DetroitBlues

Now that makes sense, I've heard about some problems with the tuners, I've had my Heritage H150 for a couple years now without issues. I gig my H150 regularly and hardly ever have to adjust. But part of quality is consistency, if there is a variance between one set of tuners to the other, there is a quality issue. I've had many Heritages over the years, one of which is over 40 years old and still has the same Grover tuners on it that have no issues.

I cannot help but wonder if lack of sustain contributes to a darker tone? Consider the strings contact the nut to the bridge, I wouldn't think it makes a difference either with the tuners unless the original tuners absorb some of the vibration? There is also the idea behind the tailpiece and the weight and type of metal used impacts the tone. Since I seldom play clean enough to notice such nuances, it doesn't really impact me. If I'm playing clean, I'll have some sort of modulation going, delay, reverb, chorus all of which impacts the tone. Of course, when playing dirty, I really don't notice because I'm hearing more of the amp and pickups more than anything else. Curious though, why did you change the tuners out? I have the Heritage branded tuners on my H150 standard but only considered swapping the tuners for locking tuners for quick string changes. However, I think I need to learn the luthier method of stringing up a guitar instead of the loop, pull, and bend over the string method.

Sounds like you have a nice pair of singlecuts coming your way, congratulations! When you go all in, you go all in! Going back to Heritage choice of Lollars, Heritage has a relationship going back a long time with Lollar pickups as most of their P90 (non-custom core) guitars use Lollar P90's. Seymour Duncans, while a fabulous pickup manufacturer, are common, everyday mass-produced pickups unlike the "boutique" brand like Lollar. Since this H150 is a Custom Core model whose pickups are normally hand-wound inhouse by Rob Dolittle (cool dude to talk to at PSP!) they are swapped out with the top-of-the-line Lollar Imperials. Not having a beautiful flame top is bummer for the cost, but also for a '58 Plaintop look, its spot on. Hope you like them both!

Rich for the win. Excellent and rare guitar! Nice snatch.

If memory serves, previous models had a banner inlay in the headstock.

Cleaning house I suppose. There were a few for sale on Reverb.

You can buy direct from the factory show room, usually at a discount too, so you'll save some money there. I bought my H150 that way 2 years ago. Plus, you may find some unique one-off's you will not find in any store too. Back to the original point, rough cutting of solid bodies and necks are all that CNC work does. The CNC's are heavily used for the Harmony guitars, so you'll see a lot of them on the machines.

Hardest thing is about swapping is the inserts. I cannot remember, but I think the bridge is metric and the tailpiece is imperial. Its been a long time since I swapped the original bridge/tailpiece out on those old schallers.

Have any pics? From what I remember, reworked Schaller pickups converted to HRW's have a sticker on the back of the pickup that says HRW on them. HRW short for Heritage-Ren Wall. As Mr. Wall did the hand-wind of the pickups. I also believe those were done on one of the original Gibson pickup winding machines. However, I think the story goes, Heritage sold those winders to Throbak in Grand Rapids. I could be wrong, but Heritage stopped winding pickups until the last few years when the Custom Core lineup was created.

Not much as they used to. HOC is miniscule to what social media like Facebook, Instagram, and YouTube influencers do these days.

5 years ago, when I convinced Heritage to do the HOC Guitar, I had originally suggested a H140, they had already sold off the templates. I even talked about my H140 from 1985 to be the template of either an Anniversary model or a HOC guitar. My 140 was not a typical model, it had a bound ebony fretboard with mini-block inlays, inlaid "the Heritage" headstock, one piece flame maple top, and a belly carve. Between sourcing one-piece tops, one-off building of the fretboards, and the lack of templates, it would have been too cost prohibited to even bring up.

As much as I'd like one, the new Custom Core Line up makes feels like how Heritage was to me 15 years ago; beyond my financial means. $5k for a guitar is so steep, I'm sure definitely worth it though. I'd have to sell all four of my Heritages to get one of those; even then I wouldn't be happy because the design has a slim 60's neck profile. While I have gotten used to thinner necks, I rather enjoy the meatiness of my current lineup. Its a shame there was not a custom inlay to show its a 40th Anniversary model.

Nice shooting Tex! Great photos, look much better than my bar band shots I get once in awhile. Beautiful H150 and congratulations on the new album!

