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Showing content with the highest reputation since 01/19/2019 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. 6 points
    So this is a Hot Rod Super 400 or Super Eagle.. Crafted by Heritage to be the last instrument out of Parsons Street in the 20th century. Some phone pics reduced to low res..
  3. 4 points
    Like many other guitar makers, Heritage threw their hat into the shredder guitar market in the 80s. Heritage wasn't as successful as most, at least they tried....lol This was Heritage's cream de la cream of their shredder line....the STAT DELUXE. There was a Standard STAT that was a flat top and different electronics configuration and a different headstock style (more like a strat) I bought this guitar as a husk...well it had the tuners and nut on it. LOL It has a bookmatched, carved flame maple top. Honduran mahogany body and neck (set neck), with an Indian rosewood fretboard. I decided to put stock Schaller pickups back in it, just from a historical standpoint....but they really do sound great!!! It came stock with the Kahler "Spyder" trem. Kahlers best trem system, IMO. The neck is a medium C, with lots of dings n bumps on the back.....the guitar, as a whole, is in great shape for it age....its been played. Surprisingly enough, there are no headstock breaks, or tips broken off and repaired. All in all a very fun guitar...and quite rare. IMG_0812 by brent HENDERSON, on Flickr IMG_0813 by brent HENDERSON, on Flickr IMG_0814 by brent HENDERSON, on Flickr IMG_0815 by brent HENDERSON, on Flickr IMG_0817 by brent HENDERSON, on Flickr IMG_0820 by brent HENDERSON, on Flickr IMG_0821 by brent HENDERSON, on Flickr IMG_0822 by brent HENDERSON, on Flickr IMG_0823 by brent HENDERSON, on Flickr IMG_0824 by brent HENDERSON, on Flickr
  4. 4 points
    The Centurion was designed and created to be the final instrument out of the historic Parsons Street Plant in the 20th Century. New Years Day seems like a good time to post some pics. So it's now reached 20 years old. Here's a few new pics...
  5. 4 points
    Hangar, part of that might be that the pricing on a lot of used guitars has gone from fair to questionable to completely insane. It started with the '59 LP Burst craziness, and now everyone who has an old guitar thinks its worth 3-5 times what it was worth 10 years ago because it's old and has "mojo". Sorry, but those Norlin LPs from the late 70s with 3 piece bodies that sold new for $600 are NOT all going to be worth $3-4000. It used to be that when you bought a guitar it went down in value. Now people think that after 5 years its worth 25% more than they paid for it. Sorry, but it's not reality. The "collectable" mentality can be expensive. Anyone who has a stash of Beanie Babies, Trolls, or Cabbage Patch dolls will tell you that.
  6. 3 points
    I find it somewhat amusing that people complain that the solid state amps don't sound like their tube amps, like there is only ONE sound out there that is correct and all others are wrong. That's like saying a ribeye doesn't taste like a filet mignon so its not worth eating, and chicken doesn't taste like fish! I've got 6 tube amps and none of them sounds like the other. None is right or wrong. Same thing for solid state amps. Play each on their merits and don't worry about if it sounds like some other guy's Plexi cranked to 10 with NOS Mullards, 40yr old Vintage 30s, in a beat up 1960 cabinet. As for the Hendrix on accordion post, well, that's just WRONG! Some things are sacred.
  7. 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.
  8. 3 points
  9. 3 points
    Inlaid logo - like the old Gibson logo (The Gibson).
  10. 3 points
    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
  11. 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.
  12. 3 points
    Searching around found these. https://web.archive.org/web/20070329220527/http://www.heritageguitar.com/Heritage Catalog 89 Revised Litho USA Instrument Photos by Rendal Wall.pdf https://web.archive.org/web/20070329220442/http://www.heritageguitar.com/Heritage Catalog 93_ Cover_ Instrument photos by Rendal Wall (Medium).pdf https://web.archive.org/web/20080723112425/http://heritageguitar.com/products
  13. 3 points
    Hey everyone. Bought a 150 new this year right from the factory. It's amazing. I'm new to the brand and whatever was "lost" wasnt really lost. It's just changed into a different shape. This is just the future and how time changes things for better and worse. Luckily this is a for better story. I'm a kzoo local and didnt know anyone from anywhere. I was completely disheartened after returning a d'angelico to gc and remebered heritage was a thing my dad told me about downtown. Just randomly stopped by and tried to open the doors to the old building. Locked of course but I called the number off google and Mike answered at the front. He invited me in and took me on a tour and got me up to speed on the history I wasnt even aware of. Also got to play an assortment of amazing guitars in the showroom. It was really a treat. Eventually I made a downpayment on my dream 150. Jim's been there almost every time im there to visit. Everyone's incredibly friendly. Ren even remembers me at the front now. (I'm there too much). After several visits I selected a dirty lemon burst 150. Beautiful mineral deposits in the top. Almost like bear claws. Very non traditional top. Loved it. Saw maybe 50 different flame tops in my visits and that one was special. I was able to make payments twards my dream guitar. (Bobbie is such a doll!) As chance would have it, in the days leading up to me paying it off, an even more beautiful body made it's way to the spray booth and i was able to select this guitar the day it was finished. Was able to show it to Jim on the way out of the factory and the look of pride in that man's eyes is something you dont take for granted. He selected and glued that top. I saw the fletch of raw wood it came from and even have the fletch tag. I really dont know what more I could hope for in the search of a new guitar. I know the mojos still in that building and certainly the heart in the craftsman. Go see them in person if you can. I've also acquired a 1991 535 custom. There is better quality on the 2019 h150. The 91 is a frickin beautiful guitar, dont get me wrong. I'll get pictures up for you guys sooner than later. PSP was amazing also. Glad to be part of the family. Josh.
