Kuz

I get it, that "Wind Cried Mary" tone is awful!!! (LOL 😛)

I have just lately got back into playing my electric guitars. I went on a 3+ year bender of ONLY playing my acoustics. I did a lot of experimenting with strings and gauges on my acoustics. My conclusion was that most bigger body acoustics(dreadnoughts) thrive with 13s and most smaller body acoustics (small jumbos and OMs) like 12s. But there are some exceptions.... and thus the reason for this reply. I have a beautiful 1957 J-200 Reissue acoustic that you would think based on it's large size would love heavier (13s) strings. But I read many acoustic forums that the heavier strings can "choke" the top and sacrifice tone on a J-200. Well, I didn't believe it until I tried it. Heavier strings (13s) took all the projection and life out of the J-200, so I immediately put 12s back on. So I think string gauges and even brands, can vary from guitar to guitar based on the design and the brand producing the guitar.

And Jimi used 9s... nobody complained about his tone. 🤨

Just my opinion, but I prefer the looks of guitars (especially Gibson & Heritage guitars) WITH the pickguard on the guitar. I always thought the guitars that had the pickguards removed looked hacked, naked, and modified. Plus, the pickguard is really a "finger rest" so it serves as functional part of the guitar as well.

Amen, Brother!

Weight is not an issue for me. All my tube combo amps are around 35lbs (the all tube Headstrong 'Lil King is even much lighter than that). My pedalboard weighs about the same. I am 58 years old and the day I can't haul 35lbs in and out of the car is the day I will stop playing. I don't need 100 watts or a 4x12 cab, they are super cool but unpractical anymore. Mic the cab and use some monitors. If you do this you can lower the stage volume (use the above mentioned attenuate to lower the stage & overall volume even more). So get in shape, butter cup, LOL 😛 and haul a medium size combo amp, a pedalboard, and one the great new attenuators..... no need to sacrifice tube tone for volume or weight issues. Just my opinion, others may vary.

This.... Tone King Ironman II 100-watt Reactive Power Attenuator .... and your volume/tone problems are solved. PERIOD

I was told that when Heritage used to make Archtops, they only tap-tuned the one with floating pickups.... so maybe these are tap-tuned. Personally, I prefer the tone of humbucker archtops. Vince Lewis told me to my face that floating pickup archtops are fine for "solo jazz", but he said if you are going to be playing with other instruments/musicians then floater archtops are near impossible to use. He said the feedback is awful on floater archtops when you play with a band, their volume is too low, and they won't cut through a mix for solos. I respect Vince's opinions.

Every Heritage that I have owned (over 12 of them) I replaced with Faber locking ABR1 bridge and locking stoptail. On Faber's website, it says, "Bridges for Heritage guitars".

I strongly agree with your friend. The Throbak '52/'54 set are nearly as loud as Lollars, but have more character, gritty & grind, while still sounding like that single coil P90 tone.

A couple years ago, I bought a used Collings 290 wraptail from Willcutt Guitars and got a KILLER deal on it. Before I bought it, I asked the store manager (Eric, who is also a good pal of mine) what P-90s are in the guitar. He said that he thought they were Lollar P90s but wasn't exactly sure because it was a used guitar, but he said that what ever P90s are in it I won't want to change them because they sound incredible. The guitar was mint and it was such a good price that I didn't push the issue. I got it home and played it, and they did sound incredible! Well, I changed the stings and looked under the covers.... the guitar came with Throbak '52/'54 P90s!!! My killer deal got EVAN BETTER!!! So yes, I have Throbaks in my Collings 290 wraptail.

I have found Lollar's P-90s to vary from set to set and also to sound better in different guitars. I loved the Lollar P-90s in the 535 P90 guitar I sold to Daniel Rockabilly and the Lollar p-90s that came in my Collings gold top City Limits. I tried a couple different sets of P-90s in the Collings, and to my surprise the Lollars sounded the best. My personal favorite P-90s are the Throbak '52/'54 P-90s with plenty of grit and growl. But Throbak's prices have really increased since the pandemic and they are quite an investment now.

In Jazz guitar, there really aren't any bending or vibrato. Usually, bends, and especially vibrato, is discouraged to frowned upon in "classic" jazz guitar playing. Some of the more contemporary jazz guitar artists are doing more bends/vibrato, but they are using lighter strings. It just a matter of personal taste and playing style.

