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I can almost hear it from hear! Looks great!

Handsome couple, eh?

What the heck am I supposed to do with those? Beat them with a stick? My old drummer friend left his kit in my basement some years back. I tried to learn a bit of drumming. It was hopeless! As someone who has ZERO coordination and even less sense of timing, about the only thing I could do with them would be to throw a blanket over them so they don't get dusty!

Thats the only way for me. But sometimes, like at 4 in the morning when you come up with an idea and want to hear it with a drum track, thats not always an option unfortunately.

Have you tried one of these yet?

Bummer on your Fillmore! Hopefully an easy fix. but amazing new guitar!

Oh bad news, my Fillmore died today, first the reverb wouldn't work, then all the volume went away. Tried new tubes in every spot and nothing worked. It's under warranty, I hope the repair is solid and doesn't take to long. I'll talk to Mesa tomorrow. It's a bummer, because I was testing a guitar that I just got today, another Teye, a Fox...

Hi fellow Heritage owners.... just like to ask how many of you guys here who owns the new era H150 custom core series which it had the red or rather brownish looking side dot markers on your bindings? Or its pure black? I played one which it does seems to be "tortise shell" side dots and i think it look cooler on the vintage vibe....

The Faber TP-59 slips right on and is spaced at 82.55 mm. The zinc stop bar was 78 grams, the Faber 28 grams, a net reduction of 50 grams or 1-3/4 oz.

I have a tailpiece stud well question here too if the moderator here dont mind me interrupting... Will a stud well ever get slanted during an installation ? Be it hammering in or using a drill press... i have thought it over ie: even if you may hammer tap in and perhaps accidentially placing the stud well slanted but during the process of hammering it in, wont the 30mm deep stud well hole auto correct the seating of the stud well to be straight while you tap in the the stud well?

Yeah, I bought this from Buffalo Brothers, who were a big Heritage dealer back then. They told me they sold it new and it was a special run they ordered n that configuration, and took it back in trade from their original customer. You never know about the veracity of such statements, but it all looks legit. The stud spacing confirms to me that it never had the usual Schaller roller bridge/top-loader hardware on it. The studs are metric thread.

Right, with the gain at a moderate spot and the bass and mids set low, it is gorgeous. I wouldn’t say shimmering Blackface clean, but just different enough and truly beautiful. More organic sounding. Wonderful at lower volume. It will stay clean unless i dig in with a pick. I was listening to Kenny Burrell’s God Bless the Child version, and Midnight Blue, and it is a lot like that - also much of Grant Green’s portfolio from the 60’s. Maybe a little darker and less smooth polish than a Blackface clean, more like a mic’d Deluxe. Truly a gorgeous sound when you get it set right. I’ve never heard an amp sound so much like it is mic’d. That intimacy and immediacy…..wow. Very giggable at 26 lbs. My drummer is on the loud side, so now I am at risk to get the MB California Tweed 40 watt head to see if it will give me more headroom for louder gigs. I hear it stays clean longer at higher volume. I played the 2:20 combo version at Guitar Center the other day. Wonderful little amp. Also looking at Suhr Bella. 44 watts/6L6. Also the MB open back cabinet is terrific sounding. More room filling, lush, ….All my other cabs are closed or ported. I forgot how great open back cabs are….i ordered an Eminence 2512 Neo speaker to try in it. I’m on a little amp bender so I need to sell some more stuff….

It's not unusual that a series of customized guitars would be built back then. My H535 doesn't have the standard Schaller bridge and tailpiece or bridge. It's a Nashville style. I don't know who spec'd it, but it's factory stock. Folks like Jay Wolfe and Ed Roman bought enough guitars at a time to spec special builds. I know that the Ed Roman Class of 59 and Blues Deluxe guitars came with a stoptail and Tone Pros bridge. If they didn't want the Schaller hardware or pickups, it would be a simple thing to tell the factory to build a few dozen with XYZ hardware.

