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Yeah I got my Mk I in the wave of the first 25. Funny story… earlier that year I won an auction on eBay for 4 Greenbacks and asked if I could meet the guy in Saginaw. He sent me George’s address and told me to meet him there. That was Danny Ardouin and he introduced me to George and they sold me an amp by having me play his prototype and 12380. I made an order shortly thereafter and got #22. This was when it only had the 68 and modded 68 modes. He later did the 66 mode and offered free upgrades to anyone who wanted to send theirs in. So I drove back up and he happily ripped my amp apart to get it up to date lol. Last time I saw George in person was before my son was born in 2018. Took my amp up just to have it looked over and checked out and say hello. He gave it a clean bill of health but while he had it on the bench he let me try the clipping diode he was using for the DVL-1s. Offered to put it in too. We A/B’ed that a couple times against the stock and I stayed with the stock because I liked it better. More classic plexi chime in that one. I could have had a DVL-0.5 hahaha. George is a salt of the earth human being and I’m bummed his business went this way but I hope he’ll be back in some capacity. Why a company like Boutique Amp Design or someone else hasn’t offered to buy and produce his designs and have him on as a consultant is beyond me. Yeah, I know folks will say Dave Friedman’s stuff is already in their portfolio and I get that… but Dave’s stuff sounds like a recording of a perfected modded Marshall. George’s amps sound and feel like real 60s Marshalls. George’s amps capture the raspiness and raw edginess of the old Plexis.

That is a stunningly beautiful instrument.

https://reverb.com/item/92409180-heritage-standard-h-150-2010s-original-sunburst

Yes, that is the listing on Reverb. The shop quotes the standard specs from the Heritage website but also notes there were only 4 produced. The listing appears to show a 2 piece neck. I'm sure there may be other special features.

Never heard of this particular special run, but I spotted this 2025 listing on Facebook... https://www.facebook.com/shoalsguitarboutique/posts/just-arrived-like-new-heritage-h-150-one-of-four-built-by-heritage-in-the-origin/1424474409683848/

Billy T Never heard of that special issue.

Does anyone have information on this run of 4 with The Heritage owner's names (JP, Bill, Marv, and Jim) engraved on the head-stock? I am interested in any other distinguishing features. Based on the serial number the run occurred around 2016. Did a specific luthier oversee the builds? Thank you for any insight.

You have a MetroPlex? I bought the very last MK I. Took delivery in Dec of last year. It only took 2 years, but I completed the collection of all MK I & MK II models (MetroPlex, SuperPlex, GPM 45 and my desert isle DVL-1). George is a multi-faceted person. Deep sense of humor, curiosity, will to experiment and document the 60s Marshalls. He created the first master volume that, instead of coloring the tone like the rest, it behaves akin to a stereo’s volume; you get the same sound regardless of the volume. The only factor that changes is the drive of the speakers. He included a lossless loop that is the industry standard (designed by George’s friend Steve Miller - not the Fly Like an Eagle guy). They are the only amp I found that allow the player to stand in front of a 4x12 cranked to soak it all in. He obsessed with circuits that sound and react identically to his 1960s amps. As @greatmutah2112 can attest, switching back and forth between his and the original is undetectable. I believe he has a dozen or so pre-orders to fulfill and then he’s out. Those lucky people will find it worth the wait. As George said “Once you hear it, you’ll never unhear it.” I wish him the very best and still believe he will be back in, at least, a circuit designer position. You can’t turn off that level of curiosity and genius.

It’s been a massive bummer. I still read the Friday blurbs from George. I’m sad I wasn’t able to jump on one of the Mk IIs but my Mk I is going strong still. George loved building amps. When I took mine back in to have the free upgrade done to give it 3 modes instead of 2, George was so geeked to tear into mine just to make sure I had the latest updates and best sounds available. That amp is my desert island amp. It can do anything I want it to do. And I’ll always be thankful that I got to meet the man before I bought it which cemented me buying it. Playing the prototype alongside his 68 Superlead sealed it.

