MartyGrass

What music store were you talking about? That's like a fire sale. I had inside information on wholesale prices on Heritage, which was similar to Gibson. Large buyers paid 50-55% of retail price for their stores. One high volume shop bought at 45%, as I recall. A BOLO would indicate a liquidation attempt.

The most consistent thing about earlier Heritages is the inconsistency. Most but not all had labels. They may have run out of stickers, time, or motivation to pen in the information. It usually only says the model number, finish (usually), and serial number (often). Sometimes some of the builders sign it. If it's a lemon burst sort of thing they may have called it a vintage sunburst (VSB). That's yellow that transitions toward orange-red.

I pull a lot of knobs. (keep your mind out of the gutter!) This tools works well without damaging anything.

You can buy a plastic tool just for that purpose. https://www.stewmac.com/luthier-tools-and-supplies/tools-by-job/tools-for-maintenance/pullit-knob-puller/?gad_source=1&gclid=Cj0KCQjwveK4BhD4ARIsAKy6pMJIfmFmjq6MnC4aAyn_inONG2uOfo7vxJvsJvhZ5rpTUtFUawOzskYaAhwHEALw_wcB

I wouldn't bet that anything was swapped out, but it's possible. Maudie was there at the inception of Heritage while also doing Gibson work. The hardware is not Schaller, although the pickups may be. The pickguard is not the typical H-140 type. The inlays of course are unique. And there's the poker chip. There's a good chance that this was put together this way. It's unique.

I recall that well. The Bigsby factory once was next door to Gibson. The Bigsby among us was considered an upgrade. I don't think tone had a thing to do with that attitude. Also, doing three sets with a 12 lb. instrument was not a concern at all decades ago. This is a side issue. My guess is that having a Bigsby on a solid body didn't affect tone much, if at all. It may be a different story on a Golden Eagle.

There's a few I'd want. 1. My 1968 ES-345 for sentimental reasons 2. Gibson SG custom in walnut (sentimental) (maybe) 3. 1968 Epiphone Howard Roberts 4. 2002 Chestnut or OSB Millenium Eagle 2000

I got it from Reverb.

Some of us are born with inclinations towards solving problems, engineering, and being a mechanic. I'm one of them. I learned soldering, replacing harnesses, set ups, etc. with guitars because I liked learning and doing it. Every time I pick up a guitar I subconsciously assess the set up and the state of the strings. I had not thought of this before, but it reminds me of the military, particularly the Marines. They bond to their rifle and care for its every need.

Someone told me to put a dab of Loctite on the rollers. I did that once. I think it worked but don't remember. But I found that if I'm careful during string changes, it's fine anyway. You are right about string breaks though.

This arrived unscathed. The neck is what I'd call a medium carve. The guitar balances well. It sounds good and plays well. No complaints. I've got a set of HRWs that are extra to put into something.

I note that some don't change out the hardware on the earlier Heritages. The bridge works very well with a Bigsby. Otherwise, why do you keep the old stuff on. 1. If there's no problem, why bother? 2. I prefer the old hardware over replacements. 3. I don't want to alter the instrument for the sake of its integrety. 4. Cost too much or too much hassle even though there are better options available. Personally the tailpiece works well but is heavy and looks odd. The roller bridge likely isn't as "crisp".

https://www.gbase.com/stores/american-classic-guitars There's some really stunning ones.

Nice

That tells all. Thanks, Paul.

I really like the look of the Millie and the build concept. My favorite in appearance is the Eagle 2000. The easiest to get high access on is the DC. I don't think they sound different in general, but individual instruments may well vary. In route is a DC. It's blue. There are a few notable features. The hardware is chrome, probably because the finish is blue. The neck is maple. It's a 2004. It came with HRWs, but the seller swapped out for Seymour Duncan Pearly Gates in the bridge and APH-1n Alnico II Pro in the neck. I found HRWs in my previous Millies and solidbodies to be too harsh and shrill. They work well in hollowbodies. The seller was kind enough to include the strap components of the straplocks, a new set of strings, and the HRWs. He's a real gent. I'm tempted to change out the bridge and tailpiece. I'll hunt to see if I have the parts already. That's not essential for me. I've had experience with Heritage's blue guitars. They go greenish over the years with yellowing of the lacquer. This one's 20 years old and looks deep blue still.

Yes. Not mine.

This one looks like it may be carved.

It is well known that Heritage made many custom changes on its earlier instruments. But I wonder what the usual builds for each Millie model was. I've had a few Millennium 2000 Eagles. They had carved maple tops and backs and maple necks. Millennium DC has a carved top and what looks like a carved maple back. The other Millenniums had mahogany backs like the H-150. Is that correct?

I don't see any more Millies or H-150LWs being made. It has to be due to poor sales. They don't look much more difficult to build. Heritage used to charge an extra $150 for the H-150LW and even made some H-157LWs. Millies look like they start with a mahogany billet and open it up more than the H-150.

I'm not someone who will tell others how to use their guitars. Just no pictures please.

That is one of the most versatile guitars ever.

That's a real keeper. Congratulations.

Chestnut burst is one of my favorites. https://www.sweetwater.com/store/detail/H530SCS--heritage-standard-h-530-limited-edition-electric-guitar-chestnut-sunburst Here is my H-575 in the same finish.

I would have had to drive to Taiwan to pick it up!