[Is it time....]

I had no idea they ever made a guitar like that! I googled it, it a really cool guitar. It’s time to bring it back. 

[Is it time....]

How about the 137? That should come back and have a Jr version too, single and double cut. 

For something completely different there could be a set neck guitar that covers the Tele thing. Long scale, similar pickups and controls and woods but a 3x3 headstock and maybe a 10 degree angle.  
 

 

[Weird scratching, bad ground sound on my H535?]

Static, as others have said. I removed the plastic pick guards from my guitars and no more static issues. I had a special that was really bad with this, the removal worked for me. There must be a way to keep the plastic from building static. Remove yours and see if it still happens if it doesn’t then the search for the remedy can begin. I would imagine copper tape with a lead to the ground wire might work.  Idk. 

[Pickup recommendations]

For jazz I think the neck pickup reigns supreme. The formula is more important than who the builder is imo. I like Wolfetone because I can have them build as I like and they are not too pricey. Two recipes I would go to are lower winds with the impedance in the low 7s.
One way to go is with an A3 magnet, more airy sound, very clean and not muddy at all, more crisp but in the neck this is ok imo. They are fairly weak but that is ok for jazz. 

Next I think A2 magnet are great for a bit of a scooped sound and kind of slappy, more character, a little darker than A3s and more powerful but not muddy or overwhelming. These are great for soloing. 
 

OK, I said two but here is three. Same wind but A4, more even, drier tone. This is nice for chord melodies, imo. So the type of playing can be important to the decision. 
 

for the bridge I would go with an upper 7 ohm wind with an A2 magnet, not too bright and great for soloing. I love A2 in the bridge for all electrics with the difference in the wind. 

[PAF from Gibson]

11 hours ago, deytookerjaabs said:

One thing hard to replicate is the microphonic thing.

I'm not taking about squeal/feedback either. I'm talking about the raw aspect of it. Not all old pickups have that thing either, my '62 pat stickers don't. So that's important to consider. But, for instance, I have some old strat grey bottoms. Upon installing them when I flipped the 5-way switch it came through the amp far louder than the switches on any other guitar. It was like "ooooh, we got a wild one here!".

I've had that same feeling with other vintage guitars regardless of the finer details. You hit the toggle switch and it goes "ker kuh klunk" right through the pickups, like the guitar is humming.

That type of microphonic makes a guitar ring a bit different, subtle and more personal but it's still there. If I had to go off the ledge, I'd say those guitars you hear just a tiny bit more body in the note on that first millisecond of the pick attack. That's not something I've experience with replica pickups/harness as of yet.

That is the result of not wax potting a pickup, they are sensitive to being tapped with a pick or when the switch is flipped or can make a signal from being talked loudly into and the vibrations associated with that. I don’t have potted pickups in any guitar and they all do this. The pickups vary from Wolfetone Legends in an Eastman, original P90s in a ‘57 ES225 to Tyson Tonelab P90s in an H150, and Throbak P90s in a Tokai Special.  
 

The best part of the times we live in are the guitars and accessories that go with them. We are living in an era with some of the best guitars ever built, some of the best hardware, best pickups and on and on. I’ve had the good fortune to play quite a few vintage guitars in my life. Some were worth peanuts at the time and I didn’t buy them, if only I could see the future. I never bought a double cut JR but played so many in stores when they were a cheap guitar. I just played an Eastman SB55dc and it was every bit as good as any 58-60 I’ve ever had my hands on. The magic in all these guitars is a good piece of wood, hardware, pickup and good craftsmanship. All of that is plentiful currently. I was just in Rudy’s Music in NYC and they had a ‘59 Jr. for a mere $27k. What?! For me the vintage market is no longer about superior tone, it is only about coolness and history. If I was rich I would buy as many as possible but I’m not and it isn’t an issue because I can literally buy a new or used newer guitar at does it just as well. 

[PAF from Gibson]

For about $750 less you can skip the fancy case and get a padded envelope with a set of Wolfetone pickups in it and start ripping it up. Also if you don’t like the A4 sound you can re-authenticate them with a set of rough cast A5, 2, 3 or 8 magnets from Philadelphia Luthier for $7.95. I assure you these magnets were scientifically analyzed. Most people would benefit more from the Wolfetones and spend the $750 on guitar lessons. 

