TalismanRich

That's because I like to hit the right notes... .something a drummer don't need to worry about!

Resident, or inmate?

That's some lovely lumber. I love the neck, but I would absolutely need inlays on the fretboard!

And which Dumble does it mimic? I thought one of the things about Dumble is that he customized it to match the player. John Meyer's SSS doesn't sound the same as Santana's SSS or Stevie Ray's SSS. Does Larry Carlton's ODS sound like Sonny Landreth's or Robben Ford's? Running an emulator pedal into a guitar amp won't give you a proper model. You should have a full range system like a PA or go into a recording setup which means it's simulating both the amp and the microphone, which is probably it's forte. An ODS fed through a Princeton Reverb or DSL40c probably won't sound much like a Dumble. It might give you a sound you like, but it won't be the real thing.

It's a shame I'm not working anymore. One of our instruments required liquid nitrogen. We would go by AirLiquide and get a Dewar Flask with about 2 quarts of nitrogen. I could have easily dropped a pickup down there after we finished our testing! We also had a storage tank of liquid CO2 that we used for tank blanketing to minimize fire hazards.

I just ran across this video about the history of Gibson in Kalamazoo.

I assume it would be Jeff Nicholson, who was Archie Leach's partner at Plaza Corp.

Very nice. I'm glad they brought back the 555 and 157. I like gold hardware, and the bound headstock just looks great.

I missed the 2 above the serial #. Good catch.

If Marv doesn't know anything about it, then did he NOT get one of the 4 guitars? You would think he would know if 4 were made and he got one. I guess it's down to Pete, Ren, Bill or Jim to unravel the mystery.

Pull the control cover and check there. It should be written there. The numbers are 00402. It's hard to tell if the letter is a Q or not. There was a point where their stamp was getting pretty well worn. It made some of the serial number unreadable. For a bit, they wrote them out by hand, then they got a new stamp. They had to do that when they got to AA serials anyway.

"Sorry, can't talk. I'm late for church!!!"

....except for the listing says "barely played". I guess it could have been played by one of JP Moats' relatives since it was made a year after his death.

Ok, we already discussed that the neck is Korina. I guess the back is as well. We didn't have a shot of the back before, but that would make sense. The serial number puts it at about April 28th 2016, 2nd guitar assigned that day. I'm surprised it says Duncan 59s. They look aged, or very dirty.

The "description" is just the standard description for a generic H-150. It's not a "standard" 150, with the bound headstock, it's more like a Deluxe. The neck does appear to be korina with a strip of perhaps mahogany or maple. The pickups also look like aged pickups, perhaps SD Antiquities. Most likely not stock 59s. It's surprising to me that a "boutique guitar" dealer trying to sell a guitar as being unique doesn't put a bit more time into the research instead of just pulling junk off the web. As an AG serial number, it would date to 2016 which is a full year after JP passed away. I'm sure Jim, Marv or Ren could fill in the details. The obviously have the other 3. There's no reason that the owners couldn't have decided to commemorate the 4 original owners in guitars. It was still their company at that point, just when Plaza was buying into the company (spring of 2016).

I remember seeing someone working on an H-150 on a belt sander years ago. I liked the CNC carver right off the bat! We all got to see Heritage's duplicarver. Today, it's all in the CNC.

The key was rinsing with fresh water, then distilled water then a quick isopropyl alcohol to flush out the water. Get the salt and other stuff out. It even worked with my AW16G recorder and a computer. But it needs to be done soon afterwards, not months later.

Agreed. I had to pull the reverb tank from my Classic 30 when the basement flooded. Once everything was well rinsed, including the bag, and dried. I simply plugged it all in and it worked fine.

I don't have massive long fingers. A thinner neck works well for me. But it's not just the size or thickness but the shape. It's one reason that I don't even look at PRS guitars. The neck shape, especially the SE versions are actually painful, especially for my thumb. My Vint 54 Strat has a beefy neck, but it's rounded which helps.

Just wait another 20 years!

I've been jamming with my old friends and the guitar and bass are direct into the mixer and back to headphone feeds. I grabbed a Strymon Iridium for my pedal board, and use that. I've also used it to do some quick demos to send to the bass player so he could work out his parts. I think it has been better than my old PodXT. There's no reverb, just some "room" emulation, but that's been plenty. I don't feel any lack of response. Once I fire it up and get my level set, it's off to the races. As PSP, I won't use the Strymon. I'll just use my amp. As for the ToneMasters only emulating a Fender amp, that's not really an issue to me. If I plug in my Princeton, that's the only sound I'll get. Whether it's a Fender tube amp or a ToneMaster, it's not going to be a Marshall or a Soldano.

I've been going to a local blues bar to see some friends play, and the bar has a backline available. Some nights are jam session nights, others have regular bands. They keep some Boss amps for guitars, and a Hartke bass combo amp. It seems that most guitar players bring along their own amps if it's a working band. For the jams, it seems the Boss works out. The bass players just use the Hartke. I've never played one, though. Years ago I got a Peavey Transformer 112. It's still downstairs. It wasn't bad. I used my Classic 30, but our keyboard player used it for a while since it had rotary emulation which gave it a Leslie sound.

But I thought Schaller glued the magnets in, so they aren't so easy to replace.

That's one of the reasons that I don't tend to go down the swap pickup route. I can turn those tone controls and make 50 times more change than swapping pickups do, as long as you stay in the neighborhood. You won't make a 150 with Seths sound like a Ric 360 or Tele, but to me, a 150 with Seths vs 59s is like two houses on the same block with different front porches. Plus, I never really try to mimic someone else's tone, especially off a record. Even if it's a '59 LP and a Marshall BB, you don't know how their amp was set, what was done on the mixing board and in the mastering process.

He needs a Millennium!