play another time. however, our other guitar player decided to tell Bev who owns the venue in no uncertain terms what he thought of her, using severely bad language and being very rude. Not only did he do that, he went on a public website used by venues and bands and posted even more vitriol about the venue and it's owner, again using unacceptable language and calling the lady concerned names that I was disgusted with. There was no need for this at all. I do not do business in this manner and I have taken a pride in how I deal with venues, which after all, are making a living from their clientele where as playing in a band for us is in effect, just a hobby. I find you get more with honey than you do vinegar, so when I have difficult situations I always find that being friendly is the best way to resolve them. So, I called the venue up, spoke to the owner who I know, and gave her an unreserved apology for how she had been spoken to and for the posts made by our other guitar player, who had no business in making such posts. I apologised for abusive nature of them and said how I was ashamed to be associated with them as they were made in the bands name. (Later on that night I was at a Wishbone Ash gig with our bass player who could not believe what I told him about these posts). Well, lots was said in our conversation and the venue owner very graciously accepted the apology I made and said she knew it wasn't me and that I and the rest of the band would be welcome with the exception of our other guitar player. Just right now it would crate more problems than it would be worth to replace him so in some way I have to deal with this to ensure nothing like this ever happens again. This matter will come up for discussion, but our other guitarist has had outbursts before, usually aimed at myself when I have had to tell him about something that he didn't like. While he would apologise later on very sincerely, I am now seeing a pattern of behavior which I won't put up with, and the other guys in the band don't like either. When I tried to ask him about all this he refused to discuss it with me. So at some point in the future this will have to be dealt with. As a result of this, I have told the other members of the band that unless they get a gig, they must stay out of the management role of the band. What Bev (the venue owner) Did tell me was that sometimes she is let down by bands and loses custom as punters come to the pub expecting a live band and there is none, as the let down has been at the last minute. So I told her that we would be willing to help her if we are able to. I was trying to changer her perception of us from a problem to a solution. she liked that and said she would indeed give us a call in such circumstances, so the relationship is on the way to being repaired. However, I think it will be 2021 before we get a proper booking there again, which saddens me very much. But Bev and I ended the phone call on good terms which enables me to go back with a new band or with a new guitar player. On a different note, I am on the hunt for another guitar to add to my tonal palate. As Heritage guitars are all but unavailable here in the UK I am looking at other makes and models. The ones coming on to my radar are PRS, Duesenberg, Musicmann and similar. I would love a PRS but at £3800 for a core range model I just can not afford one and I will not get into debt for one. Maybe a used earlier USA made PRS may be affordable, but certainly not a new one. I really like the MusicMann Silhouette HSH with trem, they play beautifully and are so comfortable strapped on so definitely a contender for a future guitar in the next year or so. But the surprise on the list is the Yamaha Pacifica 611VFM. This guitar has two Seymour Duncan pick ups, (not the cheaper ones) a Wilkinson Trem sysystem, Grover locking tuners and is superb to play. These are extremely competatively priced guitars and play and sound as well as guitars which cost much more. I like the simplicity of one tone and one volume control which is great when playing live. With myself, I have to have a job for a guitar to do before I buy it and this guitar would be very versatile. The neck is maple with the rosewood board. I am very impressed with Yamaha guitars, every one I've ever played has been a really good instrument, although I don't bother withe the cheaper end of the pacifica range. Yamaha seem to know how to make great guitars at a good price point, check out the Yamaha SA2200 Semi - fantastic build and playability. So that's if from me today, thanks for reading and best wishes to all, Mark.
  24. 1 point
    I love my 633 Drive King 50W head, and now Cliff Brown has produced a 26W combo version. Here he is putting it through its paces... He's also made a custom stereo 100W version with two 50w power stages - see the 633 Facebook page for details of that beast! If you're in the UK and in the market for a boutique amp, Cliff's your man.
