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Mine feeds back less than the 175s I've played.
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10-17-2012 02:19 PM
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Carved pretty thick, not particularly resonant with the two pickups stuffed in the top either. They're great electric jazz guitars.
I have experienced zero feedback issues in the short time I've had with mine--I've only done a few solo gigs but I did crank it up once with a electric bassist and drummer and had no problems.
And as always, remember, I am the guy who thinks most people play too damn loud anyway...
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I've got an all-maple 575 with two humbuckers. Like Jeff said, it is carved fairly thick.
It feels like a lot of well-integrated wood when you pick it up. Especially around the upper bout and neck join. It almost feels like a solidbody or semi-hollow in that area.
I've never had any feedback issues with it. I think the slightly shallower body depth on the 575 helps in this regard relative to an ES-175.
You probably already know that a few 575s have spruce tops. I suspect these may be more prone to feedback in louder contexts than the maple tops. Although Mimi Fox's sure sounds great.
A second-hand H575 is really super hard to beat, in my opinion, for a great all-around jazz box. Incredible value-for-money. And truly outstanding, money aside. I love mine.
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I've owned both the 575 and the 371. No feedback issues with either, but used for home play only, thus I never had a desire to crank either.
Acoustically, surprisingly, I found the 371 had more volume, albeit a bit brighter signature than the 575. I had a dual HB 575, and clearly would have preferred a single set pup, or even a floater, for I've no need for a bridge pup.
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Yeah, the 575 doesn't have much of an acoustic tone, kinda dark and quiet...the only use I've found for it is late night practicing while baby sleeps. But this is probably part of the reason it's good at resisting feedback.
When you pick up one of those loud acoustic archtops that weigh as much as a feather...then you can usually expect amplification to be a bit of a nightmare
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I've had two Heritage 575s. One was your typical maple top, 2 humbucker guitar. I played that with jazz groups and didn't have too many issues with feedback, apart from a few spots on the A string. The other was a spruce top guitar with just a neck pickup. That guitar fed back way too much for me, even at home volumes.
Interestingly, I definitely prefer my Eastman 371 to either of the Heritage 575s that I had. It is more fun to play both acoustically and plugged in.
I did have a Heritage 535 that was fantastic, but that's a different guitar.
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That's interesting to hear abut the 371. How would you compare the potential for feedback between the two?
Originally Posted by Bryan T
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Hi dan i have a 575 with hrw pickups, this is my main guitar. I have never had any issues with feedback at volumes that I consider very loud, playing rnb and fifties rock and roll. I think the thickness of the top has something to do with it. If you choose a 575 you won't be disappointed. they are great guitars.
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Seems the going rate for a used standard one (not the custom model) in great condition is about $1400-$1800. Sounds about right? Hoping to find one for less than $1500.
Last edited by monkmiles; 10-18-2012 at 10:39 AM.
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They're out there, particularly standard models (dot inlay and no neck binding like on the custom)...I got mine for $1200...plenty of nicks and scratches but in perfect playing condition.
No slight on the Eastmans, which I'd proudly own and play, but Heritage is a whole 'nuther step up IMHO...the finishes alone are among the best I've ever seen.
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brother, you stole that 575. well actually, we each bought ours for the same price. I'm so accustomed to binding I couldn't live with it, so it went to a HOC member who was happy to get it for what I paid for it. Originally Posted by mr. beaumont
Same build quality as other Heritage guitars I've owned...just minus the binding. Fit and finish were first rate. Don't hold your breath to find one commonly advertised for $1200 though...that's not the norm. I've seen the identical guitar advertise and sell nationally for $1600. Good luck!
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Mine is definitely well dinged, which I think saved me a bunch, but after emailing the seller I could tell he really knew his stuff and I wasn't worried about getting a "fixer upper."...and the scratches are mostly where you can't see, which is nice.
The back has a lot of scars though...I envision it was played in a old style country band by a cat with a big belt buckle.
I have jazz band after school tomorrow...Normally I just bring my tele, but I'll bring the Heritage out and let you all know how it does with a really loud jazz/R&B/funk kinda atmosphere.
