DetroitBlues

I believe the fretboard is a leftover fretboard meant for a Gibson SG from the 70's. There was a time Gibson used a mini-block inlay on a bound, ebony fretboard. I think this fretboard was from that batch.

When I first bought the guitar, I put in a set of used SD 59's in it. I sold it to another HOC member who had it for many years. A couple years ago, I bought it back sans the pickups. I put in a set of Railhammers I had lying around but I didn't like how they sounded. At the time a Heritage employee saw it on a visit two years ago. While an employee of Heritage, he couldn't afford to own one. So I lent it to him and he was going to restore it with OEM parts found in the factory. At the time he was either going to play it himself or possibly use it in a museum Heritage was thinking about. After 2 years, the museum never happened, and he never finished the guitar. I was asked if I'd take it back. The factory took the guitar, cleaned it up and put as much of the OEM parts back on it. The pickups they found wouldn't work, so they dropped in a brand-new set of SD's. Seth Lover in the bridge and a 59 in the neck. It very much sounded like the guitar when I purchased all those years ago from KBP810 who in turn bought it from Smurph. They also sent an API bridge and tailpiece (Advanced Plating Inc, same manufacture that supplies Gibson) The purge phase for me has ended but so has the desire to buy guitars. Since being in a band, I'm more focused on playing new music and being consistent with my sound. I really lost interest in all the latest gear videos, new offerings, and used gear marketplaces. To answer Bolero's question, Smurph got rid of it because he broke the headstock and had it repaired. Still he wasn't happy, so he sold it to KBP810 for cheap. The truss rod nut had a little buildup of glue from the repair and made it difficult to access. I found a tool that fits and am able to adjust it. It moves really easily which seems surprising for such an old guitar.

Access to the truss rod nut was a challenge. Typical sockets and wrenches didn't fit. I didn't want to use pliers, but I found a nut driver that had thin enough walls to turn the nut. Worked perfectly and turned very easily. I was happy it did. I also put an API Nashville bridge and tailpiece on it that was provided to me. Polished the frets, lubricated the nut, and cleaned the fretboard. She is ready to go. Played her again last night learning some new tunes for another band that plays more hard rock stuff.

Here’s a little video of her last night. https://www.facebook.com/share/v/1BNqEa7LHL/?mibextid=wwXIfr

Amber left the factory on this date in 1985. I was able to access the truss rod and set her right. She made her first stage appearance since 2010. She sounded amazing.

Right now it’s a matter of finding a place and having the funds to fix it.

You're right about the neck size, but I'm not so picky about that much anymore. I've learned to adjust how I'm playing, but I think a lot has to do with touch. I don't need to push down as hard as I used to as my fingers are tougher now. My touch is lighter as I don't have to work as hard. I found myself to be much faster when my hand is relaxed, sort of negates the need of a thicker neck. I'm going to break out some more tools tonight and see what I can do. I have a proper Nashville bridge and tailpiece I'm going to install. I think I can get the truss rod, may take a little clean out of the cavity to get to the nut. With any luck I'll get a turn or two out of it and see if it makes a difference.

About 2007, I purchased a used H140 from another member. At the time it was my dream to own a Heritage. This particular example was from 1985, loaded with unique features unlike any other H140 of the time. Over the years, I had the top refinished, swapped pickups, and hardware. Eventually I sold it for whatever reason like I did with nearly every guitar over the last 15+ years. A few years ago, I bought it back. It had a few more mods, nothing terrible. I lent the guitar out to Heritage in hopes it would be used in their museum. But that never happened and the guitar remained in a closet up until the last couple of months. Heritage offered to restore the guitar to resemble its original appearance such as Schaller pickups and hardware when they found NOS parts in an old cabinet of Ren's. While it looks more like its original state, sans the color, ultimately, there were some problems. The pickups were dead, so Heritage dropped in a set of Seymour Duncan's. Seth Lover in the bridge and a 59 in the neck with new wiring harnesses. The Schaller bridge and tailpiece were added, but there is some odd issue with it fretting out around the 15th fret (bridge may have slightly collapsed) But there is a lot more going on. The guitar had a headstock repair long before I bought it, but there was so much done during the repair, access to the truss rod nut is nearly impossible. So, it cannot be adjusted; over time that wasn't an issue, but now the guitar sat for so long, the neck can no longer be adjusted, and the guitar is all but unplayable. Looking at the guitar, I know what it needs, but I do not have the means to fix it. This needs a new neck and Heritage can't provide one. Unfortunately, it's only use is a slide guitar at best. It's so beautiful, but it's a 40-year-old guitar that needs some serious TLC.

