rockabilly69

nice song, great jazz guitar tone, and great playing!

those look great!

some serious flame maple on that one!

DanElectro Hodad MKIII Bass, and one more H357 on the stand on the far right!

Congrats on your new guitar. The Custom Core gold looks great. Enjoy!!!

wow that's a great looking guitar!

Mine are lightly doped and they break up gloriously. yes you should!

One of the first great guitars I ever played was a late sixties ES330. Those are GREAT guitars! Post a picture of that with your Heritage!That'll be a great gigging pair!!!

I am both an ES125 fan (I've had 4 of them, but only kept one single pickup version, because it's a beast, it's nicknamed the '69 Chevelle because of the rumble it makes) and a P90 fan in general. I think P90s are the sound of rock and roll! Here are all of my P90 guitars. The Heritage H525 P90 (Lollar P90s) 1965 Gibson ES125T (vintage original Gibson P90) 2024 USA Les Paul Special (Gibson P90s), 2010 Gibson Historic SG Special (Wolfetone Mean And Meaner P90s) 2024 Gibson Historic 1954 Les Paul Reissue (Gibson P90s) As for tubes, that is what the good lord intended for all electric guitars to be plugged into

My favorite speaker is the Weber 12A125A. It's a low wattage speaker that I use in three amps currently Mesa DC-2 (25 watts) Clark Beaufort Supreme (20 watts) TopHat Club Deluxe (20 watts) The speaker is rated at 30 watts, but sometimes I throw a lot of outboard gain pedals into these amps (Origin Effects Revival Drive and M/EQ driver, Analogman Sunface BC108 fuzz, Durham Sex Drive) so I try to listen carefully to see if I'm at that edge. Because as Rich says above, square waves (particularly fuzzes), can destroy speakers if pushed close to their ratings! That said, I WANT the speaker to distort as I think that is part of the rock and roll sound.

Congrats on your new guitar. Sounds like you found a good one! And I love blonds (guitars that is). I have a H535 with P90s and I love the way that it feels. And, I'm also a fan of Thomastik flats, I use them on my Gretsch DuoJet. Thomastik makes the best flats, and that's from experience, I've tried them all. They are just so slinky As everyone else has said, let's see some pics.

I'm a big Gotoh fan, I have there Luxury series 21:1 ratio 510 series on 4 of my Zemaitis guitars, and I have plenty of experience with the 381 series, they are definitely an upgrade to the stock tuners.

NIce looking color on that goldtop, and the new bridge looks WAY better!!! What tuners are you putting on it?

I wouldn't trust a thing that comes out of that's guys mouth. I can't understand why Heritage would build this guy a guitar for free. Just google up Vertex and rippoff and you will find out about his history... from Joe Bonnamassa... Hey Guys, I'm sorry to be chiming in so late but I must warn all you fellow gear nerds to stay away from Vertex effects and pedalboard services. Mason is not truthful nor is his work good or in most cases his own. He had me on his site without permission as a user and happy customer. I am/was neither happy nor do I use any of his products. My pedalboard sounded awful, took tons of gain away, and added a huge ground hum. It also cost $1400 and that was after I pitched a fit when the $2000 bill came to my tour manager all the while seeing unauthorized You Tube videos of my " new rig" a rig I never tried nor signed off on. Fortunately Dave Friedman at Rack Systems came in and saved the day for $400. All I wanted and asked for was to have some cables cut to size. I didn't want to waste Dave's time so I gave it to Mason. BIG MISTAKE.... I am very disturbed by his actions and have heard recently that he has been called out on some Wah Wah pedal stuff. Bad News Bear that cat is unfortunately. So... In closing... Just trying to keep my fellow guitar nerds from getting ripped off like I was. Caveat Emptor Joe Bonamassa.

I thought the wine red one with the stinger was pretty cool. I've always been a Les Paul Deluxe fan!

To me all Les Pauls and H150s need to be taken on a case by case basis. They all sound different, my two H-150s are light years apart in tone, and so are my 4 Les Pauls. If I had to sell all but one of them, I would keep my 1960 Reissue Les Paul, it just has the best tone for the type of music that I play along with a very comfortable neck. And coming in second and third in neck shapes for my guitars are my Heritages. They are both medium C with my darkburst being a tad bigger. My Les Paul reissue necks are a bit too big. As for quality I had fret issues and nut issues on both of my Heritages, and most pre band lab H150s I picked up around here had many of the same issues. But the cost of used H150s were so low they were an absolute bargain to someone like me who knows how to do fretwork. That said, since the Bandlab crew cleaned up the shop I'm seeing a much higher quality control on H150s. None that I have picked up have any fret/nut issues. I did see one H530 that had a badly placed bridge that couldn't be intonated, which was a heartbreaker because it belonged to my best friend and it sounded GREAT. The quality of the wood has consistently been good with Heritage on most every Heritage that I have picked up, all though many of the earlier sold bodies were pretty heavy. So do I think Heritage builds a better Les Paul? Re-read my first sentence

I made a short little demo with no speaker cabinets, just the di straight in for both guitars and the bass...