I've installed a new stopbar (TP-6 fine tuners) on several Heritage guitars from the period and ran into the tight spacing. The solution for me was buying studs out there that were used on/sold for the Les Paul Custom (LPC), which have a slight dimensional difference from those used for the standard. I would actually buy the stopbar, which came as an assembly, to get the LPC studs and toss the bar itself. As I recall, and this is 15 years out, they were Imperial so someone may have swapped bushings when the original bar was put on your guitar. Heritage would do a lot of special orders at that time. I don't know if this is what you are running into, but it's food for thought and worked to solve my problem.

One of my favorite H-170 was a gold top lightweight. PunkKitty had it for a whille, as I recall. It had only three knobs and a full neck.

Well, that's a possible hack. I could squeeze it on there, but that's not natural to be that tight. But it turns out after some research, that not all stopbars are the same size... Hmm. The most common size is 82mm between studs, which was also the same as the Schaller top-loader that Heritage used. Schaller today, offers a stopbar tailpiece with 81mm between studs, smaller than most and Imperial (5/16") studs. The historic Gibson size is 3.25", or 82.55mm, almost exactly. I haven't found any 83mm spaced stop bars, but wouldn't be surprised. Was told when I bought this 1998 H150, that it was factory equipped as I got it. And I think that's true. It appears Heritage were sourcing the same zinc stopbars that Gibson used on historic re-issues in the 1990's. I was told it was a dealer order run of H150's, which normally in that time frame, had the Schaller hardware and pickups. But these were built with SD-59 pickups and tune-o-matic bridges (Nashville type) and 3.25" spaced stobbars as mine has. I think maybe they rounded it up to 83mm for some reason. Turns out, Faber stop bars are 3.25" between studs (82.55mm) and I have one coming to try out. I think it will fit just fine. Also, it seems there are different thickness of the mounting ears in stopbars as well. The Gotoh aluminum bar seems really happy on the 2001 H535, it's shiny as is all the hardware on the H535 as i got it. I've played the living heck out of my H150 all these years, and it was well played when I bought it used. So all the relic'ing was done the natural way. I ordered an aged nickel Faber bar. Learn new stuff all the time. Gotoh GE101A with drawings: https://g-gotoh.com/product/ge101a/?lang=en Schaller stop bar: https://schaller.info/en/stop-tailpiece/1205 Faber TP-59: https://faberusa.com/product/3010-2-aged-nickel-tp-59-tailpiece/ TonePros T1ZA: https://tonepros.com/product/t1za/

That's exactly what I was thinking.

I've owned the Mesa Fillmore 50 combo for about a year and I can say the first position on the gain switch gives up the glassy tones with ease, the second position gives up the tweedy tones, and the third position is classic Boogie. Randall Smith has said he based the tone stack on the vintage tweeds, but with the mid control down low, and the gain switch at the 1st position you can easily get the classic Fender clean tones. Another thing these amps are louder the most people give them credit for.The problem is the most people are running the preamp gains too low. When they preamp gains are above the halfway mark which is still very clean on position one, and the master is cranked they are very loud. The volume on the master doesn't really come on 'till the last third, it's way different than most amps which develop most of their volume in the first two thirds of their travel. I have no problem getting clean above some hard hitting drummers.

You might just file a bit of the Al stop bar?

ok- so I had been in the market for an amp...after reading this thread, I just pulled the trigger on a Mesa Boogie Fillmore 50...I think that it will be awesome!

Yes!!!! Thank you

Well done! I love that top! Inlays…this one is really a beauty. And a great deal.

SCORE!

It is a very good sounding amp. Different from my usual flavor, but I like it a lot. Variety is the spice of life! I once played a ‘58 Deluxe and have never forgotten it. This one has a some of that vibe for sure. I love those old Rudy Van Gelder studio recordings of Kenny, Grant etc. It is a great sound. Cuts through really well live too.