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Heritage Owners Club


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zguitar71 last won the day on June 3

zguitar71 had the most liked content!

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  1. DetroitBlues, it doesn’t take long. The finish is really thin on the Heritage guitars. Which is a good thing and a sign of quality imo. I started to wear through the top and neck in about 2 years. I have a ‘81 ES347 that took 10 years to get there, the finish is too plasticity on that guitar. I gigged that guitar for 20 years, that sucker is worn in now. The heritage just keeps getting better too, it has really opened up, its like Charlton Heston’s gun, one day you’ll have to pry my 150 from my cold dead hands.
  2. Nah, I’ll do it on my own. It only took about 3 years to get through to the wood on the top and the neck, it spread from there. Just play them all the time and it will look old. The finish is thin, as it should be, so it really doesn’t take long.
  3. Awesome! I love that you put that back together, what a great way to “bond” with a guitar.
  4. 2010 H150 GT with Tyson Tonelab P90s. This guitar sustains and sings and sounds great acoustically. The wear is all from my hands. The neck is fat and the wear is much like the top wear.
  5. Pull the pickup out, take the spacer off and replace the pickup. See how the clearance is and the tone. If it is good then you are done. If there is plenty of clearance and it sounds weak then you can raise the screws and see how that does or get a thinner spacer and try that. When the pickups are low and the screws raised, IMO, some cool tones can be found. I think it sounds more old school or vintage like, a bit more treble but not weak and thin and more honkey, classic old P90s. It goes well with the fuller body sound of a full hollow guitar. There are two magnets on P90s so they can have more effect on the vibrations of the strings so with the pickups lower the strings are less effected.
  6. Finding an LP that is better than an H150 is easy to do just like finding an H150 that is better than an LP is easy to do. These guitars are just a fraction of a fraction of a fraction of the guitars out there by each builder. They both can make great guitars that rival one another.
  7. I’ve read all that everyone has to say so far. I learned some things along the way. What I would like to see is Heritage maintain the same price structure but make a single piece body standard and keep the weight 9.5lbs or less without weight relief. Of course the really light stuff is going to be a custom order and over the top figure, etc. They should also give the choice of a slim or fat neck as well. That would be nice imo. Would the average Gibby buyer even know these differences? Probably not but it could have me buying one.
  8. Specifically, does Heritage need to worry about the 50s and 60s LP standards being $2499? The specs are about the same as an H150. So far some of the weights listed on CME are over 10lbs for the LPs, heavy. The H150s on their site are under 10lbs and one used solid 150 under 9 (2003, probably a nice whip). I think it will be hard for Heritage to pull peeps away from G when the prices are identical.
  9. Both Collings and PRS have a shallower pitch at 10 degrees and like Heritage have he strings run straighter toward the tuning key from the nut. Both companies use the shallower angle to help prevent the string from sticking in the nut which is prone to happening in the 17 degree head. The straight pull is also meant to help this situation. PRS claims that the 10 degree angle is the perfect marriage of strength, string tension over the nit, and lack of angle to prevent sticking. My experience is the Collings and PRS have it right with the 10 degrees and the Heritage is good with the straighter pull but the angle still causes sticking but not nearly as bad as my experience with Gibson. Rwinking, the PRS you got from me never had a tuning issue at all, I was amazed at the stability of the neck and how well it functioned. PRS can make a killer guitar.
  10. zguitar71

    New 535

    My 2011 Goldtop had some very poor final work that should not have made it out of the shop. In the end I did much of the same work you did and the guitar is my favorite. It is part of the reason Heritage has not ever been able to compete with the bigger companies, not that they have not had there own problems too. I’ve owned 3 Heritages over the years and all three needed the final touches redone. Heritage makes killer guitars they just have had a hard time with the setup for some reason.
  11. Oh man, I have not seen one of these before, I gotta check that out!
  12. Also, the Classic Tone OT allows for 4,8, and 16 ohm speakers. This means you have tons of speaker options!
  13. I have a ‘76 Champ that started as a stock unit. Over the years I have modified it to suit my needs. The most important mod for volume is a new speaker and cab I have used everything from 2x10s to 4x10s to 1,2, or 4x 12s and a fifteen. They all have their good and bad sides. The more speakers to push air the more preceived volume there is and that means more headroom. The obvious problem is size with a 4x12 so that didn’t really ever get off the ground for me. In the end I settled on a 1x12 design using a Scumback M75. I like this speaker because it takes some of the icepick. The next thing is making sure the tubes are up to par and the caps and resistors that control the voltage for the tubes are as well. If they have drifted enough you can start to get unwanted distortion. This should be done regardless of what you want to do with the speaker for the amps health. It is important that the cathode cap on the first side of the preamp is no more than a 4uf but I would stay with the stock 2uf. The bigger the value the more low end will be let in and that will give a muddy distorted mess in this little amp. The second half of the tube can have the stock 25uf since the low end has already been filtered out. Next if you want to go deeper you can start to modify the amp internals. I went all the way with this and love the results. I use my amp for dinner gigs and raunchy heavy blues gigs. I changed the OT to a Classic Tone 15 watt version. It is about 2x the size of the original and helps with the headroom. I added another 6v6 to the power section for more headroom. Then I got into the tone stack. I changed it to a Marshall tonestack and this helped with the icepicky highs BUT I used a 250k mid. This allows me to get early breakup at very low volume for Kenny Burrell tone and it is killer. I can also turn the mid down and crank the volume for loud blues tone or crank both for old school tweed insanity. The 250k basically allows so much signal through it nearly bypasses the tonestack like a tweed. With the mid cranked it requires too much amperage from the IT. I changed this too. I needed about 150 milliamperes to run the system, the stick has 75 I think. Next I added a 100k pot for the negative feed back. In reality I only need a 25k pot here but I can go from stack nfb to almost none. In the end it can hardly be called a champ anymore but it is the most versital amp I have every had and it lead to the decision to sell my Carr Slant 6V. In the end you could probably just check the health of the amps and run an efficient speaker and be amazed at the volume change.
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