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About 10 years ago I bought this guitar from someone in Ohio. He wasn't a player, but a friend of his recommended he invest in a couple of new guitars at a guitar show in Cincinatti, if I recall right. This is a Heritage Johnny Smith with an 18" body. I'd like to tell you a good reason I sold it the next year. I think it was a matter of money. I'm not sure. I sold it to a great guy and a forum member. Later he bought a couple of other Heritages from me. Fortunately for me, he agreed to sell the HJS back. There were two 18" HJS made AFAIK. Both were in Cincinatti. Don Dean, of Scotty Moore and Elvis fame, ended up with one. That one is a natural and is 3 1/4" deep. The incoming is the traditional 3" deep. The natural finish one was owned by a friend of mine who had the Floating #3 pickup rebuilt by Kent Armstrong, making it a little hotter. You can hear a difference. https://www.youtube.com/watch?v=lsM3VeXzpVw This is the incoming sister of the natural. It's a rose natural and has the standard Floating #3, which to me sounds warmer. I'm excited!4 points
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The guitar and case survived intact. It came with a lot of documentation from 9 years ago that the guy I sold it to obtained. The guy I got it from obtained it from Don Dean, the king of 18" archtops (sorta). Heritage noted that they did only make two of these guitars. Both were made exactly the way they built them at Gibson except the size. I forgot how low the action will go without buzzing. It's very impressive. I put TI 12s Jazz. The guitar is pretty loud and sounds great. There is a signed label by Johnny Smith, and there is a second label handwritten saying it is an 18" Johnny Smith and is signed by the four original Heritage Company orders. I included some quick photos to show the impressive woods. The grain is tighter in the middle and widens at the side. So I had to research as to whether the opinion that tight grain is more responsive. The Heritage old timers and Aaron Cowles said it's a myth. A review of the Internet opinions by good luthiers say no tonal differences, probably because thickness and carving dwarfs any grain tightness factor. Anyway, I'm happy.4 points
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I don't know about going back to the old business model. It may have something to do with actually making a profit (silly concept, I know). I'm not privy to the financial status of the old company, but I had heard several times that things were indeed often on a "shoestring budget". There were times that I wondered if the owners even paid themselves. It seemed to be more a labor of love. This isn't Jim and Marv building a few guitars. I'm sure that they make a lot more guitars today than they did 15 years ago. Sweetwater alone has 65 guitars listed. CME has 22 listed. Jay Wolfe has 25. That's just 3 dealers. You didn't really see those numbers years ago. Have you visited the factory? The "big money" helped pay for a new dust collection system that makes the place safer, a humidity and temperature control system, a new spray booth where you don't really have to worry about dust contaminating your fresh lacquer, the Plek machine and more. The old factory, while quaint, was really pretty scary from a EHS standpoint. Lots of dust and wood laying around. The spray booth upstairs was open air, so dirt and dust was floating around. It was also quite dangerous, with nitrocellulose coating the entire booth. That stuff is a lot more flammable than some people realize. The business will need to pay for that upgraded equipment. It wasn't free! To their credit, Heritage is still making archtops (the 575 and Eagle Classic). Try to get a new archtop from Gibson. The last one listed was the Chuck Berry ES 350, but it's discontinued. There are a few dozen people making teles and strats. Fender, G&L, Suhr, LSR, PRS, and ton of low cost import versions.4 points
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And here is my all time favorite guitar.... my H170 with a C serial number. It's not my go to guitar, but my favorite. I got this one and the afore H140cm at the same time back when nobody really cared about Heritage guitars except maybe you folks. There were in a mom and pop store. I traded a Greco Les Paul copy (which was actually pretty cool....) and $400 for both of them. Both sound great but there is something about the H170....feel and sound. I did take out the Schallers and put in some Dimarzio PAFs, probably anniversay series or something. Maye the 140 has Seth Lover's....I can't remember nor do I care as they both sound so great.4 points
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(IMO) I don’t really believe that any years of the “Pre-Plaza” era H-150s’ were any better or worse. You really have to take them on a case by case basis.3 points
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Thanks so much. Would love to chat with her about her guitars and previous PSP's. Can't wait for the one this year and an opportunity to meet you folks.3 points
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Welcome LL. The resident "expert" on lefty guitars would be Lefty Alicia. She has been at most of our PSPs with various guitars. Here's her Millennium.3 points
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Tim Pierce's CC was chambered also. At 7.5 lbs, that's an interesting guitar.2 points
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To bring back some classics? How about the H-357, Stat and H-140? It gets a little boring seeing the same shapes coming out of Kalamazoo. This is just my personal opinion but I feel that if you have seen one of these current H-150's, you have seen them all. They say that variety is the spice of life. Please Heritage, bring back some spice. y2kc2 points
