Leaderboard

Marv's granddaughter posted this on Facebook. Rare Bird Sighting! A few weeks ago, I posted looking for leads on a MarvBird—a special guitar made by luthier Marvin Lamb, who also happens to be my grandfather. My husband became obsessed with the hunt and started digging everywhere. And thanks to one of YOU, we were blessed with the opportunity to bring one home to the family! Thank you for all the love you continue to show for Marvin’s craft and legacy—it means the world to us.

Birthday celebration part 2 (the CC H150 Goldtop was part 1). I've had the 633 Drive King for a few years now, and was intrigued when Cliff Brown at 633 brought out the Firefly, a 7 watt Class-A 1x10 combo. It's basically the Dragonfly with the overdrive circuit from the Drive King added. I ordered one in February and picked it up yesterday. It sounds very good... The controls are Volume, Tone (with a pull switch to toggle between "Tweed" and "Blackface"), Drive, Level, Reverb and Power. The Drive switch and Cab-sim output re located underneath at the back, while Drive can also be activated with a footswitch. The range of tones available is pretty wide by judicious use of the volume, drive and power controls, from a sparkling clean to Santana-like sustain, all at reasonable volume levels. Here's designer Cliff Brown putting the prototype through its paces... Some photos...

Rich Severson with Pete Farmer. Interview starts around 1:53. It's a good one.

Remember when ordering a custom from Jay Wolfe, Graham asked my opinion on CNC vs hand carved / cut. All I had was a gut response based on internet chatter. We the end user /consumer of fine guitars know little about building vs manufacturing. We purchase and play. Pete's "wood therapy" displays the vast knowledge gap between the people who visit and work at 225 Parsons. RESPECT

Staying on the history of Marv at Gibson and Heritage. Marv sent me this picture last night. He made this one off when Gibson was still at Parsons St. He called it his Bo Diddley guitar. There is a lot more story behind it. He told me it has the original strings on it from around 1980. I told him it's time for a string change. We had a chuckle about that.

I talked to Marv last night. He sounds good and said he is feeling well. He told me he will be turning 86 this year. He is enjoying life and his offspring that is getting extensive. We were talking about H-357s and the one he is holding. That is one of the Korina models he did. Came from California. He brought up Ron Warren and he hadn't heard he passed. He loved the picture Ron did for him.

Then there are some guys like Tower Of Power guitarist Bruce Conte, who are SO badass, that they even wear out the pickguard! 🙂

I know ya'll have seen this pic before, but in the spirit of this thread I'll share once again. Marv built and sprayed my #1 (H-525 Custom) that includes his 50's stye thick neck carve. Man, I love this beast of a guitar!

What an excellent segment: I watched the whole thing Hell of an introduction pretty funny great interview! Rich said something that has resonated with me for some time about guitars: "functional art" Much of a guitar's beauty is based on functional design. It's true: they are objects to be admired. But they go beyond drawings, paintings or most sculptures etc. A musical instrument is a creative tool to be used, to be inspired by, to play, and to generate new ideas. Or just rehash "hang on sloopy" to your hearts content. It's all good.

You mean gorgeous wood like this? I specified no pickguard on this build, but every time I put my right ring finger on that lovely top to anchor my hand, I feel guilty. That's a habit I need to break. (The finger placement, not the guilt.)

I have just lately got back into playing my electric guitars. I went on a 3+ year bender of ONLY playing my acoustics. I did a lot of experimenting with strings and gauges on my acoustics. My conclusion was that most bigger body acoustics(dreadnoughts) thrive with 13s and most smaller body acoustics (small jumbos and OMs) like 12s. But there are some exceptions.... and thus the reason for this reply. I have a beautiful 1957 J-200 Reissue acoustic that you would think based on it's large size would love heavier (13s) strings. But I read many acoustic forums that the heavier strings can "choke" the top and sacrifice tone on a J-200. Well, I didn't believe it until I tried it. Heavier strings (13s) took all the projection and life out of the J-200, so I immediately put 12s back on. So I think string gauges and even brands, can vary from guitar to guitar based on the design and the brand producing the guitar.

Since we are sharing H550 pics....My 550.

My $0.02- that is 100% a reflection of the tremolo arm. you can see more of of the reflection under the strings inside the bigsby itself. There's also how unlikely a crack shaped like that with such a clean appearance would ever occur on a semi-hollow body made from a laminate body with a solid centerblock. Would usually cracks along the grain.