One thing I should mention... Most often the use of tone and volume controls really make a difference. Seldom do I now have my volume or tone control all the way up. On the occasion I find I'm not cutting through, I max the tone. I have a Red Rocks Alnico III in my H535's bridge position, Seth Lover in my H140's bridge position, and a SD '59 in my H150 bridge position. What I can tell you, with all three of them, I can dial them in, swap them out in a gig or a song, and they will sound very close to each other; especially in the context of a mix. And I have no idea what clean means, who plays clean unless you're in a Jazz trio? Even playing a slow tune, my amp gain is there, just with the volume rolled back to "clean" it up....

My 30-something yrs old H150 came with Schaller pup's, "Golden 50s" I think, which I swapped for Seymour Duncan Antiquities, the a SD '59 in the neck, then I put a first production Gibson '57+ (the Tom Holmes ones!) and it always sounded wonderful. Not for nothing it's called a pick-up, after all the acoustic sound of the guitar is what every pickup has as the basis for the sound it will eventually produce, unless one goes through extreme processing, then the guitar becomes "almost" irrelevant because 99% of what we hear is the effects: Anyway, few years ago I fitted a set of OX4 "Beano" pups on my H150 (I also have a set of OX4 "Jimmy Page" on my Gibson '58 Reissue) and oh my God, who ever said that perfection is not of this world has never tried this combo! It's just "that" sound and it has everything, sustain, thick while extremely dynamic, sensitive to the touch and changes in Volume or Tone controls on the guitar, a perfect EQ with just the right balance of bass - mids & treble....as I said perfect, and these are the only pups that hit me like that, love at first chord. I have to say that I tend to go for a very simple set up guitar - 1 or 2 pedals - Marshall on crunch, however I am a professional musicians hance at time I h=found myself playing though elaborate set up, both live and in the studio (I used this guitar straight to the console when laying down parts for a Netflix soundtrack...) nevertheless the results have never been short of impressive! That's my experience anyway...

Some BEAUTIFULLY figured tops too!

I remember seeing someone working on an H-150 on a belt sander years ago. I liked the CNC carver right off the bat! We all got to see Heritage's duplicarver. Today, it's all in the CNC.

Got a kick out of this line... "Although the plant is equipped with the latest woodworking machines like this belt sander...." After all, that was only 70 years ago.

I don't know if this previously was posted. https://www.youtube.com/watch?v=XXCAKNkDvL0 At 3:00 exactly you'll see Ren Wall's dad with a guitar. This is Rem Wall, a local country legend with a great voice.

Stopped by Dave's web site and noticed a really big increase in their Heritage inventory. Lot's of brand new H-150's, 535's and custom core models. Pretty cool to see. They also seem to regularly have recent used models as well. Seems like they have as big of a Heritage inventory as any dealer I've seen.

The key was rinsing with fresh water, then distilled water then a quick isopropyl alcohol to flush out the water. Get the salt and other stuff out. It even worked with my AW16G recorder and a computer. But it needs to be done soon afterwards, not months later.

Fresh water flooding vs salt water flooding. Huge difference!!!

Back when "Timmy" Pedal guru, Paul Cochrane was creating amazing Heritage amps, he was criticizing modern-day reverb tanks. I've been through a few tank tank swaps, and agree with Cochrane. I had to return two brand new tanks due to poor performance. Springs jangled or had overtones at low reverb levels. Even after swapping in vintage tubes the reverb sounded washed out. That said, if I needed another reverb tank I'd look for a good used tank from an old amp. Good luck with your MOD tank, Will. I hope it works out for you.

Agreed. I had to pull the reverb tank from my Classic 30 when the basement flooded. Once everything was well rinsed, including the bag, and dried. I simply plugged it all in and it worked fine.

quick and easy fix. I actually have a spare reverb tank at home somewhere, but since I don't live there anymore, I don't really have access to it

Good on ya, Deluxe Reverb needs reverb! But not more cowbell.

I love the custom core headstock!

One of the best rock and roll tones that I ever heard in my life was a very early 70's Les Paul Custom plugged straight into a '68 Silverface Twin. Some guy had traded it into Guitar Center and a very good guitarist friend of mine who worked at the store for a while was checking the pair out. It was after closing time so he cranked it and it was awesome. Total rock and roll! If I could afford it at the time I would have bought the combo on site.