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Heritage Owners Club


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Everything posted by MartyGrass

  1. There may be an ethical argument there about the Firebird, but Aaron Cowles told me that much of the design was by committee, headed up by McCarty. Aaron had to keep reconfiguring the instrument and the Flying V. There was a channel where the pickups could go, not discreet routing. He was told to slide a pickup in a direction. They'd play it for a while. They then would give it back to him and have him reposition the pickup. The point is that there wasn't a single person who designed the guitar. That was true with the Les Paul, the SG, and the semi-hollows. Look at the odd pickup posit
  2. It's hard for me to imagine that Heritage is creating significant harm to Gibbons. Maybe so. I'm glad the case remains in Michigan. Gibbons is not the same company that it was in 1984. Heritage isn't either. These are two very large corporations/investor groups.
  3. I agree that the 535 is very versatile. But you can rock with a H-575, too. You just have to control feedback, which ain't always easy. I saw Yes about two years ago. Steve Howe played his ES-175 and loud. I played in a rock and blues band with a Gretsch Country Gentleman for some time. It can be done. The Beatles played hollowbody Epiphones. Here's someone who's managed to make a living with a hollowbody at loud volumes. Yes, it's trestle braced. Yes, it's a laminate. But he's mastered the instrument. Having said all that, I'd opt for the 535 if it's gotta be loud.
  4. I tried this TRC. Not sure that matches well.
  5. How about an image of Ronald Reagan?
  6. I've had this for a while now. I can say that it has a nice low action and acoustically it is a boomer. The bottom end is strong, balancing the top end well. It's a joy to play.
  7. I've gigged in some bars I wouldn't bring one of these into. Some of them I wasn't sure I should bring myself into. JP Moats did the wood sourcing, as I recall. He had good connections that preceded the birth of Heritage. Each year I have more respect for the original Heritage owners. What they did took guts and stamina. The majority of the guitar world had no interest in their success. I'm sure a lot of corporate types either paid them little attention or just thought they'd fold. Heritage was often up to some twist. The D'Angelico and Gretsch ghost builds, the flattops,
  8. Yep. This is a Gretsch of course. I only helped with the Heritage TRCs.
  9. The TRC is an experiment. It may be over the top. I have a plain white MOP to try out.
  10. There's one more to go. That one needs part of the 19th fret filed. I am likely going to put a low wind P-90ish pickup on one of these. I'll make a strong recommendation for those looking for a custom pickup that they contact Rob Doolittle at this site: https://www.facebook.com/kalamazooguitarcompany He is a wizard. He made the floating pickups for Heritage from about 2016 onward. This is a little hotter than the famous Floating #3. I told him the general sound I wanted. When he was done he had three different pickups for me to try, each on my Heritage Johnny Smith, all while
  11. Today I have two of the three Heritage built Gretsch Eldorado guitars done. They cleaned up well. The play nicely and sound good, too. But I'll show you how these two look after Pete Moreno buffed them out. The wood figuring is excellent, as we'd expect from the boys. Here's the 1992:
  12. This is not a Trini, but damned close. And a Trini never sounded better! https://www.youtube.com/watch?v=OUNJbVFW5Pw
  13. This may have been posted before. https://www.mlive.com/news/kalamazoo/2016/10/haunted_places_in_kalamazoo.html
  14. The stock ones do run a bit hot. Heritage put P-90s on a Super Eagle in the early 90s that were more mellow. I'm guessing they were either locally wound or left over in the old factory parts boxes. I have this H-157 that's Les Paul Custom 1954 inspired with a standard wind SD P-90 at the bridge and a SD Staple at the neck. The latter is gorgeous sounding. I don't think it's worth the cost to put the staple pickup at the bridge, not for the minimal difference compared to the regular P-90. The richness of the tonal complexities at the neck are well captured with the staple pickup IMO.
  15. String spacing is very easy to adjust. You simply roll the roller either direction.
  16. I have done that and still do with Bigsbys. There are advantages of the roller bridge. The first is that it easily allows changes in the string spread. Those who play fingerstyle may take advantage of that. You can narrow the string spread if you find your vibrato technique pulls the high E off the edge. The second advantage is if you use a Bigsby. You will want a shallower break angle by the tailpiece combined with bridge rollers. That combo helps keep the guitar in tune. Gibbons and Gretsch had used a rocking bridge, getting the same good result a different way. I have not s
  17. I didn't clean up the headstock, but you still get the idea.
  18. I discovered a site recently that made nice looking guitar parts at a good price. I got a few for non-Heritage guitars and was pleased. I asked if they'd consider making truss rod covers for Heritage and they agreed. I worked with Andrew at the site on the dimensions. https://www.thaliacapos.com/collections/truss-rod-covers I received a prototype, which needed some tightening of the dimensions. Today I got a batch. They fit. The ones pictured are on an ebony backing- real wood. Some are MOP and some are blue abalone centers. They are just stunning. They charge $25 each, but
  19. Here are my thoughts about the neck. I would take a precision straight edge and place it over the bowing then tighten the truss rod a little. It's possible that the neck will straighten that far out but often not. I take the truss rod nut off and grease the threads on all my guitars to preserve the truss rod function and would do that first in this case. If that doesn't do it, you can level the upper frets a little. If that isn't effective or viable, you can then either accept the guitar as is or plane the upper neck if it's fretboard rise. I'm glad you like the guitar. Johnny Smith
  20. So I'm older now and crazier. In the meantime I was able to talk with the lady who did the inlays and engraving, Maudie Moore. I had also talked with Marv Lamb and Pete Moreno about this model. Lastly, Aaron Cowles gave his side a few years earlier. The model was made to honor America at a low point. The Iran hostage crisis was only a few years in the rear view mirror. The Challenger crashed. The economy was difficult. This guitar was designed with tons of Americana on it. I believe there were 25 made. Marv told me there were about 100 hours spent building each one, so it was
  21. This one is not everyone's taste. I'd say it's not a lot of people's taste at all. Five or six years ago I picked up a quilted American Eagle. It's a long story. The gist of it is that someone in the music industry got it in 1992. Soon thereafter he died. His son, a folk player, ended up with it, didn't like archtops, and I got it. I eventually traded it for a very nice Heritage archtop that was made for the Heritage sales rep for New York. I'll show you those pics first.
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