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One of the few guitars that I regret selling was a very limited run Ibanez AR3000 reissue. Man, what a wonderful guitar!

I've got #22 of the 2000 Limited Edition. Alas... it's not for sale.

I really like the look of the Millie and the build concept. My favorite in appearance is the Eagle 2000. The easiest to get high access on is the DC. I don't think they sound different in general, but individual instruments may well vary. In route is a DC. It's blue. There are a few notable features. The hardware is chrome, probably because the finish is blue. The neck is maple. It's a 2004. It came with HRWs, but the seller swapped out for Seymour Duncan Pearly Gates in the bridge and APH-1n Alnico II Pro in the neck. I found HRWs in my previous Millies and solidbodies to be too harsh and shrill. They work well in hollowbodies. The seller was kind enough to include the strap components of the straplocks, a new set of strings, and the HRWs. He's a real gent. I'm tempted to change out the bridge and tailpiece. I'll hunt to see if I have the parts already. That's not essential for me. I've had experience with Heritage's blue guitars. They go greenish over the years with yellowing of the lacquer. This one's 20 years old and looks deep blue still.

Daniel, my 'retirement-gift-to-me' Millie Y2K has some of your desired specs.

I don't sell guitars. I buy guitars I want and keep them. So this is easy to answer - my 60s Jaguar! It was the last guitar I sold. I bought it for $200 used around 1969, and I sold it for $225 to buy a motorcycle in 1975. It wasn't the greatest guitar in the world, but I used that a lot when our band was very active. I've looked at some Jaguars, but the closest I can find is a Vintera 60s Jag. All the new Fenders are Kurt Cobains, Johnny Marrs, Players and the Vintera 70s which has the block markers. Alas, I can't find any pictures of it, but I remember it fondly.

There are so many that I would love to have back. This one comes to mind first every time I hear this question. Custom ordered H-530/555 with a very custom finish. Ren is playing it in this video right before I got it.

Here ya go. Hmmm...just noticed a lighting/reflection issue that makes it look like a vertical scratch. But she's perfect. 🙂

Lol! Truth. That can be the aftermath of finding a holy grail...now if I could only find a shrubbery! I have an H&K too & have used it a lot. Not for gtr though, funny enough. I have 2x leslie cabinets I use for gtr: one needs a speaker though. They're not the big 122's with spinning horns, just a single speaker with a baffle. They do sound great.

I worked through a few wahs and have ended up with a Vox. I like it, just a sweeter traditional sounding wah, to my ears. I havnt used it since 2012. Worked through a few leslie type pedals and ended up with the H&K. Its big. I never really used it despite it being such an important quest I was working through. It was kinda like engaging in a long arduous hunt, digging up the treasure I was looking for, inspecting it for a few minutes and then walking off to make a sandwich and forgetting about the whole thing.

