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Just as Curly Howard says at the end of an episode. "come on in boys"

I wonder if it's got anything to do with the metallurgy of the transformers: old vs new

ah, I see all's well that ends well. I like the small block inlays too.

When I first bought the guitar, I put in a set of used SD 59's in it. I sold it to another HOC member who had it for many years. A couple years ago, I bought it back sans the pickups. I put in a set of Railhammers I had lying around but I didn't like how they sounded. At the time a Heritage employee saw it on a visit two years ago. While an employee of Heritage, he couldn't afford to own one. So I lent it to him and he was going to restore it with OEM parts found in the factory. At the time he was either going to play it himself or possibly use it in a museum Heritage was thinking about. After 2 years, the museum never happened, and he never finished the guitar. I was asked if I'd take it back. The factory took the guitar, cleaned it up and put as much of the OEM parts back on it. The pickups they found wouldn't work, so they dropped in a brand-new set of SD's. Seth Lover in the bridge and a 59 in the neck. It very much sounded like the guitar when I purchased all those years ago from KBP810 who in turn bought it from Smurph. They also sent an API bridge and tailpiece (Advanced Plating Inc, same manufacture that supplies Gibson) The purge phase for me has ended but so has the desire to buy guitars. Since being in a band, I'm more focused on playing new music and being consistent with my sound. I really lost interest in all the latest gear videos, new offerings, and used gear marketplaces. To answer Bolero's question, Smurph got rid of it because he broke the headstock and had it repaired. Still he wasn't happy, so he sold it to KBP810 for cheap. The truss rod nut had a little buildup of glue from the repair and made it difficult to access. I found a tool that fits and am able to adjust it. It moves really easily which seems surprising for such an old guitar.

That was the best sounding Heritage guitar that Josh owned up to that time (and he went through quite a few). It had a headstock repair and he had it refinished. He jammed through it at a PSP and it sounded HUGE and AMAZING. But back then, Josh was on a BUY and THEN PURGE phase. I thought for sure he would keep that one because it exceptional. I am not bashing him, we have all done this. I am just here to witness what a great guitar it is. It has (or least had at the time) higher output pickups but they sounded huge and open. My questions are; Why did Heritage have it for so many years? Did you own it while Heritage had it? How did you get it back and why didn't Heritage fix/set it up for you? Does it still have those great sounding higher output pickups in it? But mostly I was here to say congrats on getting her back!

I no longer have any vintage guitars but I do have 4 vintage amps (Brown Face Deluxe, Brown Face Vibrolux, Black Face Vibrolux Reverb, and a Black Face Deluxe Reverb). I can't acknowledge that a vintage guitar sounds better through a vintage amp. But I can confirm, that ANY guitar I own sounds better through my vintage amps verse new amps. There is a more 3D quality to the vintage amps. They sound like the sound is coming from 180 degree and don't sound boxy like a lot of newer amps I have played/owned over the years.

good news does it have a headstock repair or something? a pic would be good to see? Curious about what's going on with it

So I have four real vintage (two of them were severely reliced by me) guitars from 1958 to 71. I have one vintage amp left. So is it just me or do these old guitars just sound better through a really old amp than they do through a copy of a really old amp? Don't get me wrong....I love my Heritage guitars and other guitars from the late 70s and into the 80s. They all sound damn good through an old amp. However, when old amps meet old guitars, there is something magical that happens. My friend has a 50s deluxe and a super. I get the same experience. Perhaps it is confimation bias or something like that. But damn! This is how the guitar and amp combo is meant to sound I believe. It could be that as a kid that is what I heard. And when the amp heats up, there is a certain smell it has that also goes with the sound. I once had a 1996 Prosonic that heated up and had a certain tube-y/tolex smell and sounded really old when it was in the non-gain mode.Somehow my newer amps just miss that certain something. I will not take an old amp on the road for obvious reasons but at least I can get the experience in my studio. This makes me wish I had an old Marshall or Vox....

Very nice!

Access to the truss rod nut was a challenge. Typical sockets and wrenches didn't fit. I didn't want to use pliers, but I found a nut driver that had thin enough walls to turn the nut. Worked perfectly and turned very easily. I was happy it did. I also put an API Nashville bridge and tailpiece on it that was provided to me. Polished the frets, lubricated the nut, and cleaned the fretboard. She is ready to go. Played her again last night learning some new tunes for another band that plays more hard rock stuff.

DB you got the neck all sorted out now?

HB Amber. Such a nice, young age. They’re so cute when they’re 40.

I guess that deserves a cake too!

Here’s a little video of her last night. https://www.facebook.com/share/v/1BNqEa7LHL/?mibextid=wwXIfr

Sweet! Mine is a somewhat later 140, with a lighter shade of natural maple top. Absolutely wonderful guitar!

Amber left the factory on this date in 1985. I was able to access the truss rod and set her right. She made her first stage appearance since 2010. She sounded amazing.

I got a free blues driver when I bought my Gretsch 5420 Electromatic

😆

Welcome!

Heritage guitars are a great "bang for the $"

Here's another cool fuzz, this is a germanium pedal Ryan built for me, a Rangemaster style treble boost combined with a Big Muff with an adjustable bias. At 22 seconds in the first fuzz lick kicks in, and at 2:06 I crack it wide open for the slide solo!

When I'm recording demos/songs, I have a few fuzz pedals that I love the sound of, and almost all of them are germanium based. But I've always been against using fuzz pedals on my pedal board because of the instability of the germanium transistors used in most of the pedals that I like. When they work, they sound killer, but if the temperature changes in the room, so can the sound of the pedal. But recently, my buddy Ryan, my guitar partner in crime, and who's a fuzz afficianado of the highest order, gave me a silcone based fuzz made by Analogman, the BC183 Sunface which has earned a permanent position on my pedalboard. It just makes the solos cut so much better. And it's ridiculously consistent sounding. I love combining it with my Origin Effects M-EQ Driver for serious vowel like singing sounds! Not the prettiest board, but it gets thew job done... the solo i play at the end of this song is the BC183...

hehe

I love fuzz.

Another 2.45 inches and it will be just like Willie's Trigger!