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Hi Jeff, were you able to try the H575 in that situation? Let me know how it went when you have a few minutes. Originally Posted by mr. beaumont
Thanks,
Dan
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Hey Dan,
Getting back to you late, but yes, I tried it.
Was able to get some feedback when facing the amp and not holding the strings. Facing away, no problems at all.
For kicks, stepped on a RAT for a solo. Started to feed back instantly...but it was that feedback people like, I guess. I dunno, I don't play like that very often, but it seemed like I'd be able to control the note that was feeding back.
But otherwise, for the rest of the jam session, no issues. Do kinda wish I had my tele for the little bridge pickup funky bits...that's not the 575's forte...but for a solo on "Broadway" we did a little while later, the 575 was in it's full glory.
(Oh, the amp was a polytone MBIII, and the master was cranked (as always) and the volume was about halfway up...LOUD.)
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Jeff, really appreciate that!
Even though there's an Eastman 371 listed here for sale at a good price that I'm considering, I still really want a H575. And it sounds like feedback probably isn't any more an issue on the H575 than the AR371. Even though the AR371 is laminate, it's also deeper (3 9/32" vs 2 3/4").
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I jammed with my 575 in situations similar to this and had great results. Truly the only guitar I ever regret selling.
Last edited by Jazzpunk; 10-24-2012 at 05:41 PM.
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Jazzpunk, thanks for the clip! Great playing.
I would only be using the 575 in jazz situations, just wanted to be sure I wouldn't have much feeback issues for that stuff. I wouldn't be using it for rock or fusion stuff as I have a semi hollow and a solidbody for that stuff.
Reason I bring this up, is I briefly owned an Eastman 805ce that I loved, but I had to move on from it because it would feedback very easily in jazz situations. It's because not only did it have a solid top, it also had floating pickup and a deeper body.
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In my very limited archtop experience with 30 or so archtops I've found that no 2 archtops are alike. Even two different 575's will each have their own feedback thresholds, imho. As an example, due to retirement and home downsizing, my room doubles as an audio room stuffed with audiophile gear, a piano, a bass amp, and guitar gear. As such my Jazzamp rests less than 6' from my playing position. Ordinarily this non ideal playing position would be a haven for possible feedback issues. But the several 805's and 810's that have passed through here haven't had feedback issues. I'm not blasting down the walls with volume, but I've had floaters, set pups, mostly carved tops, and a few laminates...feedback has practically been a non issue for me. Being an audio room first the room of course is set up in typical audiophile fashion with bass traps and corner dampening material. Still all in all, it's an awfully small room not to experience feedback issues. Hence my suggestion, no 2 rooms or archtops are exactly alike. Originally Posted by hallpass
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I've used my 575 with distortion in rock situations and haven't had any problems with feedback. Originally Posted by hallpass
One of the 575's more prominent sponsored artists is Alex Skolnick. If you aren't aware of Alex's work, he grew up as a heavy metal guitar player in the successful group, Testament. He later went on to study jazz at the New School, receiving a bachelors degree in performance, and now performs bebop versions of rock and heavy metal tunes.
If Alex Skolnick can handle the feedback, anyone can.
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Yea, I'm actually very familiar with Skolnick. When I was a kid I loved his playing in Testament. Then I followed him as my music tastes changed into his jazz stuff and have seen his trio a couple times live. I even did a lesson by mail/tape cassette with him once. He's not as straight jazz as I tend to be into but I do know he plays both a H575 and a custom Heritage (les paul style) model. While I love his playing, I prefer the tones Mimi Fox gets with her H575. Originally Posted by Klatu
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I'm coming to your piece years later. Sorry about that.
Here in the UK, Heritage are beyond hard to get. Just chance personal imports from what I can see, and as you say somewhere, any number of specs or mods. A small seller up north had a 1990s one factory-fitted with P90s recently, but it was soon gone. Many seem to have the distinctive 'anti-rocking' two-screw Schaller Humbuckers that Heritage used to use, or have had lazy replacements that leave the Schallers’ two empty holes gaping in the mounts.