For the record, Heritage ships their archtops with 12s on them. I, personally, would be a little concerned putting that much tension on the top with 14s. Vince Lewis, a jazz master and Heritage endorser, uses 11s and 10s on his Sweet 16s.

I have no doubt that the build qualify is top notch, my beef is only with the cosmetics. My 575 and my Florentine Golden Eagle were (to my eyes) GORGEOUS. Again, my only beef with the H 717 is the cosmetics. I am sure it is an amazing built and exceptional sounding guitar. To me, this is what a classy jazz box should look like.....

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.

I am 100% in favor of spending the money on NOS PREAMP tubes. They sound great (better than current production preamp tubes) and last at least 10-12-15 years with regular use. As far as paying top dollar for NOS power tubes, no thanks. I never heard a difference and I really like the Tungsol RI, TAD, and other reissue power tubes. The main preamp and power tubes that I (personally) can't stand are JJ tubes. To me they are sterile and lifeless. Yea, they work, but that's about all they do well. I had two sets of JJ power tubes redline and have a major failure, nearly ruined a Carr Rambler amp that I used to have. No other power tubes failed on me like the JJs did.

I will STRONGLY second this statement about the Heritage CC tuners being complete crap, compared to how amazing the guitar is. I was able to find some aged nickel Gotoh tuners on Ebay for my aged 150 CC. They look better and are lighter than the originals, are drop-in no mods, and are rock-steady in tuning.

If I was going to the trouble of switching the pup selector switch and the volume knob, I would have made that volume knob the bridge volume knob (or make it a Master volume).

I have probably used 15 Locking Faber ABRN bridges and locking stoptail studs and they have always given at least the same, if not better, overall sustain/note separation/overall tone. And even with any tonal benefits aside, using the locking Faber hardware (ABRN bridge & locking stoptail studs) everything is locked down tight and will never move even with all the stings off the guitar.

Huh, I flipped my Pinnacle thumbwheels over and have plenty of clearance from the top, and my action is 4.5/64th on the low E and 4/64th on the high E. I believe the action could go as low as I want without worry about the domes of the thumbwheels hitting the top. I guess it all depends on the neck angle of your guitar. Personally, I like the "locked down tight" Faber lock ABR bridge. If Heritage is switching to a more traditional ABR-1, why not just use the more traditional 6-32 posts? It certainly would allow for easier conversions and what are we to do if the 8-32 posts break? Like you said 8-32 posts and 8-32 thumbwheels are near impossible to find.

NICE!!!

The nice thing about the Ironman II is that it is switchable from 4 to 8 to 16 ohms.

Tone King Ironman II 100-Watt Reactive Power Attenuator I did a lot of research on attenuators. Some suck tone incredible bad. Others are designed for more direct to the board recording. I couldn't find one bad review on the Tone King Ironman II. I have four vintage Fender and a 12-15 year old Headstrong Lil' King (Princeton reverb clone). I am a huge pedal fan and prefer all my OD/distortion tones come from pedals. But I also do think (as everyone pretty much does) that tubes cooking to the point just before breakup makes the amp's cleans & overdriven tones (even with OD pedals) sound best. WOW, does this attenuator sound flipping AMAZING!!! My amps are 12 to 35 watts and to turn the volume up to "3-4" is still incredibly LOUD. With the Ironman II the attenuator is based on reactive power attenuation so it sounds AWESOME at even -25 to -32db!!! I was very suspicious of the claims of "little to no loss in BOTH tone & feel" even at below bedroom volumes, but it is absolutely true. If anything, now that I can cook the tubes to volume of 3-4 at a reasonable (or even below reasonable) volume, the cleans sound richer & fuller and the OD pedals make the dirty/distortion tones sound thick and smooth. Many touring bands are using this unit LIVE as well to control the stage volume, but maintain the rich tube amp tones on stage and mic'd to the PA. Yes, this unit is pricey but more than worth every dollar. Using the Tone King Ironman II allows me to play/practice more often at anytime of day or night... even with the wifey at home!!!! Truly and amazing unit and I can't recommend it high enough!! (I just wish I would have bought it years ago!) https://www.amazon.com/dp/B07PXVLFDS?ref=ppx_yo2ov_dt_b_fed_asin_title

Ha, Ha,... Same here, I have never sounded like Gary Moore either! Well, played. Your comment made me laugh.