rwinking

True. But for that amount of money you can also get a Marshall or a Soldanoin buyinh one of the other modelers....or at least to my ear, a pretty damn close model of one.

The high end modelers (Fractal, Line 6 Helix, Quad Cortex, etc) are all used a lot with touring bands. The low end is the Boss Katana and also the Line 6 Catalyst, which has some of the Helix models and FX and sounds great. I have also seen a move toward the lower end Tone X and HEADRUSH run through powered speakers as a lot of companies are buileding powered cabs. For a while, the Fender Tonemaster Twin, Deluxe and Super were getting popular and I have to admit they were great. Their drawback was that they used all of their DSP recreating the Fender tone which was great if all you wanted to do is have Fender tones.. I still use tube amps for my more serious stuff but have lately been using the Quad Cortex along with the Line 6 powercab for smaller gigs. Nobody has complained at all about my tone in using it. The models sound great but I still can feel something lacking in their response to my fingers. I would have no trouble using the Katana or the Catalyst soundwise. Using a Fender Tonemaster is simple in that it is built exactly like a Fender, so plug in and play. The Tone X, Katana and Catalyst require a few minutes of figuing out how to set them up in order to get the most out of them

It sounds great but what about the headstock?

I have the Seth Lovers in my H-535 and I think you are right as far as them being smoother (If that is what you are saying?) especially on the top end. I have Dimarzio Anniversary PAFs in a couple of other guitars and they seem to have the same great tone and an identical high end. I am not sure that I could tell the difference btw the Seth Lovers and the Dimarzios. I love them both.

I always learn a lot just from watching his fingers so effortlessly glide around the neck. HIs fingers have looked a little arthritic for years and yet he is so smooth. What I usually learn from watching him is that my technique has a long way to go......

He has that economy of motion thing down to an art form.

I noticed that they have a really nice compression to them. I have a C&W gig tomorrow night and will use the H-137. It's a great guitar for grit but it can sound almost Tele like when used with a twin or deluxe.

Thanks! No wonder they sound so great!

So I pulled out my trusty H-137 and as usual was blown away by how cool it sounds and plays.....just the right amount of twang and grit coming from the P90s. What did Heritage use for the stock pickups? Mine has an AA SN# which would put it around 2012? Did they use different pickups over the years? Like any great P90 they have a bit of hum but the sound is really cool.....real similar to my 58 LP JR P90 for sure!

Wow! I think I can do the chord stuff on in the arrangement and will try this afternoon. However, he has that harmonic thing down like Lenny Breau or Eric Johnson that i will not even attempt! Thanks for that! Maybe my favorite xmas song!

I rarely use fuzz as it can be obnoxious unless used tastefully, which is kind of a pardox in itself. I like the Line 6 HX FX as it has models of all the old and newer fuzz pedals and models them really well. That way I am not stuck buying something I rarely use but have it on hand just in case.

I have one of these but mine does not have the bound headstock. Other than that it is pretty much a clone of yours. Mine is a D serial number also. It was my first Heritage. I bought an H-140 of the same vintage along with the H-170 and fell in love. The music store didn't know anything about Heritage and I traded a japanese LP and maybe $400 for both. The H-170 is my favorite guitar. Period. I have a few Heritage's as well as the usual suspects (Gibsons, Fenders, etc) but the 170 just feels and sounds right to me in every way possible. The Schallers were not awful but I put a set of Dimarzio Anniversary PAFs and it just opened it up. Same with the H-140. Everyone who has played it instantly falls in love with it and wants to buy it. Enjoy it Brent!

So I have four real vintage (two of them were severely reliced by me) guitars from 1958 to 71. I have one vintage amp left. So is it just me or do these old guitars just sound better through a really old amp than they do through a copy of a really old amp? Don't get me wrong....I love my Heritage guitars and other guitars from the late 70s and into the 80s. They all sound damn good through an old amp. However, when old amps meet old guitars, there is something magical that happens. My friend has a 50s deluxe and a super. I get the same experience. Perhaps it is confimation bias or something like that. But damn! This is how the guitar and amp combo is meant to sound I believe. It could be that as a kid that is what I heard. And when the amp heats up, there is a certain smell it has that also goes with the sound. I once had a 1996 Prosonic that heated up and had a certain tube-y/tolex smell and sounded really old when it was in the non-gain mode.Somehow my newer amps just miss that certain something. I will not take an old amp on the road for obvious reasons but at least I can get the experience in my studio. This makes me wish I had an old Marshall or Vox....

That outro fuzz solo is wonderfully trashy tonewise!