[Could I pick a favorite?]

I bought an Eastman SB57 this summer and I started playing it more than the Heritage for a while. The newness and because it is a really good guitar lead to it being the guitar that I played through the gig and the heritage was backup. I played my last two gigs with the Heritage because I felt guilty, like I betrayed my friend and all the reasons that I love the guitar flooded back and it’s the number one like it has been for the last 12 years. Sometimes when you love someone else for a bit you realize why you love the one your with. 

[2020 - 2023 H-150 Std or H-150 CC Artisian Aged]

15 hours ago, rockabilly69 said:

But I think a lot of the resonance is lost electrically if the pickups are potted, losing their ability to sense the vibration of the wood, and all custom cores have potted pickups. 

 

I could not agree more, I always change the pickup in any guitar I buy to non potted. If I’m in the market for a guitar I assume the cost will be a few hundred more for a new set of unpotted pickups. 

[2020 - 2023 H-150 Std or H-150 CC Artisian Aged]

I’ve never heard that a relic’d guitar sound more open or better than a non relic’d one before. I can say that with about 40% of the finish rubbed off my 150 neck it does sound different now than when it was new. When I move my hand over the bare areas or scratch my fingernail on them it is louder than on the non bare areas. The guitar is more open than before but is that from the finish wear or the play time over the years and many hours of vibrating in front of a loud amp? Maybe a combination? It makes sense that a factory aged guitar could have more resonance and openness. I’ll never sport a guitar that wasn’t aged through real life and preferably from my real life; however, I do like to look at some of them because when done right they are quite beautiful. 

[2020 - 2023 H-150 Std or H-150 CC Artisian Aged]

On 1/18/2024 at 12:43 PM, michaeljames said:

Agree.  I'm also looking into a Don Grolsh set neck.  Never had one of those.  Heard good things.  We'll see.  FWIW I did communicate with Bill who has the H140 3 pup I once owned.  Passed as the finish was sanded off the back of neck.

I’ve never played a Don Grolsh but I’ve always wanted to. It’s probably a killer guitar. 

[2020 - 2023 H-150 Std or H-150 CC Artisian Aged]

I have a 2011 H150 Goldtop with p90s. I love the guitar and cannot imagine that there is a better guitar for me out there. I have no doubt the CCs are killer and I’ve play a few at a shop about a year and a half ago. They are very nice but they were not tonally better than mine, not worse either but different. I don’t subscribe to lighter is better. I feel that each individual guitar is its own beast and deserves to be played and judged and passed up or bought based on sound, playability and looks and for me it is in that order. My guitar is 9.4 pounds so it isn’t light but it sustains, resonates and has a very natural reverb to it that comes through the amp. My advice is to play the guitars (if you can) and try to decide which one is the best for you without letting the higher end appointment affect your thoughts. If you can have someone else play the guitar acoustically so you can hear them that is a great way to go. I would buy either one as long as it does it all the way I want it too. Either way they will both be excellent guitars as far as construction is concerned. 

[Tim Pierce Heritage Video]

I’ve always like his videos and abilities and of course I like this one. I also like that he put a plane Jane painted standard in the video too. Showing the other end of the spectrum is nice, there is still a great guitar available if you can’t afford the high end. 

[The Amps I Use In My Studio On Some New Racks.]

Very cool! Nice set up. 

[535 - what pickups?]

On 10/2/2023 at 4:53 PM, rockabilly69 said:

I can see why you prefer the Wolfetones! I have a Legend in the neck of my Zemaitis, and I love it there. It has the clarity that really works in the neck. And when you plug it into a gained up amp it sings. I've said it many times, I think it's harder to find a great neck pickup than a bridge. But when a neck pickup is right it's amazing how much more you use it.

Although I liked the Legend bridge pickup, I wanted to go with a hotter pickup in the bridge to fill out the mids, so I used a Wolfetone Fenris, and although it's listed as a high output pickup, it still retains what I like about un-potted PAF style pickups. Wolf winds great sounding responsive pickups.