  25. 1 point
    Anyone remember those crazy, beautiful custom Heritage guitars appearing on a regular basis here on the HOC pages? Custom orders for just about anything you could dream up (within reason), could be had, as long as it was based on one of the core design...and for a relatively good price. Even the special limited edition, anniversary and other custom models were always a special treat for us fans of the marque. Man, how I miss those days! These days, seeing a custom Heritage pop up for sale on the used market is a truly big deal to some of us. I still keep an eye out for unique old custom Heritage guitars, even though I'm GAS free. (Repeat that 10 times until you truly believe it!) Its just fun to see the work product of the original master luthiers at Heritage. With limited production of a limited selection of guitar models coming out of the Heritage factory these days, I miss the former custom creations...even the odd one-offs and special runs. Will the future heritage of Heritage Guitars include any of the original limited editions and custom models? Will the new owners look back into their own 'Wayback Machine' and re-create some of the factory's former custom models? Or will they be forgotten as time marches on? Your thoughts?
  26. 1 point
  27. 1 point
    Yeah... I've been to the last 11 Parsons Street Pilgrimage events. And the event has changed totally. But one of the best parts of going in the recent years is to see Marv, Jim, Bill and Ren proud of what the plant is producing. It was impossible to continue as it was. Jim had obvious pride when they put in the new finishing room. This new phase of Heritage has allowed a proper and well deserved retirement to these icons of Parsons Street. Walking around with Ren this year , he's still a great piece of the long history of that plant. And it's still an exciting event to get to spend some time with these giants. And I'd love to grab a dirty lemon 150 sometime.....
  28. 1 point
    The 535 has less real estate from the tailpiece to the rim. Heritage F holes are wider. Due to the neck having more purchase into the body, the bridge is centered to the middle of the F-holes like on most archtops thus the delusion of the control nobs being positioned a little different.
  29. 1 point
    Noah Wotherspoon is a multifaceted musician, writer and artist from Dayton, OH. In 2015 he received the Best Guitarist Award at the International Blues Challenge and the band placed 2nd in the finals.
  30. 1 point
    Paul, that is my all time favorite Heritage Catalogue. Thanks for the memories.
  31. 1 point
    Like you, I paid next to nothing for my first two heritages H150s used and that's what attracted me to the brand. Both guitars were under $1400. That's why I didn't mind replacing the things I didn't like, as in the Nashville bridge and heavy tailpiece, along with fixing the flaws they came with such as badly cut nut and sloppy fretwork. But the last Heritage I bought (and still have), I paid $2100 and all those screwups pissed me off a bit. The label on the inside listed the wrong pickups (the pickups were Pearly Gates, the label said Seth Lovers), the nut was cut bad, fretwork needed, no adjustment wrench (which Tonepros says you should use), with the bridge. That's why I applaud the new guard as it seems they are paying attention to making sure the guitars go out right. And they are not selling them for much more than I paid for mine. I bought mine from Jay Wolfe and he discounted it for a cash deal so I'm sure you could get one for cheaper than he lists online with a little haggle.
  32. 1 point
    Yup. This is why I no longer have an emotional attachment to the brand. They’re just really nicely made guitars.
  33. 1 point
    You have to evolve, and seems like the new blood at Heritage is pushing them in the right direction, which I feel is consistent quality. Just one look at the photos of the much cleaner shop impressed me quite a bit! If people support the new guard who knows what they will be able to do. And y our last custom build looked GREAT!
  34. 1 point
    They still make custom builds at the same address by some of the same people. Pete Farmer was making custom builds at Heritage long before the company was sold, he still is. My opinion, I think Heritage guitars are better than ever.
  35. 1 point
    Dr. Z Amps is one of the only companies where when you call the factory there is a good chance Doc himself will answer. All his amps are handmade/hand wired in Cleveland, Ohio. Great service. I purchased an amp last week that was severely damaged in shipping. I sent some pics to Z amps asking if it was worth fixing the amp (it was made for Joe Walsh as a back-up amp for the Hell Freezes Over tour). Doc's top repair guy responded and said that despite the historical aspect of the amp, it wasn't worth doing the work. Two days later Doc called me personally to tell me why it couldn't be repaired. Now that's service!! BTW - the MkII is an updated Maz Jr. - just the next generation Maz. I have Maz 18 NR Jr. #001 - it's not going anywhere.