  14. 3 points
    2006 20th Anniversary, 2007 H-150 Deluxe and 2006 H-150 Standard
  15. 2 points
    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?
  16. 2 points
    I think the name "Hypothetical Heritage Museum" is perfect.
  17. 2 points
    ha... yeah, Pete talks about how they went through every piece of ebony at the plant and every piece of of abalone that they could get their hands on. The neck was one Pete was holding back for something special. And the wood on the back is insane.... I tend to pull out this guitar on holidays ..... seems right to grab this for a special occasion.
  18. 2 points
    Tonight I changed the strings on my H-535 that has a Bigsby. I also installed A Vibramate String Spoiler, www.vibramate.com>vibramate-spring-spoiler. It is a neat little bracket that easily fits on the Bigsby, so you no longer have to bend the string ends when changing strings. Add Sperzel locking tuners and string changes are quick and easy.
  19. 2 points
    Seems to me like your being a little over the top about this whole thing, Will. Taking the seller up on a full refund purely because of a hardly visible cosmetic issue?....on a rare guitar that you were actively pursuing and that you had already negotiated down? I don't man, this one's a little heavy on the weak sauce for my taste!
  20. 2 points
    I just re-measured the resistance of that "100k" pot, and it now reads 527k. D'Oh! Not sure how that happened... I can only put it down to my own incompetence. Also looking again at the arrangement of the wiring, that pot was for the bridge pickup. All the other pots are around 300k. Here's a picture of the wiring harness... You'll notice that the bridge volume pot is different from the others. I was slight puzzled by this, then I remembered that many years ago (I've had the 335 since the early '90s) I had a problem with the bridge pickup sounding weak. My repair man fixed it, presumably because the original pot had developed a fault and was consequently replaced with a 500k pot. What can we learn from this? Well, Gibson in the '80s used 300k pots which didn't do the pickups any favours. Gibson "The Original" HBL and HBR pickups may not be as bad as some people say they are. I need to take more care when measuring resistances. It's much easier to change the pickups on an H150 than it is on a 335...
  21. 2 points
    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.
  22. 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.
  23. 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.
  24. 2 points
    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.....
  25. 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
  26. 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.
  27. 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...
  28. 2 points
    PK goes jazz! This guitar plays as great as it looks. This makes Heritage number 4 for me. I'm well on my way to becoming a Heritage junkie.
  29. 2 points
    That guitar sounds great! As for the adult adderall use, one really needs to look no further than some of the most visible public figures in our country to see adult adderall use on full display. Things to watch for: Delusional rants void of fact, Insecurity, Lots and lots of Tweets, Lack of Professional decorum, Lack of Empathy, Lack of ethics, Ego deiven agendas, ECT. 😀
  30. 2 points
    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.
  31. 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
  32. 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.
  33. 2 points
    This was the "old group" of guys from the band from the early to mid 70s. What's the song say? "I was so much older then, I'm younger than that now." Dig the matching Guild guitars! We both still have them! ' '
  34. 2 points
    Hello, My name is John living Amsterdam the Netherlands. I recently bought a brand new Millenium Double Cut Limited Edition. Did not need the guitar, had to trade other pretty guitars for it but the minute I held it I wanted it. It sounds wonderful and feels wonderful and looks wonderful. Having said that, I have one thing that I am not 100% satisfied with and that is the neck pick up, a SD Seth Lover. It's a wonderful balanced PU, but it is has a tad to much bass for my liking. I like a bit more bite and transparancy in the neck position. In the bridge position I have a SD'59 which I find great. It is kind of hard to state in understandable terms what I am looking for. As I said earlier, the SD Seth Lover has too much bass for me. I like it a bit more crisp; for example like the Super 58 that I have in my Ibanez John Scofield Model. Maybe a SD'59 would work in the neck position? As I said, it is hard to put exactly into words what I am looking for, but maybe some of you experts can give me a few useful pointers based on experience. Thanks!
  35. 2 points
    I'll say only this about "post-Corp": Did the factory tour two days ago. Very impressed with what I saw (having been through the old plant eight times). If I could only have a day to lay hands on ten or twelve of what I laid eyes on. That would be the tell!
