DetroitBlues

Interesting.... Wonder if it was really a Standard II?

Beautiful!

In all the years I've been with the HOC and PSP's, I can safely say I've never seen a H140 25th Anniversary. Either in person or on this forum. Other than the example for the catalog, I don't know if they actually made any. Back in the day, the ledgers were all handwritten notebooks, so the ability to look one up is nearly impossible. I remember looking at the catalog and wondering who'd pay for one of those when an H150 was just a tiny bit more.... Good luck with your search though. Glad we could help you out, the seller of the OP H150 didn't know what he had but priced it pretty high.

Its still in my care.

Realistically, you never use that many different varieties on a stage…

Looking at the soldering, it may have pickups swapped.

Asked the seller a couple questions to help the OP out… Anyone spot something interesting?

A week and a half ago, the guitar player that joined us on stage used a Fender Twin Tonemaster. He sounded really good. Definitely had a dialed in rig, audiences or even other guitar players wouldn't have known what he was using unless you look. On a side note, I've seen his band play, he drags out a tube driven Fender Twin and a Tonemaster Fender Twin. He has one blasting the audience and the other blasting the band.....

The strap button move was a good idea.

Its rather unique for sure. Reminds me of my H535 from 2016.

One thing I should mention... Most often the use of tone and volume controls really make a difference. Seldom do I now have my volume or tone control all the way up. On the occasion I find I'm not cutting through, I max the tone. I have a Red Rocks Alnico III in my H535's bridge position, Seth Lover in my H140's bridge position, and a SD '59 in my H150 bridge position. What I can tell you, with all three of them, I can dial them in, swap them out in a gig or a song, and they will sound very close to each other; especially in the context of a mix. And I have no idea what clean means, who plays clean unless you're in a Jazz trio? Even playing a slow tune, my amp gain is there, just with the volume rolled back to "clean" it up....

quick and easy fix. I actually have a spare reverb tank at home somewhere, but since I don't live there anymore, I don't really have access to it

I bought my son one of those years ago. He likes his but rarely uses it. I've been tempted to try it at band practice, but realistically I don't need to.

I think at lot of the "amp modeling" craze has more to do with size and weight more than anything. I've thrown my back out several times in the past year for doing nothing more than getting dressed... I was warned when you hit 50, the check engine light turns on.... I still have four months to go and I'm getting the warning signs... I'd use the Boss Katana 100W if I could, but only because its slightly lighter than a Marshall DSL40. (41lbs compared to 50lbs). But I'm learning how to move my gear smarter though. Dollies, carts, etc. Placing my amp on top of my toolbox which rests on a dolly. Keep all my cables inside the toolbox so its easy to roll out, setup and play. Even with the Katana there are 2 versions.... The Gen III 100w and the Gen 3 Artisan 100w, there is about a 10lb difference there. So perhaps they aren't as "light" as I expected....

Not sure how many of you remember this, but when Fender rolled out the Mustang series, those amps had a pretty solid following. Cheap, loud, and honestly sounded pretty decent for digital modeling. If I remember right, the Mustang III was the 100-watt 1x12 combo where you could flip through patches for different tones and effects. I’m pretty sure our long-departed brother Rhoadscholar was an early adopter and gigged a Mustang III all the time. Now I’m seeing more and more people running the Boss Katana 100...another 100-watt 1x12 combo. Feels like it’s the next wave of “good enough to gig, won’t cry if it dies” amp tech. Line 6 → Peavey Vypyr → Fender Mustang → Boss Katana… the evolution of cheap “tube-ish tone” amps? Am I missing any stops along the way? (I'm omitting the expensive types such as Fractal, Kemper, and Neural DSP)

Can't say I've swapped for them... But my 2023 H150 has SD '59 in the neck and bridge and my 1985 H140 has a SD '55 (Seth Lover) in the bridge. I gig with both of them. Tone wise, they both sound great, but I get a lot more feedback with a Seth Lover when I've got the gain up a little high. Either one works well for just about anything, just be mindful of the unpotted Seth Lover's. Pic for reference:

The truth lies with Ren. Just like the secret sauce of the 357, so does the HRW mystique will go down in history as a great unknown. Only way is for someone to sacrifice the HRW and see what is different about them. They pop up here every now and then, but no one has ever dissected one of them.

I've converted to top wrapping on all my Heritages now. Serves me well that way, except it does irreversible damage to the tailpiece. I don't really mind it though. However, as strong of supporter of Heritage, I find it rather alarming the improved neck angle would allow the bridge to be so high, the strings rest on the bridge. I don't think that should be the case.

Saw some videos lately of Joe Bonamassa taking ownership of the late Gary Moore’s Soldano amp. Like many influencers, you can bet used Soldano amp values will jump… However if you’re like me and can’t come up with the funds, the original Jet City amps were designed by Soldano to be an import, affordable version. May not sound the exactly the same, but still sounds great. I’ve had three of them, still have a 20 watt 2 Channel combo that sounds killer!

Looks like a new Custom Core to me.

Tap, check, tap again. Straighten the neck and let the weight of the beam do all the work. There's been a lot of great tools out there now that make leveling and crowning a chinch.... as if I know what I'm talking about. I've been watching a ton of Milhouse Studio's YouTube channel, the English dude is rather funny but does some nice stuff he explains how he does it. He loves this stuff... FRTLZR® - Top Guitar Tools for Guitarists: Elevate Your Play Nice thing with a 137 is there is no binding or nibs to worry about.

Going direct is an option too, especially if you’re close enough to pick it up in person…

Someone is going to be real happy with this refin. Nice job.

Unfortunately like many businesses and industries, most markets are all red oceans. Not blue. This means a market that is red is saturated and the only market share to be had is just taking from others. Unfortunately as great as these amps were they may only get notoriety long after you can no longer get them. Much like Dumble back in the day.

As someone who has personally visited that shop and bore witness to the magic being tucked away inside, this really saddens me. The amps were top notch, the artistic detail was amazing to watch. I’m very thankful I saw a shop that reminds how the old Heritage factory used to be. Craftsman who loved music. I love how these amps sounded live and thankful I was able to borrow one for so long. Get them while you can as now they are no more. Values will probably go up over the years…