The fuzz pedal... So many variations, its hard to know where to start. I've had a couple fuzz pedals over the past 20 years or so. Mainly because of the whole Hendrix or Smashing Pumpkins tone. However, being a primary humbucker player, I really do not like the sound of it. What are the tip, tricks, usages, etc people use? When and why do you use a fuzz pedal? What are the differences in the options? I'm rather curious here.

Unfortunately Eljay, unless you're on the inside, there is no way to tell what the plan is really. But I would assume, they are winding down or already wound down the standard line to relaunch the standard II line. Which means a change in production schedules. I'd assume the 535 standard line will come back as a standard II and with finishes we are familiar with.

Thanks Rich. It's not feedback free, but I can control it, mostly by not standing 2' away from it like I do in practice. There are times where I intentionally go up to the amp to get some harmonic feedback to sustain. Sounds so cool when you can keep it under control.

10 years ago, when I finally felt financially comfortable to purchase a new Heritage, it had to be a 535. At the time, I had an Epiphone Dot Deluxe with Seth Lover pickups in it. It was my number one guitar and with its big neck, was easily my favorite guitar to play. When I custom ordered my 535, I wasn't looking to trick it out or make it a flashy guitar. I basically wanted a Heritage H535 that looked like my Epiphone. Flame maple top, wine red, Seth Lover pickups, gold hardware, and a big neck. I added just a couple subtle touches like a bound, inlaid headstock and gold top reflector knobs; an excellent Heritage dealer hooked me up with a deluxe wood package- highly flamed maple top, back, and sides! For many years, I only played it at home, took it to PSP or to a few friends' homes for jams. It never went to a gig. Until last weekend. 2 years ago, I tried it at a gig briefly and couldn't get the tone I wanted, and the feedback was killing me even when I tried it at a few practices. So, it stayed at home atop its wall hanging perch. At first, I thought my problem was the Seth Lover pickups, so I swapped them for Railhammer pickups. While "vintage" voiced, I found those pickups were too clean, too bright. I realized their design was more or less for heavy guitar players in drop tunings and high gain. Earlier this year, thanks to a recommendation Brent, I purchased a custom made A3 magnet Red Rocks humbucker for the bridge pickup. Did a swap and I loved the tone again. Since my personal life went into an upheaval a few months ago, I had purged many of my guitars, with me only really owning a couple now. My Heritages remain with me, but officially I do not own them; I retain them under the premise they get played. So, they do. I had a double header weekend playing a gig Friday and another on Saturday. This time, I took my 535. With exception to 1 song out of 42, the 535 was used for every song and genre. Country, Rock, Pop, didn't matter. Its versatility was amazing! Paired with a Marshall DSL40C (not the gen2) and a few good pedals to spice up the tone, this guitar was perfect. My H150 came with me just to play an open G tune to start a set. Between my H535 and my H150, I really don't need any other guitars to gig with. I found keeping similar guitars (pickup configurations) for swapping on songs, I don't have to mess with tone controls (going from a Tele to a H150 required a lot of eq changes to cut through). This is a "trick" I discovered when I watched a killer cover band and how their lead guitarist used only one guitar the whole night and his backup was a similar guitar (humbucker loaded).

I was watching a local battle of bands contest. Each band played for 45 minutes and all were impressive. One guy pulled out a Marshall half stack and another band, the guy was using a Boss Katana. Both were decent volumes and both sounded good. I have six gigs coming up that require me to carry my gear up 2 full flights of stairs. The idea of a Katana amp being light and easy to carry has me wondering if I might want to consider a Boss (or still had my Quilter). One drawback to this modeling amps is these amps are "disposable" amps. Once they go bad, they get replaced. There is no amp tech going to be able to fix them. I'll still be lugging my 40W Marshall DSL up the stairs this weekend. Its not super heavy, but its enough....

There is a reason why I have the pros work on my 535. Electronics through a tiny opening with my sausage fingers don't go well. If I'm not mistaken, aren't Heritages all buffed and polished prior to electronics? This could be a reason why, especially on exposed electronics on hollow/semi-hollow bodies.

I actually have a Seymour Duncan mini-humbucker with a P90 dogear pickup ring. Love how it sounds.