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Heritage Owners Club


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Everything posted by zguitar71

  1. It’s a big risk. I was told by an airlines (don’t remember which) I could carry on my guitar, an ES347 (335 size). When I walked down the jet way and got to the plane I was denied the ability to bring it on and given no choice but to check it. There is no guarantee you can bring it on other than buy it a seat of its own.
  2. Well I’ll put my 2 cents in. I’ve played light and heavy and in-between guitars (all LP type) and have found great (acoustic) sounding guitars in all categories. I have played two Black Beauties, a ‘59 and a ‘60. They were both heavy(ish) but I don’t know the weight. The ‘59 was very lively and the ‘60 was worthless even though it sold for $60K! There isn’t really a way to know if a guitar will sound good by weight, only by playing it will you know if it is good. I love my 150GT because it vibrates like mad and has a nasal tone I love and it weighs 9.6 pounds which isn’t really light. I have played with pickups in my guitars and have found they make a big difference in tone on the same guitar. The amp is a huge player in the tone of the guitar as well but it relies on a good guitar with good electronics. Electronics can’t fix a bad guitar and a good guitar can sound like shit with bad electronics. The magic of the Burst LPs was not just the wood but the electronics and the newly designed amps of the day. They all came together to be able to have sustain like never before and controllable feedback (which is beautiful). The big power in the amps back then blasting a guitar body just feet away did something that wasn’t really known in the early 60s and before. If a brand new Custom Core with unpotted pickups was in front of a 100 watt plexi with an 8x12 cabinet full of 25 watt paper coil speakers it would do the same thing as the original Burst. There is not anything about the originals that cannot be replicated today except the horrendous value. We are currently in the best time for great guitars, never have there been so many excellent guitars being built with such consistent quality. Here is what I know about trees and wood and my hypothesis: Trees that can grow in both dry or wet conditions will produce dense or light wood (respectively). A Mahogany tree can reach an immense size when it grows in a wet boggy area just like a White Ash will (swamp Ash). The wet grown tree will have larger pores and larger growth rings and when dried will be lighter than the more dense, dry land tree. Back in the day Ash trees were cut down to drain swamps and make farm land and the result was a cheap wood for Fender to make guitars from. Mahogany from Brazil was cheap and plentiful and often came from wet boggy areas. This was also a cheap wood for the G brand and used on their less expensive archtops and flattops and found a place in their new LP in the early 50s. The less dense wood typically is more resonant with the larger pores and made a great solid body wood that could sustain while being lively and also was not oppressive to pickup and play. The swamps were all drained and Brazil started limiting harvesting from their forest. Planed obsolescence became a serious quality issue in the 70s and into the 80s (for everything not just guitars) and the vintage guitars became known as the greats and a mystic was born. Now light wood is available from plantation grown trees that are grown quickly with fertilizers and irrigation and the clock can be rewound to the glory days. Aren’t we all lucky as hell.
  3. Fear not, they are great. It sounds like the dealer is mostly interested in selling Eastman guitars.
  4. Ah, we share the same abilities it looks like. I also dig into the internals of amps and fix them or change them though I have not fully built one yet. I feel the same in that having a more intimate knowledge of amps has made me very fond of them.
  5. I have felt that the amp is as or more important than the guitar. I also have a higher affection towards amps than guitars, though not much higher.
  6. I’ve played a few over the years along with the 330 and not found any to be neck heavy.
  7. Well it must be true, 2 is better than 1. A few topics ago I said it would be great if Heritage could make a guitar that would compete in quality with the best PRS and Collings make. It looks like that is happening.
  8. It’s just miles. They are one of the main airlines out of Missoula. Missoula to Seattle to Lihue, Kauai. It’s great, leave the cold and snow and darkness and arrive at 2pm in the warm and sun at 22 degrees north latitude.
  9. My entire life goes on my cc and every paycheck it is paid down to $0. I use an Alaska Airlines cc and my wife and I are using the miles to go to Hawaii.
  10. I always go for the plain wood guitars. I buy guitars to gig with and it usually isn’t long before my fingers rub through the finish on the top (I don’t use pick guards) and the finish gets dull from scratches. I want to pay for a good sounding and playing guitar but not for fancier woods. They are also much more attractive to thieves.
  11. Nice! The non aged is a great choice and is the one I would make every time. I just played two CC aged 150s on Thursday. They were excellent guitars. Both were light and resonant and perfectly set up. I’m very impressed by the new Heritage guitars. I also played a standard 150 and a 535. They were also set up perfectly and played very nicely. The CC guitars were noticeable lighter and louder (unplugged) than the standard guitars. I’ve owned PRS and G brand guitars over the years and the CC guitars absolutely would compare to their high end makes.
  12. I like the comments. The 525 works for me but I completely get that it may not be the right fit for others and the 530 is. I agree that both are killer guitars for sure. I with they still made the 525, at least not upon a custom shop request and big $. MatryGrass, nice tone and chops! Laying down some convincing arguments for the 530.
