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I would love to check out a Heritage floater but they are not on their web site. Is there a way to get one? I have an L5 custom that has a Johnny Smith floater on it. It is not bad but I would love to see what the heritage folks have designed and try one out.

Same here. I really was kind of afraid of the learning curve. But after my first experience, which was a Digitech GSP1101 and conquering my fear, I was able to start to undererstand it. Then I got the Helix and other Line 6 stuff. All of these things are capable of doing a shit ton more than I would ever know what to do with. I just wanted a simple pedalboard and it gives me that. Plus little by little, I have been able to do more and more. They are all pretty similar in the same way that most DAWs are similar, meaning if you understand one, the rest are fairly simple

I have never used that GX-10 but having a zillion Boss FX for that price is great. I use Line 6 and Quad Cortex for FX and they are all great. I have messed with Headrush and Ampero and liked them too. Boss has to be great or they would be pushed out, given all of the great competition. Why anyone would spend $400 on a couple of Boss pedals when you can get the same pedals plus a shit ton more for the same price is beyond me. BTW, I like the music you are learning. It will be fun trying to cop those sounds. But you have the gear to pull it off!

I use my modeling stuff for FX too. . So many cool verbs, DDLs, Choruses, etc. I use the QC and LIne 6 stuff in 4CM and it makes it ultra simple to get around sound wise. Maybe it's my old ears, but I had a hard time differentiating between my pedals and their digital counterparts. I find a slight difference in how they feel when playing them, mostly the overdrive/distortion stuff, but I find a slight difference in using different pedals anyway. I am going to get the sound I hear in my head no matter what. It's a matter of how easy it is to get it.

I can actually bend up an octave if I use 8s. As far as strings on a jazz guitar. I have found that using big ass strings gives a certain fluidity to my lines. I have them on my L5 and my 576. I don't bend on those guitars. I did some stuff with Albert King and that man had some big strings and he could bend the shit out of them. Stevie Vaughn could all bend big strings. I can't. I have guitars that I bend on, usually with 9s and guitars that I don't.

Oh Okay.....Thanks so much Bolero....I was totally wrong about you.

I did not have a problem with the info. It was the "Are you serious?" part of the response. If I were asked a question about why a Cmin7#11 chord resolves into an F7+11 I would give a polite answer and not "Are you serious?" (Which has an implication.....) followed by the answer. I was raised that there are no dumb questions but plenty of dumb insensitive answers to good questions. I know a butt load of stuff about music and guitar playing and not ashamed to admit very little about the electronics of guitar playing. You're welcome.

I was asking a serious question and it wasn't very nice of you to answer in that manner.

Not sure if this is a different topic, but why do 4X12 cabs sound louder? What is that relationship about? OR what about a 4X12 cab with high wattage speakers vs low wattage speakers?

Easily affordable for the working jazz musician.

Looks like an old Gibson L6S?

I need to figure out how to do that scam and get a free custom guitar from Heritage!

I have never used the capture feature on my Quad Cortex until the other day. If you are not familiar with this feature, in a nutshell, you plug the QC (Or Fractal, Kemper, etc) into your amp and it digitally captures the amp and stores it for you. You can then call it up and voila, you can use that amp sound anywhere, anytime. My friend has a Brown Super and a Tweed Deluxe. HIs assistant captured both amps for me and sent it to the QC Cloud and then I was able to download it. It was mind blowing. Matt took several captures for me and I finally get what this is about. Modeling digitally models an amp.....all controls, eq, bright switch volume, gain, etc. Captures capture only one moment. So I have a capture of the Tweed Deluxe at volume 5 and the tone control on 5. Or another capture of the amp with everything dimed. When I call it up, that is what I get. I can turn the volume up and down, but I cannot change the eq, even though the screen has some eq controls. They work like a studio where you record a guitar through an amp and then you can add treble, bass, etc in the mix but you are not changing the eq of the actual amp. So if I want a nicely overdriven Super sound for a rhythym part, I call that up. If I want a nasty distorted tweed deluxe sound for the solo, I call that up. This thing can also captrueOD/Distortion pedals, mic preamps and a host of other cool things. Again, I am a tube guy, but damn! This thing is pretty amazing. Here is the Anderton boys doing the A/B thing with the QC capture feature. They also demo how to do the captures, which takes only a couple of minutes.