I just flipped the neck magnet around to get an out of phase sound and I love it. It got some attention at my last gig. 

[535 - what pickups?]

I just put a set of Wolftone Legends in an Eastman SB57 and really like them. I use them for blues and rockin blues. They are not too hot or muddy but hot enough to drive the amp. I replaced the Lollar imperials that came in the guitar. Those were great pickups too and I’m keeping them for the future but I wanted unpotted pickups and the Legends filled that need.  The neck pickup does sound better than the Imperial, more clear and defined. The bridge is on par with the Imperial but a little more raw at higher volumes which is what I wanted. They are also reasonably priced too. 

[H150 Custom Core P90's Coming]

Oh man! A P blue CC would pair well with my Goldtop. I love that Heritage is really upping their game. 
 

On a side note, my band opened for Artur Menezes this summer, he’s a bit of a bad ass.  It’s not just his playing, he sings well and writes some good tunes too. 

[H-530 Pickguard. Can't decide.]

I’m always no on a pick guard. They are just in the way.

[Special Invitation To New Members]

I have a Super Eagle and I never play it any more because of the size. It is a real shame because the guitar is very nice. I use my semi-hollow guitar for jazz gigs all the time now. A semi-hollow with a mahogany body and neck and a maple top would be perfect.

[Special Invitation To New Members]

Which model Heritage are you interested in? That does suck about the Gibsons. I sold an early PRS about 15 years ago and wish I had not. In 1988 I could have bought a `59 Black triple pickup Les Paul for $1000 that I had in my pocket and turned it down, 20 years later they jump to $75,000 in value and I could just die. In `88 people only wanted the Burst Les Paul's from the late 50's and they were selling for 25K then, people bought the triple models for the PAF pickups and put them other guitars. Live and learn.

[Special Invitation To New Members]

The v2 was a purchase back in `89 when I was 19. I wanted a v guitar but could not afford one. I walked into my local guitar shop (Amro Music in Memphis TN at the time) and they had the V2 out with a tag that showed the invoice with the price they paid for it and next to that a price tag with the same number on it. It sold to me for $450, they had it in the back of the shop since 1980 and go sick of looking at it collect dust. The V2 was very pricey at the time, something like $1450 around $4300 today. The guitar really is not very good. The thing is very awkward and the pick-ups sound like poop. There have been article written about them in the past and some people think they could be the next `58 V but I'll believe it when I see it. If it does go sky high in value it will be for sale and I will look forward to an early retirement. I still have the Warranty card that the store filled out but my lazy ass never finished and never sent in along with the bill of sale and some other crap that came with it trying to sell me some Gibson brand shit.

 

The Strat is a Warmoth DIY with SD 5-2 pickups and sounds great.

[Special Invitation To New Members]

Here are some pictures of my stuff.

 

All 6

 

The back of the SE

 

The well worn ES347

 

Some neck wear to go with some case wear.

[Special Invitation To New Members]

I joined a few days ago. I have owned a Heritage Super Eagle for 11 years. I hope the picture I am posting works but I have a tendency for failing at the computer stuff. I own 6 guitars and one Carr Slant 6v 2x12amp. My most played guitar is my 1981 Gibson es347, I bought it in `91 and it was in mint condition, now it is full of scratches, nicks and the finish is about 50% worn off the neck. Before Smoking was banned in our bars here in Missoula, I would open the case it smelled like an ashtray. The smell and playing wear make this guitar very dear to my heart. I also own a Santa Cruz D/PW, a Gibson V2, a Warmoth Strat and the other very dear to my heart guitar, a 1938 Kalamazoo KG-31. It is loud, full of tone, light weight, big necked (no truss rod) and I only paid $300 for it, what more could a person want?

 

I play my Heritage mostly at home or at jazz gigs when I am in the mood but the size usually keeps it at the house and the 347 comes out instead. I love the guitar and HAD to have it, I have always been a big Kenny Burrell fan. I bought it new from Wolfe Guitars in January 2000. It has Seth Lover pickups, upgraded wood (something called the Ultra upgrade), gold hard wear, Imperial tuners and an antique natural finish. The tone is big and it breaks up the Carr 6v perfectly when set on 18 watts.

 

Christopher Gray