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  1. 3 points
    OK. Here goes. Had fits trying to resize the pics. Hope they come through. If you expand the pics, its easier to see the figure in the wood. She is gorgeous! Thanks for the responses guys! Hope these come through OK
  2. 3 points
    Inlaid logo - like the old Gibson logo (The Gibson).
  3. 3 points
    I'm starting to believe it gave some mojo to this Axe.
  4. 3 points
    Steve Cowles very graciously took the time to send me these images. thought I would also post them here for posterity... An unfinished F model with a tenon joint, either Gibson or Heritage.
  5. 2 points
    Every couple of years I have an open house where I invite the people from the Dr. Z Forum to come and "demo" my Z amps (as well as the Marshalls I also have, if interested). Most of Dr. Z's present line-up will be available along with a number of Dr. Z "Legacy" amps (discontinued models). I am having the open house on Saturday, September 21st from 9-4 ish. In addition, if interested, one of the members opens their rehearsal space for a jam Saturday night with his Z amps. So far, I have 10 or so people from the Z forum that have confirmed their attendance. I live near Ann Arbor. If you are interested, just drop me a line and I can get you an address and directions if need be. Mike
  6. 2 points
    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.
  7. 2 points
    Yes, that is true, Titebond will start to creep around 120 degrees. Elmers White glue starts going South around 110 degrees. Cars easily reach temperatures this high. Couple that with either of the mentioned glues, high heat and around 200 lbs. string pull force an a guitar and it doesn't take long for glue creep to cause a bridge or neck heel to lift. I did an experiment with dry granules of hide glue, which is the same state hide glue would be in after drying in wood joinery. I placed the dry hide glue granules on a 3/4" thick bar of Aluminum and heated the bar on a hot plate. I placed a bi-metallic thermometer on the Aluminum bar to monitor temperature. The hide glue never changed state until 400 degrees, at which point it started smoking. At 400 degrees, your wood instrument would be smoking too. I am confident that wood creep would absolutely not happen in a hot car if hide glue was used. However, if you live in a tropical rain forest, the high humidity could be a problem for an instrument put together with hide glue, not a problem around here.
  8. 2 points
    Smoke works for improving jazz tone as well.
  9. 1 point
    Picked up this beauty online two weeks ago. Had to be shipped coast to coast from Western Australia to the East Coast. Absolutely love the tones I get from it into my Matchless Lightning reverb 112, whether clean or overdriven.
  10. 1 point
    This guy is loving his new to him H150 and he really gets some sweet tone out of it...
  11. 1 point
    Thanks for sharing. A personal Hero of mine. Boy did he get old, and yet still full of energy
  12. 1 point
    I'll bring a drool bucket! 8 daze and counting...
  13. 1 point
    The H-140 second generation is a rarely seen Heritage. It has the shape of the H-150, but is not quite as thick and has dot inlays. There are a few old H-150 models that have the dot inlays also.. best to check the tag inside the control cavity .
  14. 1 point
    Hmmm...Looks like an H150P (Poplar). The control cavity label should help solve the mystery.
  15. 1 point
    A very nice review, one where you can hear the sound of the guitar. So many demos go right for the OD.
  16. 1 point
    Inherited this guitar about 5 years ago and have never learned how to play. Going to be putting it up for sale and have no idea what it’s worth. Can you guys give me a rough idea? Let me know if you need any other details. It is a 2003 model if I remember right. Thanks
  17. 1 point
    I personally like ABRs as they are more vintage correct, and generally their mounting posts screw right into the wood for better coupling, whereas a Nashville screws into inserts that are pressed into the body. The inserts don't get down deep into the wood, and more importantly many times they are loose. That's why I replaced the Nashville bridges on my H150s with Faber Nashville to ABR conversion bridges with inserts that go deeper into the body and fit tighter. Also Faber bridges offer another advantage in that they lock to the posts. Actually one of my H150s came to me with a Faber ABR bridge, I installed one on the other. Notice in the picture below how much longer the Faber inserts are (on the right), and they are made of German steel instead of pot metal like most Nashville inserts... But Nashvilles offer a wider range of intonation with their wider width. And sometimes that can help with getting the low E string to intonate. That's why on many ABR bridges you see people flip the low string saddles so they get a bit more intonation ability. I've heard many good sounding guitars with Nashvilles. Don Felder's burst has a Nashville on it and it sounds plenty fine. When Gibson made his signature model they put a Nashville on it...