Yes indeed, I have the first production model. Ian Beestin, a drummer friend of mine, goes way back with Cliff Brown - I think they were at school together. It was through Ian I got to know Cliff, when he was still at Blackstar and just about to set up 633. Ian was always saying that I should try one of his amps, so when I was able to try the Drive King prototype at a music shop demo I was convinced! Here's a pic from April 2016 when I went down to Cliff's place to pick up the amp. I brought along my 1x12 cab, the Heritage H150 VSB and Paulman Tele to try it out.

Finally found a picture of mine.

Aside.. Legendary Ted McCarty left Gibson to work for.. Bigsby.

Well, considering there are not a lot of manufacturing differences for Heritage between the standard line and the custom core line, and considering they are pricing the custom core line anywhere from 1/2 to 1/3 more than the standards,... then I would say Heritage's profit margin is MUCH higher with the custom core line. And thus, fewer custom core guitars need to be sold to keep a higher profit over the standard line. Also, I think the custom core line has been a HUGE success. Of all the Heritage guitar owners groups forums (obviously here at HOC and on Facebook), the number of owners reporting a new custom core Heritage purchase BY FAR out weighs the number of new standard line Heritage purchases. For me, the lighter weight on my Custom Core 150 has justified it's price. Last night, I played the Aged CC 150 comparing it to my Murphy Ultra Lite aged R9. Other than the different frets on the CC 150, I am not so sure the CC 150 is not a better guitar.... again, validating the price of the custom core line.

Cause you can sell buttered bread for more that the ingredients alone. Take coffee: A bag of beans is $6 for 10 ounces. Add hot waters and you can sell it for $5 for 12 ounces of mostly water. If you can make 30 cups out of 10 oz of beans that's $150 from a $6 investment.

I believe Ken made 3 versions, the large majority being Floating #3. Ken Armstrong would rebuild these to a higher output for about $100. I have what's probably a unique one rebuilt as a single coil by one of the current Heritage team. People bad mouthed the Floating #3 a lot. I firmly believe much of the criticism came from the urge to guild the lilly. The #3 is an excellent low output humbucker. It is very clean, almost acoustic sounding.

This is a photo taken for a story by a local paper in 2013. It just so happens that Marv was working on a couple of 357s. The one on the bench is mine and the one Marv is holding is Bolero's. I know mine is the one on the bench as it was running a few weeks behind waiting on my custom fret board, "From them boys down in Tennessee". Marv sent me several in process shots of the build, but it's nice to have an action shot of the build. https://www.mlive.com/news/kalamazoo/2013/02/love_where_you_live_photos_by.html

Actually, the post was made by Taylor Lawrence, who is Marv's grandaughter.

here is the headstock

If it has a belly cut it is probably a H-150 Deluxe. They were numbered.

Hi, I play autumn leaves with Heritage's archtop guitar. If you have time, please listen to it. Thank you.

I complained about his tone. It made me look like a beginner.

I have used TIs in 14s at times. Here's one of their two sets. https://shop.thomastik-infeld.com/product-category/guitar/jazz-guitar/george-benson-jazz-guitar/product/george-benson-jazz-guitar-gb114/?_gl=1*x4crvl*_up*MQ..*_gs*MQ..&gclid=Cj0KCQjwh_i_BhCzARIsANimeoGybneEuaGoJHyoNpbb8kTGWTwcGe3M7Kgikc6L2t0cJlNqalXoTrMaAjbGEALw_wcB I even tried 15s. Here is what I found. Acoustically, the guitar is loud. The neck has to be straight and the action low to be playable, at least until you build up big callouses and more strength. It's hard to comment on the tone. My bias is that it is richer, but that may be my subconscious trying to justify the work and pain! I've learned whatever everyone else already knew: use comfortable strings and your pickup. Perfect.

I was told that when Heritage used to make Archtops, they only tap-tuned the one with floating pickups.... so maybe these are tap-tuned. Personally, I prefer the tone of humbucker archtops. Vince Lewis told me to my face that floating pickup archtops are fine for "solo jazz", but he said if you are going to be playing with other instruments/musicians then floater archtops are near impossible to use. He said the feedback is awful on floater archtops when you play with a band, their volume is too low, and they won't cut through a mix for solos. I respect Vince's opinions.

Every Heritage that I have owned (over 12 of them) I replaced with Faber locking ABR1 bridge and locking stoptail. On Faber's website, it says, "Bridges for Heritage guitars".

I have it on good authority that the caterers provide those free dinners for the exposure....