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I think the fret wire is standard Jesco stuff. It's pretty much used industry wide, unless you go with stainless. I don't remember the number, though. The caps in most Heritages are Vishay MKT metalized film. They are yellow axial capacitors and are good caps. The pots can vary over the years, depending on availability. They use standard audio taper pots. I have tried changing pots and to be honest, sonically there was no change. I had one that was scratchy, so I replaced all 4 with CTS pots. The only difference was in the feel, as I used low torque CTS with a 15% taper which changes the rate of volume change as you turn the knob. They also made it easier to turn, which might be good or bad, depending on your style. Wire is wire... You can get nice cloth covered vintage style wire, but it won't change the sound. It's pretty and if you want it to look like 1959, then go for it. Jacks and switches are pretty much generic. If they are clean and work, they're good. If they get dirty and noisy, or cut out, then change them out. I've used Switchcraft and cheapos from China and as long as they are quiet and solid, they're fine. Depending on how you like to roll off volume, I added a treble bleed to my 157 for a while. I liked it's effect more than 50s wiring or standard wiring. Here's my 157 control cavity with treble bleeds and the stock pots and caps. As I had changed a noisy switch, I changed the cable running up to the switch with a shielded cable. (the grey stuff).2 points
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It would seem, to those paying even casual attention, that I did. Yes. You may refer to the first post in the thread if you're unsure.2 points
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I have owned 3 535s over the years. One I sold to Mike Novello. Another I sold to one of my best friends, Jim. When Jim passed away two years ago his sister said to take all of his gear and give it to friends. I sold the gold 535 to another friend, Joe. Originally I gave one guy a H-150, another a Gretcsh Les Paul style guitar and Joe got the Rick 12. I have the Ruby Rick. Where in Indiana do you hail from mate? I have people in Muncie. My cousin's daughter coaches the Daleville High boys basketball team.1 point
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Purely my own experience and anecdotes from others. I own a 98 H150 and a late 80s- early 90s 535. Both are incredible guitars and every person who has tried them comments on them, both will be on tour with me for a up coming project. Ive heard a lot of people say about this era being sought after as the best was incredible and the worst just average. However I have also heard of the inconsistency’s of this era but I’d argue that’s down to the hand made nature. Conversely, I’ve played several transition years heritages from across the range and they were all average at best and mediocre at worst. The shop I work for was a UK dealer at the time and could not shift them for this reason. Poor finishing such as bad fret work, poor woods, defects such as incorrect neck angle, electrical issues and just general poor QC when compared to the obvious comparatives. I have heard since the new take over quality has vastly improved again and they are once again the sort after guitars they were.1 point
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How about the 137? That should come back and have a Jr version too, single and double cut. For something completely different there could be a set neck guitar that covers the Tele thing. Long scale, similar pickups and controls and woods but a 3x3 headstock and maybe a 10 degree angle.1 point
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H-357 is pretty labor intensive (IIRC). If they made them, I’m sure they’d cost a pretty penny. I wouldn’t mind the return of the H-157 though.1 point
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Thanks all! ASB looks really close. Yep, I'll check the label. I've been wanting another Heritage for awhile. Then the 59 Replica came into the picture. Then this one popped up at a great price. I scratched both my itches. I have to start selling one of these days! Or at least quit buying! I am out of room! i'll start tripping over them and knock one over breaking a head stock!1 point
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I think the Antiquity is more vintage output with a lower wind and A2 magnets. I wouldn't think it was close to the JB.1 point
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I think it's more Antique SunBurst. That's primarily a brown to yellow sunburst. Like Mars Hall said, ALmond SunBurst has red to it. My H157 was ALSB. OldStyle Sunburst goes black to brown to yellow. Vintage sunburst is a more pale sunburst. Of course, since they were all hand painted, there is quite a bit of variance, but these were the "targets".1 point
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The 498T has an A5 magnet and is wound around the 14.5k range.1 point
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Hi all! First off let me say I'm not a drum machine guy. In any way shape or form! Every recording I've ever done my entire life has been with a real drummer and I don't plan on changing that ever! That being said, I'm looking to get something to lay down a decent drum track that I can run right into my 8-track recorder and it will sound decent. I have absolutely no experience or knowledge of drum machines at all, I have heard that Beat Buddy is pretty good, and I have heard people talk about other models that actually adapt to the song that is playing to make a perfect beat. Again I know nothing about it so hoping some of you have some experience with home recording and can suggest one that's user friendly but actually does a great job too. Thanks everyone!1 point
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Hey, For a simple but awesome sounding drum app for your phone, try LOOPZ. It was created by Paul Davids (guitar youtuber). It is not a drum machine but it is great for jamming. I run mine through my bluetooth speaker.1 point
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unfortunately (in this case) RB69 is right great pedals, I own 'some' of them, but...yeah his attitude was not always comfortable I'd say1 point
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