Yes, and also no. Musical instruments are not engineered, they are designed, and decisions made often can fly in the face of what an engineering or mechanical standpoint would be. My other musical side is a brass musician, and I have spent far FAR more time involved in playing Tenor, Bass, and Alto trombone than I probably ever will while playing guitar and bass. And I have seen many products of "superior engineering" fall flat on their face in that market, just as they do in the guitar world. Because it's not about engineering, it's about design, it's about produced sound, it's about the feel of the instrument, and other things that cannot be quantified. You have people who are all about trying to market how their product / design is the product of superior engineering, ignoring the fact that where instruments are today is the result of hundreds of years of change and evolution. They also tend to ignore the fact that often, they were NOT the first person to think up the design, and that it didn't work the first time. Then you also have to remember to throw in the placebo effect, which results in some people always thinking every change they make results in something better. It's pretty amazing to see how many different takes their are on the "best" bridge for a G-style guitar, and what aspects of that particular bridge make it "the best". Ted McCarty had a degree in engineering. He oversaw GIbson during the time when the Tune-O-Matic was originally created. Yet, the PRS design he consulted on, which premiered in 1994, came with not the PRS adjustable Stoptail bridge, but with the bridge that they have used for years now: a stop tail that is a solid piece of metal, with screws at the back for rough intonation. Pretty much a lightning bar. Minimal pieces should result in maximum sound conduction, and with all of the tension of the strings applied to the threads in the bushings, that should result in a large amount of engaged surface area under a lot of pressure. But is that really the secret to the "best" tone and sustain? Look at the ABR-1. The strings rest directly on the saddles, which are on a threaded insert, which rests in/on the bridge. This itself rests on wide threaded washers which are on 6-32 x 1-1/16" posts threaded directly into the wood of the guitar. Many consider the ABR-1 without the wire to be the best bridge for G-style guitars, even with the fact that they can collapse over time (some state that the first few years used a better alloy and won't collapse), and that the range of intonation adjustment is limited. This however seems to have a lot less potential for sound conduction than the lightning bar in some ways, so is that really what the "secret sauce" is? I won't mention the nylon bridge inserts that Gibson went to in the early 60s, which are Angus Young's favorite, but others hate. It's all about the sound, and they are supposed to give a softer edge on the notes due to construction. Look at the two major types of tremolos out there: fulcrum and roller based. The Floyd Rose type and Kahler type are the epitome of the design, especially in their current form, though they are often felt to lack sustain. However the solution to that for many is pretty simple: Materials and Mass. Brass Rollers and Saddles on the Kahler. Heavier Tremolo Block on the Floyd. I guess I'm rambling now, but I always come back to how Eric Clapton has blocked tremolos on his Strats and doesn't just use the hardtail version, as he feels they sound better. Tone secret: One of the guitars used on Early ZZ Top records was a hardtail strat. Everything from an engineering standpoint, if you want optimal sound conduction, should favor the hardtail. But many don't, even if they never use the Tremolo.

I think often the nib frets start sloping to the edge of the board too soon, I’m not sure why but possibly it has something to do with matching the height of the binding used, idk. I have a 2011 Goldtop 150. It has the nibs and it was pretty atrocious how bad the fret work was when I bought it. It was used, less than a year old but it probably was never played and I’m sure the fretwork was from the factory. I leveled the frets and crowned them. Then did it again about four years later and then again probably four years after that. Now it is about four years later again and the frets are low and it is time for new frets. This is my main guitar and it gets a lot of play time and I bend quite a bit so the frets get worn fast. While I do love the look of the nibs they are going bye bye with a new fret job. I’ve had other nib guitars and I have eliminated the nibs on them with new frets too. I prefer the frets to go to the edge. I’m going to do it this winter during a low gig window and after I’ve retiled my backsplash (or risk some serious trouble for putting it off for another guitar/amp project!).

These two left the building 50 years apart!

The sticker from inside my 535! Wouldn’t be surprised if some of the names handled both of them!

I'll never forget (I have phone video) the first time I played the Real Thing in a studio, while working on my benefit project three years ago! My god it was loud (with a gobo between me and the Leslie, it was still bowel liquifying)!! And the sound was glorious !! I felt what it must be like to play in the viola section of a symphony orchestra.

Exactly! I personally feel that way about life in general. Music, food, cars. It's all subjective. Nothing really sucks and nothing's really great. One person's garbage is another person's masterpiece.