  18. 1 point
    it's thinner than a nashville, (comparing it to the adjusting thumbwheels that's what I see anyway).... see above... Nashville on my first H150 ABR on my SG
  19. 1 point
    Ren dug into the archives and found my serial number. He’s the Man! OSB N14701
  20. 1 point
    THANKS FOR THE INVITE MIKE!!! I THINK I WILL BE ABLE TO MAKE IT
  21. 1 point
    That is a Z-Verb up there. I sold that one and picked up one of the Quantum Silver versions to match my Z-Wreck
  22. 1 point
    would that we all take our babies to a luthier as concerned as you about doing their homework and gathering as much info as possible before proceeding. Kudos to you @resophonic Where's your shop?
  23. 1 point
    What a great interview for us amp nerds. I've always admired Randall Smith.
  24. 1 point
    that was a good interview, thx for posting it I had never actually heard Randall talk before I remember drooling over his product catalogues, back when the Tremoverb came out. good to know the origin of the MESA name too! I still have a Boogie 4x12 halfback and a stereo 20/20 power amp
  25. 1 point
    Likewise! I also hope I didn't come across as argumentative; I certainly didn't mean it that way.
  26. 1 point
    My 535 is bright as well. It also has fuller mids with ThroBak ER Customs. (Neck 7.9K , Bridge 8.3K, Short A5 magnets) Having more treble with the volume rolled back is a nice thing. Tone control is handy too. It twangs on the bridge, rocks in the middle, and does warm jazz tones on the neck. Isn't that what a 535 is about? And a Millie gets you between a 535 and a 150. A very comfortable and happy place.
  27. 1 point
    I have no doubt that your hollow-bodies sound darker than your solid-bodies. Many others have experienced the same as you have. But there are a few others (including me) that have purchased 535s and have been surprised by the increased treble compared to their solid bodies. The theory that the lighter weight body would have a higher frequency resonance compared to a solid body would require the guitars to have identical construction, and of course they are anything but identical in their construction. There are many other factors that will shift the resonant peak(s) of the guitar body around, the biggest one is probably stiffness. The way a hollow-body rim is attached to the top and back, whether the top and back are carved or made of plywood (like the 535), and the density of the body wood itself (mahogany vs maple vs ______), all make a difference. Based on the predominant comments from people saying their semi-hollow 535s sound darker than their solid bodies, I was stunned when my 535 sounded much brighter than my 140. I changed the pickups, the pots, and the caps in my 535, but it still had noticeably more treble than my 140. And, I found it difficult to tame the treble with the tone knob and the original SD 59s. I changed the pickups to Seth Lovers - same problem. I eventually changed to Sanford Magnetics 1812s, and could use the tone knob to roll off a little bit of the treble without making the bass notes sound like mud. BTW, after changing pickups in several of my guitars, I learned that the pickups can make an even bigger difference than the body wood or body construction. So add the pickups into the mix of hollow body construction factors, and you can see why many people may get very different results. Maybe I got a super-stiffly-constructed 535? Don't know. To my ear, I'm able to coax pleasant-sounding tones from my guitars; some just require a little more judicious use of the tone knob compared to others. And that's what really matters at the end of the day. All the best to all of you!
  28. 1 point
  29. 1 point
    Look Jaguar, I think its really weird for you to invite internet people into your home. BUT! If you must, Steiner and Yoop are some class a peeps. I would suggest having some class scotch and 1.5 papers handy. Super cool thing you are doing. Great amps. Great people. Love it!!!
  30. 1 point
    example of the modern joint.
  31. 1 point
    I'd pull out those HRWs, sell them, put a set of Seth Lovers in it!!!!
  32. 1 point
    Hey guys, I just bought my first Heritage guitar and am really digging it! Sounds and plays significantly better than many of the Gibson 335's and Dot's I've tried on music row. Ironically, it was Gibson's "Play Authentic" video that brought me here - didn't know about The Heritage guitars until then 😅 FWIW, the seller told me that the guitar had belonged to R. Lee Ermy, the drill instructor from Stanley Kubrick's Full Metal Jacket, and after doing a Google search for "R Lee Ermy guitar" I found this pic of the Gunny jamming with another gentleman who appears to be playing a Heritage; whether it is this specific one I'm not sure. At any rate I thought it was a cool story as I really enjoyed that actor. Cheers, Jordan
  33. 1 point
  34. 1 point
  35. 1 point
    After looking closer at the pedal, I see that there is some engraving/writing on the sides of the case. It appears to be from a band. Like it was sent back to the factory after a test/demo? IMG_1946 by brent HENDERSON, on Flickr IMG_1945 (2) by brent HENDERSON, on Flickr IMG_1948 by brent HENDERSON, on Flickr IMG_1949 by brent HENDERSON, on Flickr
  36. 1 point
    Thank You for all nice comments. I have only seen this model in Vintage Orange. I am sure there must have been other colors. This guitar is all original. The tuners I will probably replace, they are a little loose and crusty. Someday I would like to put a nice flamed maple pickguard on it. The previous owner must have been a smoker so it has that going for it but it's not bad. I have been cleaning up the finish and hardware and that has taking some of the smell away. I put a couple dryer sheets in the f-holes for a few days and that took care of the smell on the inside. The main thing I am so happy with this guitar is the tone and sustain this one has. Even unplugged. This one has the perfect combination of wood package and pickups meshing together. Tone Heaven!
