Guest mgoetting Posted July 30, 2010 Share Posted July 30, 2010 I lucked out on this one. This is a Prospect with a full center block. I can't tell you what the centerblock wood is. The top appears to be laminate. This is basically a smaller bodied 535. But that fat ass done change the tone some. I won't be the first to say this solid blocked guitar sounds like the child of a 535 and a 150. It is a little bit more 150ish than the Millie. I find it comfortable due to its light weight. The neck is identical to the 555s and 535s in feel, and that's a good thing. This is not the typical Prospect because to the solid center. Heritage will make them this way as a custom option though. I cannot comment on the tones of the standard Prospect. The 535 design was probably half a product of tone engineering and half a marketing decision. It was a much more conservative design at its launch than the LP and the Broadcaster/Strat and worked well. That's why it sold. Now the Millies are picking up recognition, even among jazz players. The Prospect remains the sleeper. This is a fine instrument. http://s796.photobucket.com/albums/yy249/m...Blues%20Deluxe/ Link to comment Share on other sites More sharing options...
mtpatty Posted July 30, 2010 Share Posted July 30, 2010 I lucked out on this one. This is a Prospect with a full center block. I can't tell you what the centerblock wood is. The top appears to be laminate. This is basically a smaller bodied 535. But that fat ass done change the tone some. I won't be the first to say this solid blocked guitar sounds like the child of a 535 and a 150. It is a little bit more 150ish than the Millie. I find it comfortable due to its light weight. The neck is identical to the 555s and 535s in feel, and that's a good thing. This is not the typical Prospect because to the solid center. Heritage will make them this way as a custom option though. I cannot comment on the tones of the standard Prospect. The 535 design was probably half a product of tone engineering and half a marketing decision. It was a much more conservative design at its launch than the LP and the Broadcaster/Strat and worked well. That's why it sold. Now the Millies are picking up recognition, even among jazz players. The Prospect remains the sleeper. This is a fine instrument. http://s796.photobucket.com/albums/yy249/m...Blues%20Deluxe/ Very nice! Beautiful guitar! Link to comment Share on other sites More sharing options...
tulk1 Posted July 30, 2010 Share Posted July 30, 2010 Almond Burst, too. Very nice. My favorite guitar, ER-taint or not. The top is definitely laminate. I had asked the boys to do a solid carve top on my custom --- not an option. Have you figured out what pickups are in it, yet? '59s, Seths, something ER thought up? Looks like it's got a great patina going on on the hardware, too. Nice score, Mark! Link to comment Share on other sites More sharing options...
Guest mgoetting Posted July 30, 2010 Share Posted July 30, 2010 Almond Burst, too. Very nice. My favorite guitar, ER-taint or not. The top is definitely laminate. I had asked the boys to do a solid carve top on my custom --- not an option. Have you figured out what pickups are in it, yet? '59s, Seths, something ER thought up? Looks like it's got a great patina going on on the hardware, too. Nice score, Mark! I should have looked at the back of the pup a few minutes ago when I was restringing it. I assumed they were Seths from what I've read about the Blues Deluxe. I'm not sure though. I put GHS 10.5-48s on it, which is what I've used on Millies. I must say it sounds very much like the 155. The tones are gorgeous. There are probably some differences. The guitars are not put together the same and have some wood differences. I really suggest that the Prospect get more attention. Link to comment Share on other sites More sharing options...
Guest mgoetting Posted July 30, 2010 Share Posted July 30, 2010 They're Seths. Link to comment Share on other sites More sharing options...
ledzef Posted July 30, 2010 Share Posted July 30, 2010 Wow that looks eerily familiar. You can say what you want about ER but he knows how to get good guitars. Enjoy that one for a long time. Link to comment Share on other sites More sharing options...
Jazzpunk Posted July 30, 2010 Share Posted July 30, 2010 Congrats...again! I've never seen anybody buy so many Heritage guitars back to back! Are you trying to find the chosen few for your stable or just in the mood to grow your collection? Link to comment Share on other sites More sharing options...
Guest mgoetting Posted July 30, 2010 Share Posted July 30, 2010 Congrats...again! I've never seen anybody buy so many Heritage guitars back to back! Are you trying to find the chosen few for your stable or just in the mood to grow your collection? [/quote They come and go. The head count has been the same for months. There are a few I won't let go of. The Sweet 16 is an example. That just works for me. On the other hand, my H157 wasn't used that much. I found that I would pick up something else instead mainly due to the weight. This is progress. Six months ago I only had one guitar I knew I'd keep. That's the Hohner G3T. I had it nearby, never in a case, and picked it up frequently. It was my convenient guitar. Now one of my Heritages does exactly that role only better, so I sold the Hohner. I enjoy getting used Heritages, fixing the up when needed, and finding them new homes. I have been able to break even overall. It's all good. Link to comment Share on other sites More sharing options...
Jazzpunk Posted July 30, 2010 Share Posted July 30, 2010 There are a few I won't let go of. The Sweet 16 is an example. That just works for me. What is it about the Sweet 16 you like so much? I've always been curious about them but never had a chance to play one. Link to comment Share on other sites More sharing options...
Guest mgoetting Posted July 30, 2010 Share Posted July 30, 2010 What is it about the Sweet 16 you like so much? I've always been curious about them but never had a chance to play one. Picture a 525 that's deeper, has a 25.5" scale and, at least in my case, a slightly beefier neck. Acoustically there is a clear difference due to the body cavity and spruce. There's a richer classic jazz sound to be had with the 16. Many will play with half of the output acoustic, something few would do with the 525. The 16 cannot achieve the sounds of the 525. So they are different tools. A semi-hollow with humbuckers also has a different sound. So I've played a 125 quite a bit. What I can't get over is how the 525 doesn't have that loud hum yet the pickups are pretty hot. Amazing. I'm going to Guitar Center for some 12-50s. I gotta see how they work on the 525. So many great guitars out there. Link to comment Share on other sites More sharing options...
Jazzpunk Posted July 30, 2010 Share Posted July 30, 2010 Picture a 525 that's deeper, has a 25.5" scale and, at least in my case, a slightly beefier neck. Acoustically there is a clear difference due to the body cavity and spruce. There's a richer classic jazz sound to be had with the 16. Many will play with half of the output acoustic, something few would do with the 525. The 16 cannot achieve the sounds of the 525. So they are different tools. A semi-hollow with humbuckers also has a different sound. So I've played a 125 quite a bit. What I can't get over is how the 525 doesn't have that loud hum yet the pickups are pretty hot. Amazing. I'm going to Guitar Center for some 12-50s. I gotta see how they work on the 525. So many great guitars out there. Nice review thanks! Link to comment Share on other sites More sharing options...
Guest mgoetting Posted August 13, 2010 Share Posted August 13, 2010 Now for sale. See listing in For Sale category. Link to comment Share on other sites More sharing options...
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