I've said this more than once, I worked on peoples guitars as part of my income when I first quit my day job about 25 years ago. I worked on more guitars than I can count and I tried a ton of replacement parts. So to answer the OPs questions. 1. If there's no problem, why bother? Because IMNSHO many replacement bridges sound better, and to me look better. 2. I prefer the old hardware over replacements. I don't:) 3. I don't want to alter the instrument for the sake of its integrety. What Integrity? Heritage didn't pick all the parts because they were the best for instrument, they picked from suppliers that gave them a good deal. So why keep the integrity? You could always keep the old parts in the case! 4. Cost too much or too much hassle even though there are better options available. Faber offers 20% off sale on reasonable prices, on very good bridges and tails, and when changing strings it shouldn't take more than a half hour of your time to replace the bridge and that includes intonating it. As for Schaller roller bridges, I would take an intonated Bigsby bridge or TruArc bridge every time over a Schaller. In all my experience, and in Schaller's defense, I've never seen a ANY roller bridge that to me was worth using, they always robbed tone. And more than once they've cause vibrations and buzzing! As for stock Schaller hardware, if it sounds good, or more importantly if you like the sound, then why change it. Personally, I'm a vintage tone kind of player, and I think a proper ABR that is screwed directly into the body is the way to go with Heritage H150s for my TONE. And for that type of guitar H150/LesPaul, for me, it's the only way I go. For certain types of heavy music I think a bridge with more mass and weight might work better for sustain (at the cost of resonance), so I could see using the stock Schaller (but not a NAsville as they are hollow). In my case though, I don't care what comes on an H150, Schaller, Nashville, I immediately pull them off and put on a proper ABR, and NEVER once did the stock bridge sound as good as the bridge I replaced it with, which most of the time is FABER with screw-in inserts, and Tone loc bridge, with nickel plated brass saddles. Personally I think Heritage used Schallers and Nashvilles because it takes more time to correctly install a proper ABR. I remember the first time I swapped a Faber bridge and the deeper german steel inserts into my H150. It was awesome that guitar came alive!!! I that particular bridge into 1 Les Paul, 3 H150s, 2 Firebirds, 1 SG Classic, 1 Les Paul Special, and the only time the guitar didn't sound better was with the SG Classic. But a few weeks later, out of the clear blue I got a package from Larry at Faber and in it was a new bridge because he said they had a bad run of bridges, and that's what I put on that classic. Soon as I put the new one on, it sounded great! I hold NO stock part sacred! A lot of people like to keep things they way their guitar came from the factory, but me, if I think something is lacking, I immediately get to work on it. I don't suffer anything on a guitar that I can make sound or work better for me. I just bought my Holy Grail guitar, which originally sold for $10,000 when new, and most people would think it a travesty to work on an expensive guitar like that, but I already bought the pickups I want to hear it with and different value pots and caps. I LOVE the guitar's construction, the bridge and tailpiece on these lock down and are hand made to perfection, the look knocks me out, and frankly I've never played a guitar with a better neck shape, smoother feeling fretboard, or better fretwork, but I think the pickups that they chose to use in it aren't as good as other's I've used. So out comes the soldering iron. I make a living with my guitars, either playing live, or recording for people. Personally there are very few guitars that I've picked up and thought to myself I can't make this better FOR ME. I've swapped out some parts in my day that didn't work out, but I just kept on going till I found what I liked. Playing and recording is my living, modding guitars is more of a hobby/passion that works along with what I do for a living:)

Over time there have been a few wonderful Heritage instruments that have gotten away that I wish I still had. I'm sure many of you have experienced the same feeling. I'd love to hear about your old flames. Pics please.

I've never owned one of those but I've always liked them! That's a great looking one!

So...we're opening these wounds again: My first Heritage, a blonde H-576; a mint double-cut, cherry '59 Les Paul Junior ($75 at a yard sale); '52 Les Paul Gold Top; early '70's Guild F-50R; Gibson Custom Shop Robbie Krieger Les Paul Custom (What a player! What tone!); '67 sunburst, double-bound Fender Tele.

My wife's father passed when she was 10. He left her this Guild T-100 slim jim (early 60s?) modified,of course. The P90 was lovely. It was stolen in 2017.

Beautiful! Those multipiece necks are killer too

Although he makes a Z-verb already ( I have one ) so maybe that's why

He should have called it a "Super Z-verb" the name is kinda ambiguous & not very descriptive

The EZG50 is Z's take of a Super Reverb. It's built like a tank. Here's a couple of videos that I think show off some of it's capabilities.

Tim does drop your jaw once someone mentions a specific model and he displays his superb example of same.

that's a beauty

H&K made a good tube leslie sim, stereo outs

I am just not a great enough player to think that changing anything on my guitar is going to result in nirvana. My issues are just lining up three notes in a row that sound good to my ear. I do appreciate an instrument set up correctly and that is as easy to play as possible but I do not have any illusions that a hardware change will make me turn into Matteo Mancuso. I own more than my share of Heritage guitars. Many old and and one Marv made for me. Just interested in playing music, no interest in part replacement.