  36. 2 points
  37. 2 points
    My 575. Loved the contrast and figuring. I got this back in 2010 (I think).
  38. 2 points
    As a bladder cancer survivor myself, I was glad to see this story and glad he's doing well. He's a great storyteller and a wonderful man.
  39. 2 points
    Thank you posting the article. Ren is a blessing of a man. He and his group w/Rich Roe visit shut ins and nursing homes weekly bring people the joy of live music.
  40. 2 points
  41. 2 points
    I like when you read the description of a used reliced guitar and it says mint condition.Really? Not my thing. I have several guitars including Heritage that have real world wear and I like them that way. Yes this is an excellent way to pass off guitars with defects. I would do it too. y2kc
  42. 2 points
    It's a custom made Eagle from 1990 with some really neat appointments. It's kind of like a mahogany Johnny Smith.The rumor is that it was originally made for producer/engineer/musician Bryce Roberts. He had a studio not far from 225 Parson St for many years and also worked for Chess and Motown. I can't confirm his ownership but dot markers and unbound "f" hole looks/sounds like his style. I first met him around 1970 and knew of him up until the early-mid 90's when he skipped town (Kalamazoo) with another mans wife. He was quite a character and one of the best damn jazz guitar players I've had the pleasure of meeting. He's been dead for quite some time now. I mentioned his name to Ren once, Ren gave me a long hard look with a wry smile while nodding his head and said nothing. The guitar has a lot of mojo and when I first touched it I knew it was meant for me. It's a grave guitar. My son the jazz guitar player will inherit it.
  43. 2 points
  44. 2 points
  45. 2 points
    Lately Gibson archtops have been expensive? No. They've been out of commission for decades on their solid carved top prices and are barely a part of that market any more which appears to be how they want it. That's not a recent development. It's far more economical to build popular guitars initially designed to be produce en masse at huge price increases as long as the market bears the price. And many applaud when a ho-hum LP Special guitar is 3K because someone fooled them to believe in there's a $1,000 hunk of mojo wood & craftsmanship hiding inside. Heritage is inching down that path. And, the myth of a need for price increases? Look at the facts. There's a reason bread & butter guitars from Fender & Gibson haven't even kept up with inflation, same goes with many other companies...it's because the overhead is lower than ever. The old American Standard 10 years later became the American Special at a lower price point after inflation, the old Les Paul studio got a satin treatment with bulk up and became the Tribute at a lower price point after inflation. The SG's, Firebirds, and many other models have all seen prices in recent years less than they were in the 90's...after inflation. The same can be said if you look closely at G&L in the past or at the parts builders like Musikraft/Warmoth etc and more. WHY??? Because, productivity & efficiency is off the charts thanks to time management of labor, labor adjusted for inflation is cheap, wood/steel/materials have paced behind inflation, parts from strings to pots to knobs are behind inflation, certain tax structures, accounting predictability of machine governed operations like rough mill (CNC's can't sue for disability) and a whole host of other reasons why regular USA guitars & parts can be made at low prices these days. The reason "custom shop" guitars have doubled in price the past 10 years is because they realized that market segment can & will pay the premium on guitars that aren't by any means custom in their production process. Meanwhile, the floor model market segment can't bear price increase....thus you still have tons of American made guitars between $800-$1500 that in the 90's were $700-$1200, and no, they aren't "loss leaders" otherwise anyone not named Fender/Gibson would be out of business. There's zero reason "crafsman" can't build good old custom ordered USA (and now Europe) carved top guitars between 4-7k in 2019 other than bean counting the margins, consumer interest, lack of knowledge, or just plain laziness. This goes even more so for a place like Heritage where there are specialists who are more efficient at their job than independent small shop builders who might know how to tape binding..but they don't do it 10 times a day so they have to take their time. Yet, those guys without any advantage can crank out the boxes at real world prices. Anyways, now that's all about how well you can build a guitar designed to be mass produced at the highest price possible then brag about "fit and finish" as if you can't get a $300 korean guitar with a perfect "fit and finish" there's no sense for me to argue....it's like throwing play-doh at the wall expecting it to bounce back, lol.
  46. 1 point
  47. 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...
  48. 1 point
    I also saw Zappa on that tour but in Chicago, so you and I must be pretty much the same age, 39 1/2.
  49. 1 point
    Hell yeah they should worry!!! Even as a Heritage fanboy I can honestly say that the only new Heritage guitar I'd consider buying at this point would be one of those Harmony reboots...only it'd need to say Heritage on the headstock instead of Harmony. Seriously though...Has anyone ever asked anyone if they would do a custom Harmony with a Heritage logo???
  50. 1 point
    I got to do some work with my buddy Dave Kerr recently and we took this picture of our 150s shortly after the session. He's holding his black 150 that he won at PSP 2018. He's used it for every gig and every session since winning it. He favors it over a very nice lot of Les Paul customs, standards, and PRS guitars that he used to play regularly. He assures me he'll be joining this forum, as soon as I guide him through it.

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