All Activity

Although while they're are doing it, they have seriously upped their quality control game. You don't hear many people complaining about file marks along the bindings and fretboard, or ridiculously bad cut nuts these days And I think their custom core LPs rank with some of the best guitars to come out of Kalamazoo.

I think in this day and age, everyone thinks of a Fender-like amp with splash of reverb and tremolo. (Deluxe Reverb perhaps?) Or something AC30 like, Dr. Z or something in that vein. But I'm going Marshall. I'm not investing more into a band than I already have. I've been using some AI stuff lately at work and as much as many (me included) are resistant to AI, AI can be helpful. So I told Chat GPT that I am using this setup: H150>Xotic SP Compressor>Timmy V3>Marshal DSL40C (effects loop is a Wampler Terraform>UA Del-Verb) Here's what it said to do: H150 on the bridge pickup roll back tone to 7-8 and pick closer to the bridge itself Compressor: Blend 60-70%, Sustain Medium, slight volume boost Timmy T3: Gain Low (8-9 o'clock), unity volume, cut bass slightly, add a little treble Del-Verb: Delay 90-120ms, 1 repeat, mix 10-20%, Reverb Spring or Plate 15-20% mix, short to med decay Marshall DSL40c - Classic Gain - Clean Mode; Eq 3-4 bass, mids 3, treble 6-7, presence 6-7, resonance 2-3 and gain at 2-3 to stay clean Reading this I actually think it might work. But I cannot wholly trust AI, so all you country players on here, what do you think?

Hmm, I may have to look into it then, to keep myself from buying some super expensive amp like a two rock, Amplified Nation, or Fuchs. Even the used prices are pretty insane on all of those. No free lunch on any Dumble stuff, unless I wanted to get something like a Ceriatone, but then you have the option of 20 different builds. And many of those I don't understand at all, like the HRM stuff, where there's apparently ANOTHER tone stack inside the amp, or at least that's how it was on the original dumbles.

I think I used to own that one. Beautiful guitar.

Heritage is too busy trying to re invent the wheel

I still think the Millennium should be in the Heritage lineup. It's a unique guitar, versatile and great sounding.

Having now spent a day with it I will vouch for this assessment. A little steeper learning curve than suits my 65 year old brain filled with too much stuff already….BUT…it seems to be manageable and not too hard to get to ‘set it and forget it’ with three ‘presets’ available. 1. Pedal off - just clean amp. 2. The ‘live’ footswitch that you can adjust on the fly, but I like to set it and forget it. 3. The ‘preset’ footswitch that has downloaded settings . So I can dial in three distinct tones with this box….i think. Still figuring it out, but that’s really all I need. So far my only complaint is that the Bluetooth connect that connects to the phone app is not reliable. You have to re-pair frequently if you are trying to figure it all out.

This guitar is a monster player. Playing it with three different amps, with and without a drive pedal. Sounds huge and beautiful no matter what it is paired with. I had to stop because my ears were ringing.

So, pay it forward or play it forward?

I’m so happy that after 25 years…. Im still providing beautiful guitars to people across the country and making new friends and seeing responses like this!!! It really makes me happy. 😃 @tsp17 I hope this guitar brings you much happiness!!!

@tsp17...Awesome NGD review. There's something magical in a well made, chambered gitfiddle. Play it in good health. 👍

the Millie i bought from Brent showed up last night. Haven’t had a lot of time with it yet, but man oh man this is a great guitar! Brent comes through again! Minty fresh, like it has been played very little. Tuners still feel new. Sounds more like a semi-hollow because of the chambered body, which is exactly what i was looking for. No feedback issues but still a big and round enough sound for jazz, soulful blues, R/B, and fusion. My band has been getting loud and my archtops often feedback. I guess I’ll be one of those players that switches guitars depending on the song. Yes, overkill for the kinds of gigs we get, but it will give me more flexibility to get funky or louder jamming and use some drive/breakup when the moment calls for it. Just plain FUN. I’ve been playing straight ahead for so long I’m ready to get down and dirty before i get too old. I’ll post some pictures over the weekend, but they probably wont be as good as Brent’s. It really is as gorgeous in person as it is in the photos in his for sale post. Thank you @brentrocks for the great transaction and fast shipping, well packed as always. I also got it a friend: a UA Enigmatic ‘82 pedal. They make a great pair.

My 13 year old grandson now owns it. He is a dedicated guitarist. He's likely going to be 5'5" as an adult. He currently has a large guitar, which is hard for him to play. I gave it to him last year. He's swapping an 18" Gretsch for the 575. https://www.flickr.com/photos/151972168@N02/albums/72157718796977248/

The secret remains.

Love it!

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” 🤣