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I have access to liquid nitrogen at my wife's company. They use it in their 3D metal printing sintering oven to eliminate oxygen during the sintering process. I would be hesitant to dunk a whole pickup in the stuff. I don't think the metal would be harmed, but I think it would embrittle the plastic and damage the solvent cement Schaller used on the bobbins. Also, like I said, the literature indicates that cryo exposure results in a 10% loss in magnetic charge in alnico 5. My HRWs show very good field strength and no lack of charge. Maybe he yanked the magnets, dunked them and then recharged them? Who knows. It wouldn't be a difficult trick to pop out the magnet from a Schaller pickup, dunk it in liquid nitrogen and re-assemble it. Were I going to undertake this procedure in a production environment, I'd order the pickups uncovered from Schaller, and the covers separately in nickel and gold or what not, Then pop out the magnet, do the deed, re-assemble, attach the covers afterward and then wax pot them. If it weren't such a PITA to disassemble them from a semi-hollow 535, I'd pop them out, do all the electrical measurements, and a Bode plot with the exciter coil and integrator on my digital oscilloscope. Here's my post on the subject when I acquired the 535 a few years ago: ^^^ that's someone else's guitar photo in the thread... At the time, I measured the set in my 2001 535 as being quite similar to the Duncan SH-2 "Jazz" set. The other thing that was different are the pots used with the HRW. My 2001 535 had 500K volume and 250k tone pots, with .022uf capacitors. The typical values used with humbuckers are 500k/500k and 0.022uf. My 1998 H150 with factory Duncan 59's in it, had the 300k volume and 100k tone pots, factory from Heritage. Same as used in the Norlin era Gibsons. That made that guitar pretty dark. Until I wore out a pot and replaced them with normal 500k all around. Perhaps some of the "mystique" is picking out a slightly different tone pot. 250k vs 500k for the tone pots would be like rolling the tone knob down to about 7.5 to 8 on a 500k pot when wide open.

I know. Why the heck did I part with that beautiful geetar!

😂

Yep, Will, I do love a precision-made and tension-adjustable 'Six-finger tailpiece'. I put one on the BlueBurst H575 you sold me many years ago...😉

A common sight for the hot chicks... Missing the G-String

That's because I like to hit the right notes... .something a drummer don't need to worry about!

I have a few of his instructional books. He presents the material in a very straightforward manner.

Great story about a well respected man and his craft. I’m curious about the loaded pistol in his shop. Do you think he would have ever hesitated to use it if in a precarious situation?

I know you love those Tim, but I detest them!!

Well, that means you need to study the fretboard more if that’s your “crutch” 🤣

I too am always kinda mystified by the "Dumble sound", which no one can quite describe. As his amps were ALL custom made for the customer, I'm not sure there really is a "dumble sound". It's more like a "dumble architecture", and usually I hear a lot of somewhat esoteric terms floated around any time someone brings them up. "transparent", "touch sensitive", "nuanced", and so forth. I've never played through a dumble, nor have I ever gotten a chance to play through a Fuchs, Two Rock, Amplified Nation, or any of the other D-type amps. Also even though I'm from New Jersey, I've never tried a trainwreck amp either, though there seem to be a good number of amps that are designed like those, including a bunch from Dr. Z. Most of the demos I have heard of the Enigmatic 82 sound very good, though many of them are well above my usual desired "tech level" I want to be at when playing guitar. I'm not the type that will sit there and tweak a ton of settings inside of an interface to get the most nuanced sound possible. UA's gear is great, but for someone who is kind of an analog purist, I'd rather have something like an Ethos overdrive, though those are definitely quite a bit more pricey than the UA.

Just bought a used one on Reverb . I need to stop looking at these posts. Costs me a lot of money. will report back. I got it to go with my new Millie courtesy of world renowned Brent’s Emporium. Arrives tomorrow.

Maybe a six finger tailpiece in chrome would work...?

That is a stunner. Looks like a custom order from the factory.

I'm still setting it up. It was down-tuned for a very long time and a string was missing. I didn't see it before it was renecked, but the first neck was mahogany. Few of us had the good fortune of meeting Aaron Cowles, a master craftsman of the highest order yet very pragmatic. That was the description also of the original Heritage owners. The H-575 is a jazz workhorse. I took video lessons from Mimi Fox and Alex Skolnick years ago, two extraordinary players both using the H-575. It does the job well and is sturdy. Unlike thin topped spruce jazz boxes, this is built for amplification and to take it. (As an aside, here's a fabulous rock solo by Alex that brought tears to the audience.) https://www.youtube.com/watch?v=X07ssteuM8o&t=245s Here's what I don't like: the tailpiece. It functions, but you have to learn how to keep the string ball in it. Previously I had the ball slots deepened in another guitar. If someone knows an easy swap out for the tailpiece that is more solid and secure, please let me know. Bigsbys need not apply.

Gorgeous. That neck is really special. I like the plain ebony board too.

I used to know people that would take a certain drug and stay up late writing things that didn't make sense.

That gets into the territory of almost too nice to play!

what a beauty!!!

Resident, or inmate?

That's some lovely lumber. I love the neck, but I would absolutely need inlays on the fretboard!

Lay Paul 😂😂😂😂

Holy cow!!!

Sadly, he went from gate guard at the retirement home to resident at the retirement home.