I learned to fix my own guitars when I realized it was a waste of money bringing them to a tech all of the time. When I went full time as a musician, I started realizing in closer detail what I wanted my guitars to do, so I learned how to dial them in. I learned out to do the things that others didn't want to, truss-rod adjustments, fret dressing, special electronic wiring, etc. Not luthier stuff, just basic guitar setup and repair. When I found I had a knack for it, I turned it into a side hustle to supplement my gig money. I worked on guitars for people one day a week, and then that turned into two days a week, until I had enough gigs where I didn't need to do it anymore. In the process, I really learned what I liked, and I also found out that many of the things touted on the internet as guitar setup gospel, weren't

Some of us are born with inclinations towards solving problems, engineering, and being a mechanic. I'm one of them. I learned soldering, replacing harnesses, set ups, etc. with guitars because I liked learning and doing it. Every time I pick up a guitar I subconsciously assess the set up and the state of the strings. I had not thought of this before, but it reminds me of the military, particularly the Marines. They bond to their rifle and care for its every need.

I approve of this post 1000000%!!! It's our guitars, we've got to play them, we should make them the way we want them! Speaking of parts I've been getting parts in the US mail/UPS for rewiring my new Zemaitis guitars, and I can't wait to start the work on them. I'm just a few parts shy! Come on UPS! I've been researching for the last few weeks on the electronic parts and the wiring schemes used in the original Tony Zemaitis guitars, and funny enough, most the original wiring cavities are pretty sloppy so it's been a slow go trying to figure out what to use to get me there. But I'm just getting ideas from the research. Most likely I will develop my own wiring scheme. One thing that particularly intrigues me is the wiring for the Reverend Kyle Shutt guitar, which is 4 knob with Vol,Vol,Tone, and Bass contour. I'm not a fan of his playing, to be fair not my kind of genre, but I like the thinking behind his wiring choices!

One of my first guitars was a single pickup version of that style Melody Maker, and the owner before me stuck a real Gibson PAF in it, and put a Leo Quann badaas bridge on it too. It was killer diller!

There's all kinds of crazy theories out there. The most coveted vintage Gibson electrics are the sunburst Les Paul standards from about 57-60. In reality, these were factory-equipped with *nylon* nuts, aluminum tailpieces, the early ABR-1 bridges without retaining wires (so you can look for the saddle and screw on a dark stage when a string breaks) The ABR-1 was mounted on 6-32 machine screws threaded directly into the wood, which had a tendency to lean over time from string pressure. The bodies were cemented together with phenol glue, which was radio-induction cured (literally radio-frequency electromagnetic radiation) not "hide glue" like everyone thinks. They also used aniline red dye, which bled into the binding and quickly faded on exposure to sunlight, even in store windows before they could be sold. The wire was added to the ABR-1 to prevent loss of the saddles when changing a string or when one broke. They went to threaded inserts so they wouldn't tend lean over time and to improve manufacturability. The tailpiece went to zinc as a cost saving measure. The Nashville bridge allowed for more adjustment range, since not all the necks mated to bodies in the right place... But as a benefit, the saddle no longer came loose and pinged across dark stages, nor was there a crappy wire to rattle and buzz. Then there's the whole rabbit hole of pickups too. I have a Gibson 1960-R2 Custom Shop 60th anniversary Les Paul. It is awesome actually. 8lbs and about 2 ounces, single piece body and all the pure vintagy hoo-hah. But I have to say, it plays and sounds incredible. Totally nails that "a great Les Paul sounds like a beefy Telecaster" thing in spades. There's really nothing wrong with the Schaller hardware or their humbucker pickups for that matter.

Agree!!!

