DetroitBlues

I've been trying to get more versatility from my pedal board without going overboard with dozens of pedals. Thought I'd go the route of a multi-effects route so I can get different reverbs, delays, modulation, compression.... Instead I ran into option paralysis. At first I was going to use a TC Electronics Plethora X3 or X5 as it has 3 to 5 different effects you can switch on and off like an individual pedal. However, that version requires a 600mA output and the most my power supply offers is 300mA. I returned it in favor for a Boss M3 Effects Switcher. This was even worse! You can load hundreds of banks, run you own individual drive pedals in/out, decide if you want to put anything in/out before your drive pedals. But as I discovered, creating you own banks is a challenge, sorting the pedal order, avoiding switch banks if you only want to switch a pedal/effect on/off. Limited to 2 Modulation effects and 2 internal drive effects. It became too much to use. There was no way I could effectively use this pedal live. I've gone back to regular pedals. I am going to try a Wampler Terraform for different modulation effects as it seems to function a lot simpler for live use. May investigate some different Reverb/Delay units that offer more options. We'll see I guess

Would a magnet swap make a difference?

Common thing to do to Heritages. That 137 is killer, rare to see them with a single pickup.

Tasty! That's the style I had installed on my 535, except my reflectors were gold.

And you got a good deal on that Collins 290, from what I can find, the asking price for used models is over $4K. There is a dealer near me selling the exact same model as yours for $6300. Collings 290 Candy Apple Red – Detroit Guitar

Mine is a Gibby pickguard from new old stock from the 1970's. Adds a little vintage mojo.

DOh, you had me looking hard at the double bass....I believed you for a hot minute! The other guitar looks like a Super Eagle? Older one with the gold H tailpiece....

The tuners on the HOC LE were the closet I could get them to use for to resemble the originals. The tooling for the holes required a standard hole configuration unfortunately. I can say, four year later, the guitar still rocks. Heading back to the stage in a couple of weeks.

I did see these in person, the color is actually the same as mine. Looks really close to an original as I had the fortune to see one of those in person too. However, the price just isn't right. And where is the binding on the neck? The Historic version is $4100 while the Standard Line is $1800. I think, and only guessing here, is the 137 is limited production, so they won't mass produce them along with the standard core line. My assumption is they will only make them upon request, driving up the cost. So making them a custom core model would make sense I suppose.

I actually just replaced the knobs on my 2023 H150. I used a clean cloth to go underneath the knob, twist it up a little bit to get a good grip and pull. Took a little time and it worked great. I've always liked the look of the traditional control knobs, but I found for live playing, the speed knobs give me quicker response to the controls. What are you replacing the stock control knobs with?

Gibson does have an historic run of the Jr/Special.... Priced comparatively to this Heritage model. I am assuming, but this new design is closely related to my design inputs for the HOC Limited Edition H137. I'll be thankful I have my H137 HOC LE, to me its the closest thing to an original from Kalamazoo.

Looks really familiar....

In three weeks, I'll have a demo ready.

Most important question (to me anyway)... How's the neck?

Have you done anything with it? Still stock?

I'd do the same. I wouldn't shy away from one, the whole point was misjudging the lineup or Heritage for doing this. It would be fun to get one, upgrade it. I'd probably use it for a travel or leave it at band practice guitar (drummer is divorced with a pair of unruly kids that lack of respect for other's belongings).

I remember someone brought one of those little Stewart amps years ago to PSP. While the amp itself was small, it was a loud firecracker that sounded way bigger than the cabinet would suggest. If I recall correctly, it was real gig worthy amp that didn't need to be mic'd up. I could be wrong as I find myself playing a heck of a lot louder than I used to when out live.

Many have said the same thing and some will disagree.

Its not about judging, its about spotting the physical differences people who are familiar with the Heritage lineup to tell the difference between the USA and Chinese variant. And yes, many of us, myself included have upgraded our Heritages. Sometimes out of necessity, other time just because we can. I can say of the four Heritages I own, only one needed modifications/upgrades. The others do not. My 140 had a bad Schaller tailpiece and pickups. Had to replace them along with a new nut. My 535 I decided to put more high gain friendly pickups over the Seth Lovers it came with (I kind of regret that one). My H150 only had its control knobs changed with speed knobs because its easier to use when I'm at a gig for better feel. My 137 is exactly the way it came four years ago. My son has only added strap locks to his goldtop H150.