  36. 1 point
    Who knows, they might sound glorious on the right slab of wood!
  37. 1 point
    As for the comment about making HRW's out of Schallers above, I don't know what Ren did to modify the Schallers. It's a secret that he is taking with him to his grave (and hopefully not soon). Whenever I tried to talk to him about it, he got real quiet and walked away. At this point, I just accept that it is some sort of magic that cannot be duplicated.
  38. 1 point
    Please see the comment above regarding swapping magnets. Schaller uses a proprietary Alnico V magnet. It's specific to that pickup. A standard magnet will not fit in it. Also, the magnet is glued into place. I destroyed a Schaller pickup trying to swap magnets, and I have a LOT of experience swapping magnets. If you don't like the Schallers as is, buy a new set of pickups and sell the Schallers.
  39. 1 point
    @LK155...Gorgeous BlueBurst H-150! And who says blue guitars don't sell?? Correction...I say...DON'T SELL YOUR BLUE GUITAR!
  40. 1 point
    While I don't recall seeing any green guitars that really caught my eye, I think it needs to be said that not all blue guitars are unattractive..............
  41. 1 point
    You own a very special and rare guitar. H-516's were the forerunner of the later, Kenny Burrell Groove Master. Personally, I much prefer the 516. Didn't yours have EMG's a one point? IIRC, it was for sale at Wolfe or Reverb. (see image) Swap the pickups, change the wiring, polish the guitar, etc. But don't sell it. You'll regret it.
  42. 1 point
    If you've already tried raising or lowering the pickups, but still don't like certain sonic aspects of your Schallers, you might consider a magnet swap. Not sure what magnets are in your pickups, but according to the experts (not me!), AlNico II's may be the answer to your search. https://www.seymourduncan.com/blog/the-tone-garage/tinkering-with-pickups-102-the-humbucker-magnet-swap
  43. 1 point
    Thanks for the heads up. I assumed it was something based on an ancient musical societies secret initiation ceremony. I wasn't far off.
  44. 1 point
  45. 1 point
    Groovy! My kind of music...
  46. 1 point
    I thought the whole allure of buying thru one of these online retailers (besides financing) was that you could see pictures and get specs of the exact guitar you were purchasing. These guys would have been smarter to build up in inventory before they launched the product. Either way, it's nice to see Heritage out there in the mainstream. I wish them all the best!
  47. 1 point
    If my H150 is going to have wear and tear, its going to come from the hard knocks of MY playing it, gigging, etc.
  48. 1 point
    Hi all, I have been a member since June and finally getting around to introducing myself. I have been a guitar player for 40+ years. And mainly Strats. I have done my best to love humbuckers without success until this last spring. I took a road trip to Kalamazoo to look at 535's. Ended up buying a 150! It's a beauty. One piece top and perfect neck for me. So I end up playing a whole bunch of guitars and Mike and Pete bring this one out. I am playing it and in walk Marv and Bill. We end up meeting and talking with them for a while. Getting a picture with them and the guitar. What great guys! I am talking with Mike and Pete about ordering a 535 in the future and my wife goes well, I don't think you should leave without that 150 after the picture and mojo it now has! So how could I not? Anyway, it is a fantastic instrument. And what a great experience at Parson Street. Ended up with a private factory tour, meeting Marv, Bill, Ren, Jim, Pete, Mike...I feel very lucky and blessed for that day. And the 150 has knocked my strats off the front line, it's all I play and gig with. I have never been one to name my guitars but this one is Mabil. After that day. Rock on! Nick D.
  49. 1 point
  50. 1 point
    Update. I never liked "naked" humbuckers, so I added covers and changed the pickup rings. What do y'all think ??


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