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Howdy i was just thinking how lucky will we be able to find a Marvin lamb built H150 or H157 ? Any clue if we are on the hunt ? Does he particularly built a handful batch of these H150s or 157s? And which year was it are we looking at?

At the moment, this is my LP type. It's a MIC Burny LPC. It's also better than most LP's I've played, including Gibsons and some Heritage. I put a set of Gibson T-Type pickups in it. I love this guitar. Steve Hackett tours with these. If they are good enough for him, they are good enough for me. I'll get another H-150 at some point. But now is not the right time.

I built this one with a BG1400 and a Duncan P90. A friend lightly aged the body for me. I used a 1987 Squier MIJ neck for this build and a Allen Eden body. The BG1400 has become my favorite Tele bridge pickup.

And hello new pedalboard. I'm still around. But I haven't been using Heritage guitars much because I fell on some hard times and had to sell most of them. All that I have left is an H-137 with a badly done, but functional, headstock repair. As you know, that even though I like classic rock, I'm not exactly a classic rock person. That being said, I still listen to a lot of prog (Yes, King Crimson, old Genesis, etc). I like a lot of different music, and much of it is newer. I was recently recruited into a Boygenius tribute project. They are a band of 3 women, Phoebe Bridgers, Lucy Dacus, and Julien Baker, who do some fantastic vocals and are very gifted. They have won several Grammys, and have done very well for themselves. Julien is a multi instrumentalist (piano, mandolin, banjo, guitar) who has performed with the National Orchestra at Kennedy Center. In addition to vocals, piano, etc, she played lead guitar with BG. Lucy just released a new album that is rising in the charts. Phoebe is working on new music. Together, they formed what what was considered a supergroup. BG was a side project for all of them. I would categorize their music as sapphic pop. Let's just say that it's very... gay. Anyway, I'm playing lead in this project and have been working on dissecting Julien's solos, background guitar work, and the effects she used. She layers effects. It's not uncommon to have multiple distortion/OD, multiple delays, choruses, etc all layered on top of each other for one track. In the past, I usually used distortion/OD, and that's about it. So this is new territory for me. I was also never much of a lead player. That's changing. I'm using Strats for this project because I need tremolo bars. She uses a Tele with a Bigsby. I have Strats, so that will have to do. I was lugging around a pedal board weighing about 17 pounds for this. And tap dancing in the middle of songs was getting difficult. I almost tripped while doing it at rehearsal last week. So something had to change. And this is less expensive than the copay for a broken leg. I'll offset the cost by selling most of my analog pedals. The Boss GX-10 that I bought has 170 effects built in. I can chain up to 17 effects in one patch. I can arrange the patches into a set list so I can pull them up sequentially for a performance or rehearsal. It's a nifty little package. It's also more intuitive than any multi effects unit I've used. I can edit via the screen on the front panel or my laptop. And there are many patches available for download. I'm wondering why I didn't do this sooner. Here's a sample of some of the stuff I'm learning. This is another song we are working on. All the strange sounds in the background are Julien's work.

It needs, at least, two pickups or it hasn’t sufficient range. For such a costly guitar, it screams budget.

Agreed with both posts bolero. Fuggem if they can’t handle the truth. Who argues with physics?

That is drop dead cool. There’s a ton of mojo in that beast. Happy NGD.

Ultimately the tone and playability are the true test to a model like this. At the price point of this one, I would have liked to have seen at the very least some nice fret markers. The build I think is elegant.

I have first hand experience with the prototype several times and talked with the designer each time. It is my belief that this guitar is a superb acoustic jazz box. Imagine a 1920s L-5 with more attention to bracing and plate carving and with also primo wood. I owned a 1920s L-5 in my teen years and practiced on it like a maniac. The guitar was heavier. The 717 is significantly lighter. The 717 involved a lot of thought and went through the highest levels in the Heritage organization, including the CEO from Asia, who is a master jazz player. This was a long term project. Even the pickups went through several iterations to get it right. The build quality of the one I saw is flawless. The woods are superb in appearance. You can hear how clear and full the notes are. There are a couple of cosmetic things I'd want, but I would never use such a guitar. To me, it's delicate and expensive. I have a Golden Eagle and a H-575 that work just fine. But there are those who deserve the caliber of such an acoustic archtop. I hope this serves them well.