My H150 used a 3/8" wrench when I set it up last weekend.

Very very cool. Getting ahold of something vintage like that is amazing. Having the skill and tools to do it justice is even better!

What was in it?

Been a long time since we saw him last. Oddly enough, I believe he had a H127 he fully restored and it was a stunner. I had a few conversations with him at the Barn way back when. I remember the book as well as the guitar on the cover page. If anyone recalls, that H150 was on display at PSP on the final assembly work bench. Such a beautiful guitar.

Yes, if you go through the old catalogs, they were nothing but mahogany:

Unfortunately, there are a lot of stories about only Marv can make them and legal stuff with Gibson and so on. I'm sure there is truth in there somewhere, but we will never really know without any legal documents to pour through. But since the latest lawsuit against Gibson, the agreement back in the late 80's early 90's seems out the window. I'm only assuming because of the H137's are now coming with pickguards. When I helped the custom run of H137's, Heritage was legally not allowed to add a pickguard; now they do. I wonder if this opens up the possibility of the H-357 again? Even if they don't have the templates, modern technology can 3D scan and create a template to build from. I have faith that Pete has the skill needed to make it happen again. However, Marbirds if I recall were expensive for a Heritage at the time. I could not imagine what the price tag would be today... $5000? $10,000?

I've seen a lot of Marvbirds, played a few of them, even the very first prototype build H-357. I'm lucky enough to know some great people that own them over the years, just not lucky enough to own one. But it had me thinking, I don't believe all H-357's are Marvbirds. When the H-357 model was a regular production guitar, it was simple guitar compared to later versions; opaque finishes, unbound dot inlay necks, slim neck profiles, standard Schaller pickups and hardware. It wasn't as an aesthetically pleasing guitar like many that came out of the factory at that time. Essentially it was a very simple rock machine made out of neck through chunk of mahogany with glued-on wings. Just an exotic shape like the Terminator and Exterminator models. When the model was discontinued yet available via phone call to the Marv Lamb hotline at 225 Parsons Street did it seem the H-357 really come alive. Natural finishes, exotic woods like Korina, multi-laminated five-piece necks, unique finish options, pickup options, Bigsby's, stingers, huge fat necks; it all became fair game.... No two were alike after that. The HOC forum here was booming with activity and membership, almost every new Heritage post was a unique custom order, and people shared the experiences to really push the dream of owning a Marvbird. The HOC was arguably the biggest enabler of the resurgence of the H-357 design. But those later H-357's were vastly different than the original production line. I believe there is a distinct difference between them and what they originally factory runs started as. In my opinion, the only thing that binds them together was two things; only Mr. Lamb could make the rough assembly and the shape of the H-357 itself. From there, the original era's of H-357's depart to the later years in the 2000's. Maybe some historians on here can tell when the H-357 made its first and last appearance in the catalog, but I believe there were several years in-between the catalog and the highly customized orders. Please disagree with me if you like, but there really a difference between the H-357 and the Marvbird.

I also appreciate the functionality over function. First question I have to ask is how's the neck? Newer Heritages have a nice beefy neck these days. That's definitely nice one there, congratulations; hard to tell, is that ebony or oxblood? Sweetwater had a special run of Oxblood H150 which was a rather difficult paint to get right from what I was told. Hope you enjoy it!

Perfect combination, I'd imagine its glorious! At first when I read this, I was thinking it was from the same Chinese budget guitar maker, Firefly, that's sold on Amazon. This obviously is not the case.

Used market has definitely bottomed out. My 2016 Heritage with custom specs was about $1300 less than what a custom core model sells for new today. I wouldn't expect though I could get more than $1500 or so on the used market unless I want it to sit for a year or two waiting for prices to go up or the perfect buyer.

Looks like a great guitar, most likely has a slimmer neck that what you'll find on new Heritages. The crack is odd, but since its a 555, it has a centerblock meaning its pretty solidly built. I'd be surprised if its an actual crack too, since the laminated maple/poplar/maple construction would prevent any serious issues aside from someone stepping on it.

I was very, very close to using one of these. But I also use the four-cable method too. My Wampler Terraform has presets in which I can decided if I want an effect to go into the front of the amp or the effects loop for all my modulation stuff. Then run a UA Del-Verb for my delay and reverb needs which I use mostly as a set it and forget it.