Third party validation is good. Last night at the gig, someone who had seen us play before asked me if the guitar was new. She said it sounded different and really good. Nice to hear that the improvement wasn't just in my head. It feels like a fuller tone with more gravity, if that makes sense. Definitely no bends though. It is limiting in that way. Slides, hammer-ons, and pull-offs only.

I know someone who came from a distance to be there when Marv carved the neck of his new guitar. They had a conversation going about how much more to take off until it was just right. That was a Florentine GE. The customer sent some of the hardware he wanted used plus the billets for the spruce top. Amazing results in the end.

I almost poked my eye out just looking at it! I'm scared of pointy guitars. 😱

A couple years ago, I bought a used Collings 290 wraptail from Willcutt Guitars and got a KILLER deal on it. Before I bought it, I asked the store manager (Eric, who is also a good pal of mine) what P-90s are in the guitar. He said that he thought they were Lollar P90s but wasn't exactly sure because it was a used guitar, but he said that what ever P90s are in it I won't want to change them because they sound incredible. The guitar was mint and it was such a good price that I didn't push the issue. I got it home and played it, and they did sound incredible! Well, I changed the stings and looked under the covers.... the guitar came with Throbak '52/'54 P90s!!! My killer deal got EVAN BETTER!!! So yes, I have Throbaks in my Collings 290 wraptail.

Marv built the Terminators!

Ha! It’s all the free dinners at the gigs that really helps to put the big bills in the pocket.

This one does not have a huge neck. Very comfortable medium C.

I have found Lollar's P-90s to vary from set to set and also to sound better in different guitars. I loved the Lollar P-90s in the 535 P90 guitar I sold to Daniel Rockabilly and the Lollar p-90s that came in my Collings gold top City Limits. I tried a couple different sets of P-90s in the Collings, and to my surprise the Lollars sounded the best. My personal favorite P-90s are the Throbak '52/'54 P-90s with plenty of grit and growl. But Throbak's prices have really increased since the pandemic and they are quite an investment now.

And he continued on to answer such a basic question. Every guitar player I interact with consider your query fundamental. It has been addressed here multiple times which is precisely why I wholeheartedly agree with bolero’s frustrations. Sit back, take a deep breath and consider thanking him for sharing his knowledge and experiences. You got far more than you paid for.

I was being serious. If you are offended that isn't my fault, it wasn't my intention either. You are reading far too much into that statement. I would have said exactly the same thing to any friend I was having that discussion with. Not only that, but I went to the effort of additional details that likely affect your perception of sound & volume. You are welcome.

No. Eagles were Classic, Golden and Super. Never a number that I saw.

Man, that Eagle that Rich plays the song on at the end of the video sounded unreal. Makes me want to learn a song in that style. It has just the right balance of string to wood in the tone WOW!

Yes he made a pair.

Howdy from Texas. It has been while since I posted but I need the resources of the forum. I have a question about a 2005 H-150 that Jay Wolfe didn't know. I have included a picture of the headstock and want to know what the 230 means above the serial #.

Let me fix what I said. I bend up a whole step not an octave! I would love to be able to bend up an octave but…….

great looking guitar!

There are loads of discussion threads that "debate" the concept. What Bolero said is part of the equation. The difference in cabinet size will alter the frequency response of the system, which might affect how you perceive the sound. Mathematically, if you put 1 watt into a 100dB efficient speaker, you get 100dB. If you put 1 watt into 4 100dB speakers wired to the same impedance, each speaker will get 0.25 watts. Thus each speaker will be putting out 94dB (3dB for halving the power, 3dB for halving THAT power.) But then you had 4 times that 94dB and you get back to 100dB. The difference will be more in tonal balance that actual sound intensity, which might be measured at 1 frequency. I've seen discussions where they say the increase was larger with 2 speakers rather than one, but the problem with this is that the impedance won't be the same between a single and a dual speaker setup. If you have a pair of 8 ohm speakers, and only use one, it's 8 ohms. If you add the second in parallel, it's now 4 ohms, so your power usage is different at the "same setting". Put them in series and you have 16 ohms, which could lower your output. When you use a 4x cabinet, with two in series and the series in parallel, the impedance can be the same as a single speaker. Identical power is distributed evenly. Jim Lill did a Youtube video where he compared lots of difference cab configurations and how it affected the sound. It may not change the dB reading but it changes the perception of the sound.

Stumbled across this video: great playing & a beauty new custom core H535 from Kalamazoo