My worry about the 575 stems from never having much chance of trying one, and your points about the 'thickness' of the neck concern me, having had the disappointment of my guitar-lusting life when I finally got my hands on a Levin/Goya dreadnought. It has - I never managed to sell it - a one-piece neck that could probably have passed for a WWI ship of that class. After that, I always enquire about neck 'depth' (I think that's a better term than 'thickness'), and of course side-on is almost always the one view few ever photograph, not I think deliberately but because it just doesn't occur to them and is a slightly harder position in which to fix the guitar, maybe.
Perhaps you could measure the depth of your 575 at a couple of fret positions - that would be helpful to others too, probably.
I don't come at this from a ‘conventional’ jazz angle, so the heavy strings idea doesn't float either. Wonder if anyone's tried thinner strings, say 10-48, and perhaps a Tunomatic. The all-solid approach appeals though, and the trim size and of course Heritage’s quirky history and, apparently, noted accomplishments on the interpersonal level.
Like your L4. There's one like it on sale in North London (or was) quite reasonably, also blonde, but I've been put off by recently gained knowledge that Gibson turned these out from the late 1980s to about 2004 with laminated sides and back. Only now will you get all solid again. Boo to them I say: how could they do that? A charming, unorthodox guitar fixer I used to know back in the 1980s had an acoustic late-1950s L4 he'd bought for a song in the 1970s and fitted with one centrally placed salvaged Gibson Humbucker (I doubt there were any after-market ones back then) and two pots. It had what I always thought was the late-1950s neck profile (having owned a '59 dot-neck 335 that had had a very and ultimately irremediably troubled childhood), which I would characterize as, well, ultra shallow, and for me utterly gorgeous, speaking as a fast ‘alternator’. Seemed to me it could produce, through a good amp, any sound you could think of. Nearly bought it off him c. 1988. Wanted 700 of our English pounds; I hesitated on budgetary grounds; life moved on, I in its train; he however not, having rather mysteriously and suddenly succumbed from the effects, it was later rumoured, of inhaling dust from some very, very dangerous exotic hardwoods he was luthiering. His name was Ian Leighton; he used to be called Ian Buisel, and had once been the very fine guitarist in the mostly forgotten Shadows spin-off, Tony Jackson and the Vibrations (or just Tony Jackson Group). What happened to that L4, and the delectable 24 3/4” scale Tele Ian built from just TWO pieces of solid birdseye (yep: neck and fingerboard were a unity, and no truss rod because, at least all the time I knew it, it didn’t need one), I’ll never know.
Back finally to Heritage: I simply cannot get my noddle around why the heck their laminated 525 model is so ridiculously MORE expensive than the 575, and not just expensive but much harder to get - anywhere. Yes, it’s utterly lovely to the eye, and has P90s, and is probably what I should have, even though I do have a long-neck 330 of recent vintage. What is more, Gibson have just, or are just about to, bring out a reissue "Gibson 1959 ES-225 Historic VB 2014", and it's actually no more expensive than a Heritage 525 - or not much more - or possibly even slightly cheaper! Nerts!
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And also, the "blue guitar" club. Been looking for ES-175 types. Local guy listed a Heritage H575 on CL. Great price. Washy turquoise in the pics. Yikes. I talked to him anyway. Cool guy, has 5 Heritage guitars. He told me to just come over and check 'em out. So I did.
He had a Golden Eagle, a 516, a 555, another H575 and something else I'm forgetting. The blue one was the one that spoke to me. In person, much darker color. Strangely beautiful. It charmed me. Looks like this, only with a heavier tailpiece, darker pickguard, and much flamier:
I always did have a taste for strange. This H575 is one fine guitar. Sat here late last night playing it unplugged. Even acoustic, it has real personality.
MD
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Usually not a fan of "blue" guitars, but it seems to work in this case. Enjoy!
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I'm a fan of blue guitars and I think this one's just beautiful. And having just now completed a really wonderful hour of playing my Heritage, I say well done. They build some really great sounding instruments.
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So the one in the pic is NOT the one you bought, correct? I don't normally like blue guitars, but I do like the dark gold hardware against the deep blue. Looks like my high school colors Originally Posted by mad dog
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