That is a nice thing. The Rockcrusher Recording is also switchable (8 or 16 Ohms), and that will handle all my needs. The nice thing about the "Recording model" is the Speaker emulation side with the 11 band tuned EQ. It does a great job of emulating all of the speakers that I use in my amps when I want to play in total silent NO SPEAKER mode, using just the LOAD box feature of the Rockcrusher. I record at lot in the very early morning 1 AM through 4 AM, and the only thing separating my recording room from the master bedroom in our house is a small bathroom, so I have to be whisper quiet when I record. And sometimes I like to record rhythm tracks with my drummer, and it's great to be able to sent him a rhythm track in his headphones, but when he's gone, I could wipe the track cause it didn't bleed into the drum mics. Then I can build the song up with his drum track, but re-record the rhythms when I can crank the amps!

You are going to laugh at this Kuz, because a few days ago I also bought an attenuator for my Marshall that I've been recording with. I already had an Ultimate attenutaor in my studio, but it is only for 8 ohm amps, and my Marshall is set up for 16 ohms, but I bought a Rockcrusher Recording for the house. Unfortunately it hasn't been delivered yet because i missed the postman on Saturday (I was day gigging). I'm sure the Tone King will sound great with your amps, it's a fantastic attenuator.

The guy is a monster player, and if this video doesn't sell some Heritage guitars, I don't know what will! At first he had too bright of a tone, but you can see/hear that he dialed it in pretty quick. Those Fishman pickups definitely have something going on. And at 15:05 he started to burn. The guy is truly a freak of nature guitarist.

One man's trash, another man's treasure. I've yanked alot of pickups out of guitars (ie PRS Dragon I pickups) that I could sell for big money, but I rarely sell shit.

There is definitely a difference for no covers, and that's been measured many times. Is it a positive difference? I guess that just comes down to taste. Typically, without a cover, most pickups are a bit brighter than they would be with covers on. And speaking of cover material... One of my favorite sets of pickups, is what I installed in my #1 Zemaitis metal top guitar, a set of 12 Pole Kent Armstrongs. These pickup are encased in EPOXY, and Kent even ships them with epoxy pickup rings. I have many traditional guitars with classic style PAFs, and since I use this guitar to play my original music, I wanted something that was unique. The reason that I bought them, was because I heard a demo of an original Zemaitis guitar which featured these pickups, and I heard something in that tone that I liked. So I called Kent Armstrong and asked him of he still wound them, and he said he still does, exactly like the originals that were in that Zemaitis. They required a little work to get them to fit into my Zemaitis. I actually had to make spacers to get them to the right height. I made the spacers by sanding down a set of larger epoxy rings that Kent sent me. It took me a long time to dial them in. It was a bit time consuming getting the pickups and pole pieces where they sounded best, which was a close to the strings as I could get them without the stings touching the pickup, and the poles set parallel to the strings. But it was worth it, because these pickups are great sounding. The clean tones are fantastic, and they sing through the dirt. I have them wired G&L fashion with a passive PTB system (individual volumes, low cut, and master tone). And making the spacers wasn't the only thing that was odd about these pickups I actually had to wire the pickups on the bottom specifically for how I was going to uses them (parallel humbucking, series humbucking, or switchable). Here's picture I found on the web to show this...

The Marv Wineburst that Kuz was kind enough to send on to me... And for you blasphemers, here it is with a proper pickguard...

The only time I used to bend down during a performance to adjust fx is with volume knobs, but I've switched to a volume pedal up front. During soundcheck, I set up my pedals for the room. After that, it's just riding the volume pedal. I'm the lead singer of our band so I sure don't want to be bending down to adjust pedals. I can change the rate of the delay by tapping it in, and I only use 2 tempos on my tremolo so I change that between songs.

I would NEVER use a modeler live in my original rock band. To me, there is nothing like a wound up Fender tweed or Marshall style amp reacting to your playing. And those amp sounds are what inspire me to write the songs for my band. It's the sound of the rock and roll that I love. And, none of the amps that I use live are that heavy, especially with the cart that I keep in my car. The amps I use live are just loud enough to get a decent clean sound that works with the acoustic sound of the drums. That said, I have one pedal board for my original solo acoustic shows where I have all the songs programmed, and I use a HX Stomp for all the time delay stuff, and even some dirt, and it works fine. But I run my guitar through an acoustic amp before it goes to the PA.