Leaderboard

After the repair.

Doesn't seem like a, "vs." question to me. I think they work great with either.

Received this when the sight was down. Honestly underwhelmed. I would have thought Heritage would have done some more special items on it. I have already talked to Custom Inlays about doing a few additions to it. I'll make it Special.

And just in time. I amost bought a Gibson......

And many,many thanks to the HOC technical team!!

Sorry for the late reply, for I've been away from the forum for a while. Since no one seems to have answered your question, I do feel that there is a subtle, but distinct difference in tone between the Pinnacle and the ABR-1. If I'm not mistaken, I think that the base on the Pinnacle is indeed aluminum, and I'm not sure about the saddles. The ABR-1 is definitely zinc with brass saddles. To my ears, the Pinnacle sounds a bit more "airy" and a bit scooped while the ABR-1 seems to have a little more of a direct punch in the mid-range. The attack on the ABR-1 just seems to be a little more immediate with a little bark thrown in, if that makes sense. I mostly prefer the ABR-1 primarily because it has more of a traditional vibe going on, both in tone as well as aesthetics. It's also a tad narrower than the Pinnacle, so it typically does provide a tiny bit more clearance between the strings and the bridge. It's pretty marginal, though. Heritage started using the ABR-1 style of bridges with their 2025 CC models, and I believe they're made by Advanced Plating. They're practically identical to what Gibson has been using for their CS Historic models for many years with the exception that the mounting holes are drilled larger to accommodate the 8-32 thread pitch on a Heritage bridge post vs Gibson's 6-32 thread pitch. If one so desires, the Heritage bridge is a direct drop-in replacement for the Pinnacle bridge, so there's no need to swap out any bridge posts or tailpiece parts to install one. Unlike the Pinnacle system, the ABR-1 is not locking, so that may be a deal breaker for some folks. However, Faber does offer a Tone-Lock bridge that can be directly installed on the existing Heritage posts while using the Pinnacle thumbwheels, but the thumbwheels will need to be turned upside-down in order to have a flat surface for the bridge. It's also necessary to use the Pinnacle tightening screws to lock the Faber bridge in place, but it does work. Interestingly, Heritage clearly dumped the Pinnacle bridge on their CC models in 2025 in favor of the more traditional ABR-1, but I've never heard the reason for doing so. If one is concerned about saddles falling out when breaking strings with the ABR-1, it can be an issue. I also know that the Heritage ABR-1 bridge, thumbwheels and bridge posts can be purchased through Mike at Heritage, so they are readily available to anyone looking for that kind of a setup.

Agree, there are a tremendous number of factors when considering - desired tone, style of music, fingers and touch, wood and build, amps, ears, (hearing is MAJOR as frequency range decreases with age ((except for one of our members who has dog ear 20 -20,000 HZ range) Marketing and brain perception

This!!!!! 💯

He was THE BEST.

Here's another cool fuzz, this is a germanium pedal Ryan built for me, a Rangemaster style treble boost combined with a Big Muff with an adjustable bias. At 22 seconds in the first fuzz lick kicks in, and at 2:06 I crack it wide open for the slide solo!

When I'm recording demos/songs, I have a few fuzz pedals that I love the sound of, and almost all of them are germanium based. But I've always been against using fuzz pedals on my pedal board because of the instability of the germanium transistors used in most of the pedals that I like. When they work, they sound killer, but if the temperature changes in the room, so can the sound of the pedal. But recently, my buddy Ryan, my guitar partner in crime, and who's a fuzz afficianado of the highest order, gave me a silcone based fuzz made by Analogman, the BC183 Sunface which has earned a permanent position on my pedalboard. It just makes the solos cut so much better. And it's ridiculously consistent sounding. I love combining it with my Origin Effects M-EQ Driver for serious vowel like singing sounds! Not the prettiest board, but it gets thew job done... the solo i play at the end of this song is the BC183...

May have posted this in the past, But since we're focusing on fuzz here.... Never a fan of it, but given this is a Lucinda Williams tune, and I'm a big fan of the fearless Stuart Mathis, I thought...why not get way out of my little box. This is from the Be Good To Yourself project, and since we were tracking nearly thirty songs, I figured I'd better come up with a variety of tones and approaches. I'm pretty much down with what Randy (fdx99) observes in his notes, above. As I recall this track was my Tele for electric rhythm, a Nashville tuned Red Label Yamaha FG-110, and the fuzz was my Nash Strat, bridge pickup, into my Low Power Tweed Twin clone. The fuzz was an MXR Hendrix Octavio, which has a pretty great fuzz! Fuzz is there in a couple of early chords, but doesn't really appear until the guitar outro, last 1:30-ish of the tune. I'm a little proud of this one. The vocalist is eighteen-year-old phenom Māya Beth Atkins.