I own two Heritage guitars, a 1998 H150-CM which was factory-equipped with a Nashville bridge and a zinc stop tailpiece, as well as Seymour Duncan 59's. I bought it second-hand from the dealer who had a special run made and their customer traded it in. It was also fretted with 6100 wire and no nibs. Possibly done by prior owner, but they look factory to me. I swapped the zinc tail piece and Nashville bridge for Faber ABR and aluminum, and replaced the heavy Rotomatics with exact fit Gotoh tuners and lost enough weight to bring the whole thing nicely under 9lbs. I have a 2001 H535, which I bought recently in near-mint condition. It came with the usual Schaller hardware and HRW pickups, the medium jumbo fretwire and nibs. I've tried a few combos of ABR bridge and tailpieces, including a Nashville, anylon saddle ABR, and a Faber tone-lock ABR. I have an aluminum stop bar on it. I couldn't lock the Faber tail on, since the stud holes are a bit too shallow on this particular 535. Honestly, I can't say any of the bridges were ground-breakingly different in tone. If anything, the tune-o-matic bridges are slightly brighter sounding, and a little bit off my target of getting more of that mid-range forward semi-hollow sound. The nylon saddle ABR bridge really didn't sound materially different than the nashville, nor the metal saddle ABR. I'm considering just putting the Schaller stuff back on it. Like I said, they're in near-mint condition. Kind of weird looking and not exactly what I'm used to. But I can certainly play them well enough. I played a Collings I35-LC the other day. Holy cow, that thing sounded absolutely amazing. Totally nailed the tone. Collings uses the heavy zinc tail and ABR from Kluson of all things. Whatever they did with the wood though really hit the mark. Acoustically it instantly had that sound.

I had an original Vox wah back in the early 70s which somehow disappeared after a gig. I bought a CryBaby, which was essentially the same at the time. It's also disappeared over the years. About 20 years ago, I got a Vox 847 and it's still on my pedalboard. I've had more chorus type pedals than wahs. I wish I could find a really good Leslie simulator. I've the a Lester, MiniDeja Vibe2, H2O chorus, and played with a few others. The Lester was a disappointment. I've listened to a few others, and they just don't sound like the real thing to me.

I have all the stock Schaller stuff on my 88’ H-140. It’s not my favorite, but I don’t dislike it enough to change the hardware to something else.

That sounds great!!!

I definitely don't agree with keeping things stock (although I have a few guitars that are perfectly fine stock) but your statement here, I couldn't agree with more. It's your guitar, you've got to play it, and if it works for you, that's good enough.

True. I play music for a living and have for many years now. So I use my guitars for tools to make a living as well as collect, etc. For me personally, I just like keeping things stock. I had a big conversation with Warren Haynes about this a few years back and he agreed. He said he's not a big swapper of hardware either. If he grabs a guitar and it's not doing it for him, he just grabs a different one. He's not a big fan of swapping out pickups etc. But again, it's a personal thing. Nothing is really right or wrong. Some people like chocolate ice cream, some people don't. That doesn't really mean it's good or bad. It's just a personal opinion. And for me personally, I've never had a problem with tone or anything with Schaller hardware.

Eh?? I speak fluid Canadian eh? Used to cross the big Ambassador Bridge as a youth going to the *itty bars in that country frequently eh? Yah, I get in with the neighbors to the North quite well. Eh?

SWEET!!! I've always thought the Mille was one of Heritage's best guitars.

We should get our international neighbors out to make waves! You sir are always welcome to enjoy yourself here. The normal inclusion of blur is the Gaussian blur distribution. It's covered in most advanced texts. Kudos to the folks for showing up through Michigan traffic hassles and for playing along. It was a stellar day top to bottom!

Cool Thread! Great to see Brian hanging around!

I own one wah pedal and haven't used it in over 10 years. So obviously not a problem I share, but I'm sure a little DeOxit in the pot and then some fader lube and you should be good to go!

For the most part, I still use all tube amps. My Quad Cortex is starting to appear in smaller gigs though. I will say that all of my FX are now digital with the QC andLine 6 Helix Rack accounting for all of my FX. That being said, I have not had to deal with buying a wah pedal in years as both Line 6 and QC have rather incredible wah models, my favorite being the QC's version of the Bad Horsie. I use the Mission Engineering FX pedals to trigger the wah. I think all in all there are about 12 different wah models between Line 6 and the QC, I do not miss the complicated pedalboards at all.

Bad Horsie for Life. Never want to deal with a non-optical actuated wah again.

I still chuckle at the first time I saw Heritage's Plek machine...covered in a patina of sawdust, with several coats hanging on it. Gotta love the Ol' Boys...!