  37. 1 point
    I forgot that you play P90s. I have a 137 with whatever Heritage put in them. They are nice but yours re better. I have a 1962 Epiphone Casino and I think the TTLs have more of that “real” sound and I plan on getting some soon. thanks Christopher for the enlightenment!
  38. 1 point
    Great Playing Chris. That guitar sings beautifully with the setup you have. Thanks for posting. One of my all time favorite songs too. I ended up coming back to the h150 p90 combination after selling the goldtop. I love the lollars but I might have to try the p90s you mentioned.
  39. 1 point
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  41. 1 point
  42. 1 point
    Well played, Brent! At the second or third PSP John (Kuz) had a Chicago Blues Box take on a Super Reverb. It was completely righteous amp!!! I had a chance to buy it, later, and didn't. One of my great amp regrets!
  43. 1 point
    I have two of those Brett and they are great sounding. Both of mine needs some pot cleaning though as they are getting kinda noisy!
  44. 1 point
    First THANKS to everyone on your input concerning which Heritage to buy....either a Pre-Corp / Golden Era or Post Corp. When I began that post I realized opinions would vary and to no surprise they did. Each was valid in their own respect, it's not so much a "who is right or wrong" but more of what is important on an individual basis. For me I very much was drawn to the sentimentality of buying a Heritage Guitar that was made by the hands of the people who created Heritage Guitar. And I'm glad I made the decision I did, I chose to go with a Golden Era Heritage. I have no doubt the new Heritage Guitars are top flight, I would love to play one just to see how it feels and sounds, but I must say I am very happy with mine. The tone is fantastic, Seymour Duncan 59's, solid body, thick maple cap, just right neck and on and on. Another thing I thought was great is the info on the sticker inside the cavity. It was made in 2005 by Marvin and Jimmy, their signatures are somewhat difficult to read but I think that is correct. They both signed their full name with ink pen. The guitar was originally sold through Wolfe Guitars which I've read was very particular about the Heritage Guitars they wanted to sell. The serial number on the sticker matches the guitar head stock. And speaking of the head stock, I understand many people don't like it's shape and when I was looking at pictures of the head stock I must confess I was concerned. However, when I finally received the guitar I was amazed at how small the head stock is. In photographs it looks huge but in reality it's not. I actually like the way it looks. Go figure. I am certain I will hold onto this one until I can't play any longer. The top is very unique, I've never seen another like it. It's definitely a keeper.
  45. 1 point
    https://web.archive.org/web/20050211195535/http://edroman.com/avail/guitar/heritage/bluesdlx.htm This is from the old Ed Roman web page (2005).
  46. 1 point
    That brought a smile to my face... Heritage responded today with this response: "We believe it should be a dovetail. Regarding the glue, it would have been traditional/standard wood glue (white glue) and not hide. For the steam hole, unfortunately we're unable to recommend a place as we would need to have the mandolin in our possession to evaluate. Our repair tech said he would likely do it by removing the fretboard or back which requires a bit more work." I also made contact with Steve Cowles at Aaron's Music Service. He was actually out of town but responded: "Going by the pictures it should be a tenon. Probably built by my dad for Heritage. He would have used Titebond I'm sure. I would be tempted to force glue into the joint with a needle and clamp it good. Can respond more in depth if you like but I'm at Cedar Point today... I emailed back that would like to revisit this discussion when he returned and had the minutes to do so. At least I know what kind of glue was used...
  47. 1 point
    If your guitar was old enough for Medicare, it probably would have gone through. Unfortunately, it's going to have to wait another 20 years or so!
  48. 1 point
    This is from Katie. It is not a dovetail and we always used wood glue on necks. I am not sure on why he would have to drill any holes. Personally, without seeing actual neck pictures, I would reglue and clamp. Sounds like it is just loose.
  49. 1 point
    This picture I took of Katie holding a Heritage mandolin that her father had built always makes me smile. You can see the pride in her face.
  50. 1 point
    I miss the Ol' days of getting drunk with the original owners, hearing those one of a kind stories from the insiders and having grown men call their wives to get them home safely due the the enabling qualities of the Maestro.


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