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Doesn't seem wrong for Seth Lovers. They're usually around 8k ish. I can't remember if they have the same impedance bridge and neck, or slightly more winds on the bridge. I was thinking they were the same. They're in the ballpark anyway. The original PAF were the same, neck or bridge.

Just curious if you can read the ohms of the pickups? Something strikes me odd about the bridge, like maybe it just got a sticker. I think SD keeps a database of the Seth Lover pickups and can recall the DCR based on the serial number sticker on it.

The pickups are little odd. Usually, the Seth Lover set has a smooth base plate, a sticker in the middle with a rubber stamp serial number, and the blue "Seth E Lover / Seymour Duncan" signature stamp over it. Then there's the little model number and date sticker by the leg. If you look at the photos here at Sweetwater, they have an image of a 2016 Seth Lover https://www.sweetwater.com/store/detail/SH55n4NKL--seymour-duncan-sh-55n-seth-lover-4-conductor-pickup-nickel-neck Usually what they look like. Looks like you have a bridge with the embossed "Seymour Duncan" logo pressed into it, no rubber-stamp sticker and no blue signature. But the neck (fuzzy background) looks more like I'd expect. I think the H-535 '06 is actually "106". Which makes sense if it was part of special run or something. Perhaps the internal sticker has been lost to the winds. It is just a paper decal, a dose of humidity or bad luck might loosen it. Or someone picked it out, or who knows on a 9-year old guitar. I think you got one someone's mildly modified. The blonde 2001 with HRW pickups I own, I found a couple of years ago at a shop that had it marked as a 2020 for some weird reason. It was pristine, with the original Schaller hardware. It had "the sound" one wants from a 535. Had to have it. I later found it had the waviest fretboard to escape the factory. Neck perfectly straight, fretboard like a roller-coaster, though all the frets were level. Some were brand new tall, and some were leveled down to .027" tall. Eventually I pulled all the frets, leveled the rosewood, then refretted it myself with medium jumbo, which means the nibs had to go, then put Faber hardware. So, the moral of that story is you never know what someone does to them in the field. What counts is how good it is. My 98 H150 I bought used when it was 2-3 years old, from the original selling dealer. (Buffalo Brothers, who were a big Heritage dealer long ago). They ordered the run with this spec, and took this one back in trade from the original purchaser. The SD59's in it are OEM ones that SD sold to manufacturers back then. No stickers and a little different stamping on the back. So definitely original.

"Hey honey, I was thinking to get junior this guitar for Christmas." (shows picture of Ascent)

Pics? It doesn't sound quite right to me. I do own a special order H150 from 1998. It was a dealer special order, they made a run of them, maybe a few runs of them. It is a standard H150 but it came with SD 59 pickups and a Nashville tune-o-matic bridge and a zinc stop bar, instead of the typical Schaller pickups, bridge and tail at the time. But it bears a regular serial number and it has the normal sticker under the control cavity cover.

The white one looks like it is frowning at you, or it has a fu-man-chu mustache! 😆

Those are real nice looking guitars!

Yeah, I got one of those ES-135 too. It's never really "taken" to me. I guess after 30-years, I could sell it. But it was a birthday present to myself, long ago.

yeah, I have an '01 535 with the HRW's. I absolutely love the pickups. I'd never change them. The SD59's in my '98 H150 are not my favorite, OK though. They don't bug me enough to spend money changing them.

I've played a few of the H150's with the weight relief and I think Heritage got a good balance of weight distribution that some of the earlier weight-relieved Les Pauls from Gibson didn't. I have a 1998 H150, that once I changed some of the hardware on, tips the scale at about 8lbs and 14oz, definitely one of the lighter ones. Unlike most H150's of the era, it had from the factory, a standard Nashville bridge and a heavy zinc tailpiece, and was just over the 9lb mark. Swapped the Grovers out (super heavy they are) and put a Faber aluminum tailpiece and ABR1 on it. That knocked a lot of ounces off. That guitar always had a ton of acoustic resonance. Which is was why I bought used so many years ago. Just a few years ago, I got a Gibson custom shop 1960 Les Paul reissue (60th anniversary model). That one is solid, one-piece mahogany body, and total weight is 8lbs and 1oz. It is a joy to play, light and resonant.

I’ve got a 2001 535 with the HRW’s in it. Like it very much. I put a Faber bridge and tailpiece on it, mostly for feel since I’m used to a tune-o-matic under my muting hand. I later put in the Faber bushings and was amazed at how much the tailpiece bushing inserts changed the tone. Made really good even better. They go much deeper and firmer into the maple center block, seem to acoustically couple to the wood much better than the much shorter and looser Schaller hardware. The HRW pickups are very amenable to tone shaping with the amp or pedals and EQ. Can dial in a variety of tones from them very easily. Some say they are “hi fi” but I’d say smooth frequency response curve. Which is ideal for dialing the amp/effects to get a sound. I’d say exhaust all the external tone shaping options before you change parts. A 7 or 10-band EQ can be very helpful to figure out what to do to get where you want to go.

Yeah, I'm a big fan. I have a USA Geddy Lee signature model. I really love it too! And a Rick 4003. Black, of course. (couldn't live with the old Rick bridge - neither did Geddy, as he put a BaddAss bridge on it.

A very young bass player once bought a Rickenbacker bass, in the footsteps of his hero, Chris Squire. He was most disappointed to find that he didn't sound at all like Chris Squire. The young bass player eventually became quite famous on his own and associated closely with the Rickenbacker bass. Thing is changing parts will make little tweaks in the sound, but you might be chasing a ghost. We don't really know what instrument might have been played in a studio, even when a musician is strongly associated with a particular instrument. Sometimes, maybe there was just something random in the place and he picked it up and played it. Then there's the amp, and the micing and the room, and the engineer's technique to take the track, that particular session or maybe many sessions and so on and so forth. Find the guitar that works for you and your hands, and play the song(s) you want as well as possible. Then, record it. Compare overlayed on the track you want to sound like. See what you can do with various studio/DAW plugins, especially ones that represent the things that might have been in use at the time it was originally recorded. Then do some deducing what is and isn't close to your ghost. In many cases you can get "there" with some EQ, compression and creative dialing in of those.

Just got to figure out the ship in the bottle approach specific to any particular semi-hollow. They're all a little different, think it through, make some tools. I have a 1/4" plug soldered onto a pretty stiff #8 wire with teflon insulation for pulling the jacks through on guitars like 535's where the jack is in the side, and a different one for 335 types with the jack on the face of the top. Switches on the 535 are more trouble-some, since they're thinner than the typical 335. And a roll of nylon floss, to tie to the pots, a few cuss words and a hell of a lot of patience.

I have a 2001 H535, with HRW's. The switch tip has a black dot (and black tips have a white or cream dot). The pickups have the double height adjust screws, as do the regular Schaller humbuckers. (HRW's are made with the same hardware from Schaller). They are also marked on the back of the pickups as HRW in ink.