  13. So first let me say I don’t actually own either. I have played both and I do own an original 225 from the 50s and played many 330s. Assuming all things are equal like the bridge, tail piece and pickups I will always gravitate to the single cutaway 525 over 530. The neck is set farther out on the 30 (unless it is a vintage one) but even with that extra neck, the access by the body is luxurious on the 25, at least for me. When I have my thumb on the back of the neck I hit my knuckles on the horn of the 30 but have major clearance on the 25. The pickup selector is also easier to get to fast and not encumbered by the knobs close by. These are just my personal issues really but the functionality of the (2)525 is just better imo. The 225 and 525 are both out of production and the 330/530 just keep going so apparently I’m the odd man out with my opinions but since I’m over 50 I get to start playing the role of the stubborn old man.
  14. I love that Heritage is getting to the level of PRS. I’ve owned two of them in my life but I just cannot bond with them; however, they are so top notch in quality they were both hard let go. At $3500 a CC H150 is great considering the Gib and PRS custom shop or Artist are quite a bit more and I know the H150 is exactly what I can bond with.
  15. It’s probably the combination of many small things to come together to make the difference. They are both made with the same machines and jigs so the lighter wood must be part of the difference.
  16. I would say yes, definitely. I am back on the trails and can stand up and mash the cranks without any pain and I can toss the bike around like I used to. However, I cannot commit to going down hill like I used to, I don’t have it in me to ever go through this again so I take it easy and ride the brakes and control my speed now.
  17. I’ve owned 3 Heritages, a ‘99, ‘01 and ‘11. I had to do fret work on all three to get them more playable. The ‘11 is an H150, the fret work was very poor IMO and I had to do quite a bit of filing to get them to where they should have been. It never bothered me though since the structural integrity of the guitars and the tone was excellent and the cost was absurdly low for what you get compared to other USA brands. I certainly would never say that the “vintage” Heritage guitars are better or worst than the newer ones though.
  18. My experience with real world aging is the finish wears through long before they check. I have 4 guitars that I play very regularly and all four have the same wear patterns. The photo of my 150 shows zero checking but obvious wear through on the top and the neck has lost about 50% of the finish. Guitars take a long time to check with changing temps and humidity over time. I always thought that the relics were to mimic a vintage players guitar but, to me, they always miss the boat. They are too uniform in the wear they mimic. I have an 81’ Es347 with wear through and some checking and also some very pristine areas. I know it is knit picky but it drives me crazy to see the relic guitars looking too perfect. I could get into a guitar with a slightly dulled finish since I really don’t like a shinny sticky new finish but none of the checking stuff. It took about 2 years for me to begin to see wear through on the top of my 150 and about 7 years to get to this point.
  19. The speaker thing is interesting. One thing I like to do is play around with speakers because they can make such a big difference. Sometimes I like a 15” or a British or an American. They can all sound good in a particular amp but bring out different tones. It’s like changing your hair to suit your mood. I think it is fascinating that they didn’t notice the difference. I imagine once it is in the mix and it does what it is supposed to do it sounds great. They also weight next to nothing and have attenuation that can allow them to be very versatile. If they break down though you might have to send it to MIT to get it fixed.
  20. The venue dictates what amp I use. I only use “old school” tube amps even though one of them is only a few years old. I have a Tungsten Creamawheat that is great for jazz. It is a 20 watt tweed deluxe. I roll the tone knob back to get a warm tone and I jump the channels to lower the headroom. I usually start to get good warm tone about 3 on the volume dial with the other volume on 8. This is good for a clean tone that might break up if I really push it. This is good with a drummer and some horns and big bands. if there are not any drums or a small club I go to a 5 watt SF champ that I modified. I changed the tone stack caps to Marshall values and added a mid knob. This warmed the amp up and allowed me to play jazz at lower volumes than the stock amp would do, it was just too bright. If I tried to use the 20 watt amp in a small club I would be in trouble in no time. The 5 water is my most used amp. I use it in breweries and dinner club settings. Places where people want to see you but not really hear you. The 5 watter allows me to set the volume like the 20 watter so that if I push really hard it will just start to break up but 99% of the time it is clean. The volume is not too loud but I also always put a screen in front of the amp no mater what type of gig I’m playing. It is the fastest way to make friends with bar owners and sound guys. I am very curious about the new Fender Tone Master Deluxe for its ability to go very low volume but still be warm and it really isn’t very pricey. I’m a tube amp lover but this new solid state has me wondering......... The most important thing really is volume. I have found that low volume is super important and a warm tube amp get me the most compliments on my tone. I think most people remember this in a pleasing way more than they do the actual playing. It is sad but true.
  21. From the album: zguitar71 - Guitars and amp and pedals

    © © Heritage Owners Club (2007-2009)

  22. From the album: zguitar71 - Guitars and amp and pedals

    © © Heritage Owners Club (2007-2009)

  23. Wow, I love the 150! Great color.
  24. zguitar71

    Rockin' Hamilton

    Rockin' this summer in Hamilton for the brew fest wearing the "Datsun" shirt, giving a hint to the "Z" and "71" in zguitar71.
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