rockabilly69

I wouldn't let reverb pricing determine the trade. When I bought my 1964 J45 they totally got the price wrong, which ended up in my favor since I used that to negotiate. Look at Reverb's wild rises and falls in valuation on the J45.... https://reverb.com/price-guide/guide/179-gibson-j-45-1964-cherry-sunburst Besides that the Jet City, is a Chinese made amp with a high history of repair problems vs a USA made Mesa amp with a pretty good track record of reliability. Let tone be your guide!

I like the little Subway Rockets, and they definately react well to speaker changes. When you back up the mids they sound blackface fenderesque and as you turn them up in the mids they get a nice lead voice (a little thicker)

I had one of those years ago and that bridge confounded me, but I liked the pickups, and yes it played great. I wish I would have kept it, as these days I'm getting better at wrangling some good tone out of low output pickups. I sold in in the 1981!

Did you float the ground to see if that had any effect? (3 prong to 2 prong). And did you unplug the TV, computers, and router, and try the same test? In my opinion that is not a microphonic tube issue, it's sounds like something coming up the ground, or a faulty cable (power or guitar cord).

I was with ya Yoop:)

That's a well designed footswitch. Usually all I need is reverb/trem so that would do it for me.

I think I can't get past the ugly everything on that guitar!

When we cranked the Deluxe Reverbs I had a headache afterwards that took along time to go away! I'm just not used to the volume!

That's a looker! Love the cutaway and block inlays!

I go back and forth with best amp ever so I guess I have no idea with the best amp is:) I know one thing I like the lower power amps the older I get. Every time we crank the big amps in my studio something invariably vibrates that I pick up in the recordings, so my favorite amps to record are my little '69 Fender Vibrochamp (fender clean), Dirty Girl "Reverb" (supro raunch), and my '61 Ampeg Mercury (stones/faces raunch). Here are those little buggers....

One day, a very good friend of mine who I refer to as "The Amp Whisperer" got together to compare our Deluxe Reverbs. Mine is a 1964, which he rebuilt for me, and his is a 1965. Well we both had our favorite Les Pauls plugged into our DRs. Soon as the volumes got above 7 on the dial the party began! It was one of my favorite days of noise making. Total balls out rocking machines when cranked. Although both of us yanked the stock speakers from our amps and replaced them with Weber Alnico 12A150 models that can take that kind of pummeling:) Here's the rig I brought to the party...

I wonder if there were this many naysayers on the old Norlin Forum (joke) when Gibson pulled out and went to Tennessee, because there so many Norlin guitars built by the craftsman at 225 that were the epitome of hand craftsmanship (not!). I've personally known a few sales folk from the Norlin days that had to deal with stores wanting to return stock because of the uneven quality of some guitars coming out of 225. Naysayers say what you will, but personally I will wait for the dust to clear, and see what the company does. And as for the resale value of pre-Meng Heritages, I doubt that will change much, other than with the few Heritage fans that gather here, as they will still be sporting "the headstock", that many people don't like outside of the Heritage community. Let's face it, many people outside of the core group here, got into Heritage guitars because they were ridiculously cheap on the used market, mainly because of their terrible resale value. Check ebay, reverb, and gear page sales to see exactly what I mean. Even with the mods on my older H150, I spent less then $2000 totally for a dialed in guitar. But the only thing left on that guitar that came from 225 was the wood, tuners, strap buttons, and plastic. Same from my other H150! I would like to see a competitively priced guitar come out of the new guard that is dialed in to begin with. I can see you guys that were friends with the old guard being upset, and frankly, I don't see anyway that anybody is going to change your minds, so for you, I think this thread is pointless and perhaps a slap in the face. If someone fired my friends I would be pissed too!!! But for me, I would like to see the combination of hand craftsmanship along with some modern production techniques be implemented. If it wasn't for the shake-up and reorganization of the Gibson company we would have never got the Gibson Custom shop, which have built some of the best guitars since the 50's. And now, Gibson steered by the much hated Henry J, has only one profitable area that I know of, and that's the custom shop. And the guy that set it up to what it is is now, and who got fired by Henry J, is working for Heritage. Yes I know they say he will only be working on the Harmony brand, but I hope Edwin Wilson finds his way in to the Heritage guitar side because he has PASSION for guitars and doesn't think in antiquated ways, that frankly, in my not so humble opinion, contributed to burying the old guard at Heritage. I care about great guitars, and would be willing to spend money on a quality guitar coming out of 225! And maybe, they can do it a lower cost than Gibson, which to me have been overpriced for too long. This will be my last post on the Heritage forum till the dust clears. I came back because of the shake up, but the arguments are just round and round at this point so I will be watching from the sidelines. Especially since my opinion probably goes right against the grain of most of the stalwart supporters of the old guard.

I would like Heritage to stay Heritage in Kalamazoo and build guitars the old school way but don't let the untrained monkees or visually challenger senior citizens do the fret and nut work. And if they must use Nashville bridges, keep them off the H150 and H535. I would like Gibson to stay in Nashville and be run by Edwin Wilson and have Henry thrown in the La Brea tarpits to never return again

On my my first H150 I was really unimpressed with the stain/finish job, but on the two H150s that I kept, I'm totally impressed with the Nitro finish, ESPECIALLY, the back of the necks which are hard as a rock and smooth as glass. On most of my gigging guitars, mostly Martin and Gibson acoustics, the finish isn't that good!

The pedal version of the vintage Space Echo, the Boss RE20, is fantastic at replicating that tone. I've been using it for years! The Keeley Delay Station is a great pedal that does Reverb and Delay! The Keeley does 8 different reverbs and as many delays. I've been using it on my acoustic board since I started my winter season this Dec and I LOVE It! The top row of knobs are for the reverbs, and the bottom row is for the delays. Both of these Delays are fantastic at slapbacks and longer elays. And both also feature Tap Tempo.