Fab guitar, I love it.

OK, I'll say it.... for me, personally.... I find the guitar FUGLY. I don't understand Heritage's design concept here. Are they going for the Benedetto modern jazz box look with that finger rest? The finger rest/pickguard is fugly and looks especially strange on a Heritage. If they were going with a modern look, then why use the gaudy, over-ornate tail piece? This guitar looks like they didn't have a design plan for either a sleek modern look or an old school classic look. On a positive side, I do love the new headstock. It looks like Collings "hair cut" headstock that I love. Even if it was $5-7K, I would pass on looks alone. Anyone agree with me, or anyone disagree and love it? All opinions are welcomed.

hell yeah!!! something about that photo looks odd though. Is it AI generated?

well what is sound & volume? air pressure more speakers = more air pressure I'm not sure who downvoted my post, lol, but I thought it was informative. I apologise if I offended somebodies sensitivities.

Because I've loved them ever since I popped one into a Tele, I now have the Seymour Duncan BG1400 bridge pickup in three Teles, but this is the first time I've had the set of both pickups in a guitar. I've had problems getting a neck humbucker that would balance well with the BG1400, and finally the custom shop started offering a BG1400 for the neck position. This set took quite a bit of fiddling with both pickup heights, but, I really wound up with a good balance. The trick was to get the neck pickup right under the strings then adjust the height of the bridge pickup for a good middle position. Soon as you get that middle position sounding right, the bridge pickup volume will be just slightly louder than the other two positions, and frankly, that's where I like it. In this demo I break the song into thirds, neck pickup first, middle, then bridge. I tried to use enough gain to make the pickups sing, but not too much where it would make it hard to discern what each position sounds like. The Tele is plugged straight into my Mesa Fillmore 50, and I'm also using one of my closed back Marshall Speaker cabs (Celestion Cream Alnico). The ext cab is mic'd with a CAD E350 condensor, and the Fillmore with a Sennehiser MD421. The bass and drums are guys from my band Vorraro, Martin Carle on Drums, and Jeff Aaron on bass.

wow that's a beauty! B serial & a stinger drool

If you have a 4x12 and a 1x12 with the exact same speaker used and they are running the same ohms (let’s just say both cabs are 8 ohms) then the volume will be close for both cabs. The sound will be very different though because of the big cab and all that surface area of the speakers. The big cab can keep the low end together and put out a lot of it. The 1x12 speaker is working 4x harder than any one of the 4 in the big cab so it will sound very different and have a harder time keeping the bass as tight as the big cab. Though the volume will be close to the same if not the same for both, the way your ears perceive the sound makes the big cab feel louder.

Hello! I picked up an early piece of Heritage history this week. It is a 1985 H-140 finished in May. I’ve never owned one so early. It has suffered a headstock break and repair, but it was done properly and feels like glass running my hand over it. It came with black plastics and cheap generic Chinese humbuckers. I put a set of Gibson Burstbucker 1 and 2 I had laying around in and it sounds so much better. The only downside is that I had to over pay a bit for it. The seller was tough but the fact that it was built so early on plus it plays so well and has a stunningly gorgeous top means I had to get it. Enjoy the pictures!

speaker sensitivity is important too. A 102 dB speaker is going to be louder than a 90 dB speaker, with a given amp

why do 4x12 cabs sound louder than what? a 1x12? seriously? more speaker surface area also improves bass response. That's why bass cabs can use a bunch of 10" or 8" ( or even smaller ) speakers. smaller speaker cones are also faster, so a big 15" speaker may have more bass than a 10", but is slower & less responsive. usually. Throw a bunch of 10" speakers in & they're faster, and have the same low end as a 15" speaker cabinet design is a whole other can of worms: ported, not ported, direct radiator, passive radiator, horn loaded, diimensions & size, shape etc all factor in

Not sure if this is a different topic, but why do 4X12 cabs sound louder? What is that relationship about? OR what about a 4X12 cab with high wattage speakers vs low wattage speakers?

"As New Old Stock". Basically used tubes that still test as new on a tube tester and still have plenty of getter, etc. Often they have worn paint markings, or may be OEM supplied tubes from Mullard, Amperex, RCA, etc.

ANOS? Almost NOS?

I've got a Fab 100 watt Mesa KingSnake combo that has a single 12" speaker and it works just fine. Amazing!