The new Ascent lineup seems to be growing, although only a few social media influencers I have found are talking about them. Because of this history of Gibson with Heritage, I usually only compare the two business practices and exclude anyone else. In the 1970's Gibson decided to make the Epiphone brand their import guitar brand. It helped guitarists distinguish between US and overseas made production. Obviously, those early import models were inferior to the USA counterparts and to this day, not really sought out guitars to collectors/players. So when Heritage created the Ascent line, only the discerning eye would know the difference between a USA made H150 and Chinese made H150. Heritage brand has lost some of its luster or did it? I think I unfairly compared Heritage to Gibson. When in fact, I should have compared them to other companies like Gretsch, Fender, PRS, etc. Fender for instance has not one, but three different countries making guitars with Fender on the headstock. China, Japan, and Mexico. Only when you look for the "Made In..." would you know where the model was produced. Gretsch has done the same with China/Indonesia/Japan. The same models in each brand could be made at any of these locations. The appointments and quality vary from one manufacturing source to another, but for the untrained, a Fender is a Fender. A Gretsch is a Gretsch. PRS at least called their guitars Student Editions or SE's of the same US Models, originally there were some glaring differences, but in later years, they are becoming harder to distinguish. In my opinion, without physically picking up one, I think the quality of the guitars are okay. The cheapest components are being used and the guitars are selling on a name brand that has really picked up considerably over the past few years. I don't expect them to be huge sellers or find them in a store next to the USA variants anytime soon. But.... If they decided to start using upgraded parts like Gibson does with their $1,000+ Epiphones, we may yet see them in a store near you. In my opinion, I think Heritage should have used older, discontinued models for their import line. H120 instead of H137 (H120 was a bolt on maple neck much like the Ascent H137) or use the H140 instead of the H150 (H140 has dot inlays on the fretboard much like the Ascent H150). There might be a place for these guitars. Not sure though. Is this an experiment or a permanent thing?

Yikes! What a hot mess that is!

I was very fortunate to obtain over the weekend this killer Metropoulos 50w Metroplex MKII. This takes three of the most widely regarded Marshal circuits, Superlead, Superbass, and modified Superlead that follows the component values of EVH's Superlead. Only two inputs as the jumper method used on old Marshall’s is done internally. From what I understand the bright switch is the only major difference between the Superlead and Superbass amps, this amp has two flavors 500k and 5000k (so far the 5000K sounds best to me). The EVH channel called 12301 (EVH’s amp's serial number). It shares the tone controls but has separate gain controls. This allows the circuit to be second channel for a different flavor or a solo voice. To make it more friendly for home and small gigs, this model has a 50/25/10 watt setting. One important feature of this is the tone does not alter when changing the output. You can get the high gain sound without losing the low end typically found when you step down an amp or lower its volume. I can tell you last night I was rocking out on the amp and the Mrs was not complaining. A few more features are feature are high voltage boost by pulling the gain controls (which may be how it simulates the jumper method on the inputs?) and in-house designed effects loop that cuts the DB levels for pedals or boost them for rack effects. The effects loop is so well regarded, it can be purchased separately for amp builders to add to their own designs, I believe Friedman uses Metropoulos effects loop circuit. I've found this amp to be very pedal friendly and even through a 2x12 cab it has amazing tones at bedroom volumes. However, even at 10w through the same 2x12 its crazy loud. I'll be using this amp at my next gig, so I’ll share better, live band use mixes then for sound demo's. You can also reference this year's PSP videos. The same amp was used by Fredzep and myself on many of the songs.

Looks awesome, you've had a few over the years, I think the Greenies are a big upgrade from the stock EMG's. Hopefully it stays with you for awhile.

That is a rare, preproduction model being an A Serial number (1984) The unique inlays are another of Maudie Moore's wonderful work. For collectability, it could fetch a wonderful price, but Heritages are not known for collectors instruments. The guitar's condition looks rather beautiful except it appears to have been modified. The Grover tuners back then were aluminum, not chrome. The original bridge and tailpieces were made by Schaller and were the roller bridge with quick release tailpiece. This appears to have been updated with a Nashville style. Being a prototype, it could be original, but that is one of the first things that come to mind. My unqualified experience would price it between $1500 and $2000+.

I've got one of two different guitars back. First being my H140, got that one back; currently on loan to someone rather deserving of it that couldn't otherwise afford a Heritage. Second is my 1976 Stratocaster I put up for sale and went back the next day to get it back, it was sold apparently 20 minutes after I dropped it off.