Is that Bill Lawrence an active pickup?

Get it! As it is already dinged up, you will not have to baby it.

I have alway hated pedals on the floor as if I need to do a tweak I have to bend over. The great thing about the Helix rack is it is in my rack with a great foot controller on the floor to turn everything on and off. I just turn aroun and tweak whatever I need to tweak With the Quad Cortex I now use a midi foot controller to turn amps or FX on or off and keep the unit at waist level so that I can tweak without bending over for long periods of time until I get the right sound. The QC is pretty cool with it's touch screen. I touch an effect, say my reverb, and then the parameters show on the screen. I then turn a knob and all done, I always thought this video was pretty cool. It is not about modeled amps but modeled FX where he recreates his dad's analog pedals/ https://www.youtube.com/watch?v=hjLngpQipEQ&t=3s&loop=0

I started using modelers when I could make them just as loud as my tube amps and annoy everyone else in the band. RIght now I use both. I have a Quad Cortex, a helix rack and also a Helix HX Stomp XL. I use a line 6 monitor and can get it to sound like a real amp. When touring, I would use my Helix rack for FX along with a tube amp. The great thing is that if the amp goes down, I have the Helix amp models to use. On smaller gigs I use a tube amp with the Stomp XL for FX and again as a back up. so: 1) Portable.....yep the modelers fit in really small little cases 2) Reliability......I have had the Line 6 stuff for over 10 years without any problems and do not see them as disposable at all. I think some of the Boss Katana kind of stuff can be seen that way, but the high end stuff is not. 3) price is no comparison as you comapre one amp with the shitload of amps that you get in the Line 6, QC or Fractal, etc. stuff. So I have Orange, Fender, Marshall , Dumble, Hi-Watt, Dr. Z, etc. all in one box that costs a lot less than a boutique amp with the QC and better Helix stuff around $1600-1800. It has been nice to switch from a deluxe or Princeton to a big ass Marshall sound mid song. 4) Flexibility....Yeah, the right tube amp and pedals is pretty cool. But with the better modelers, you have a zillion amps and pedals all built in. I don't think my old ears can tell the difference between an original Klon or Tube Screamer and a modeled one. The Lexicon reverbs are steller and all digital and have been the studio go to for years. I believe that Eric Johnson can tell the differences in this stuff but not me. 5) Sound great for sure. There is something magical about my tube amps but now there is something equally magical about modelers in a different way. The line 6 powercab+ is pretty cooland has all sorts of flexibility. I use mine for acoustic gigs as well as electric. The QC has models of famous mic preamps and lately I have been playing gigs 50/50 acoustic/electric. I can get a killer acoustic soundusing the acoustic speaker model and thne swithc to a Deluxe model witha Creamback all in the same box. I will never give up my tubes but I am becoming more and more satisified with the modeled stuff.

Wow, Mark! That is pretty! Did Aaron Cowles also do the Heritage mandolins back in the day?

Especially for a 38 year old guitar?

Hey, Thanks! I just discovered a 12 string capo I have not tried yet (the Paige Clik). Maybe all is not lost!

Had it measured and it is a 12. However, the Thalia with a 12" fret pad still doesn't work. I found my G7 12 string capo and it doesn't work so I give up on it. I tried Kysers, Shubb's, pretty much every capo you can imagine. As I said earlier, some guitars just hate capos and I have two of them.

Any info on the pickup? I have never played my reso live and not sure I will. However, it is always cool to be prepared. And I have never been opposed to new gear.

That makes sense. I have several Thalias and really like them. Sometimes you get a guitar (and especially 12 strings...) that just don't like capos. I have an Ibanez law suit 12 string that is incredible. I have tried every capo available and it just doesn't like capos. It is possible that my Prospect 12 is like that. As I am doing an album for someone and have needed an electric 12 string in an odd key I needed to capo it. I also own a jackson Surfcaster 12 and I forgot how cool it is. I can put any capo on it and it is completely in tune with no muted notes, Plus it looks cool as shit! I was just hoping to use the Prospect 12, but another day perhaps.

And what is heritage's usual radius?

Different from what?