DetroitBlues

Supply and demand, the HRW's have a historical significance, but they don't have a tone-snob-quest type of background like a Gibson PAF or T-Top pickups. There is little demand for them unless you're one of the few if you know, you know camps. I myself have played them, but at the time, I really was too inexperienced to know much about the quest for tone. Long story short, maybe $250 to $400 a set if you can find the right buyer.

That's a beauty! I rather like the satin look, gives it a rather vintage vibe. Congrats!

Nice work! Looks great!

I think for most gigs these days a 25W amp running into a 2x12 cabinet is all you need. I've enjoyed using a 50w with a 2x12 cabinet, but it's really not needed. I used a 25w Peavey Valveking into a 4x12 for a gig and I swear it was the best sound I ever heard (but that was 15 years ago and what was awesome then may not be today)

That's it?

So how's the rocking chair on the front porch?

Love to see real player wear on a guitar. She's a stunner.

That's a good question. I always assumed the Roy Clark was a single cut version of a 555., particularly when I see a full stop-bar tailpiece. Having never seen one other than the prototype, let alone play one, its hard to say what its made out of. For some reason, I'm thinking its a block of maple.

Those old gals sure age nicely. Wonder if they ever made any with beefy necks?

There was a little build up on the back side of the nut. I was able to fix it.

That guitar through a Marshall or a Marshall-esq amp sounds so good. I didn't even realize until a week after the gigs, I had my effects loop turned off. No delay, no reverb. Just wah, compressor, OD pedals.

There were no modulation effects in use (I didn't realize until after the gig the effects loop was off). Just a Timmy and Bad Monkey to push the front of the amp.

What neighbors? The pond deserves a lot of love... so it is provided with "sonic" bliss!

I had one of those for the longest time until it eventually crapped out on me. At home, I'm usually using an interface to play through my iPad. My rig is setup for silent running....

I knew we searched for him for awhile, I thought this was the case. Great dude to know for sure. I remember him dealing with his mom's own health issues for awhile. RIP Smurph.

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.

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.

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've sort of stopped chasing down tones in my head and chasing tones in my ears. I went down the rabbit hole for tone quests and found that tone in a room sounds different than tone on a recording. Pickups, guitars, strings, amps, speakers, microphones, where you pick the strings, how you pick the strings, post preamp equalization.... its maddening when you start to dig into it. I've only changed pickups in recent years for noise and feedback reduction. I think you'd be amazed how that beautiful H535 sounds depending on the amp and the use of the tone controls. I really love the middle position, I turn the volume on the bridge pickup to around a 7 or 8, roll back the tone to an 8. Then on the neck position, I'll roll the volume back just a touch at a time until it just adds a bit of warmth to the bridge pickup, usually it ends up around 6-7. When I need a bit for a lead solo, I'll go to the bridge and sometimes raise the volume up a bit. All this is accomplished to get a tone that I can clearly hear against the band and sounds good to me. I stopped chasing my hero's tones and just play to the song. One of my favorite tunes lately is Marshall Tucker's Can't You See. I'll play the flute and the lead guitar tracks with any of my guitars; by adjusting the controls I can make any of them sound pretty close to each other and they all have different pickups.... H150 with SD 59's, H137 with Mojotone Quiet Coil P90's, H535 with a Railhammer Neuvo in the neck and a Red Rock A3 humbucker in the bridge. I can use any of those guitars and achieve a tone that sounds good to me even if there is a slight difference in sound. Audiences don't know the difference. In other words, don't get too caught up yet on pickup being a problem, there is a lot more to the signal chain besides the pickups.