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I’m going to spend a little more time with this write-up than I did with the comparison of the two high-cost guitars. Few of us will end up possessing a Gibson L-5CES or a Heritage Golden Eagle but instruments like the Heritage H575 are within the budget of any working musician.
Belatedly, it occurs to me that more emphasis should be placed on instruments that the average guitarist can afford rather than those that are available only to the fortunate few. I haven’t spent much time commenting on subjects like this, in the past. I should have. It’s the duty of “elders” to improve the life of the “tribe” by passing along wisdom that can make that possible, LOL !
Many of us older guitarists frequently emphasize why cost shouldn’t be the most important consideration when buying a guitar IF one is serious about jazz. I have been devoted to that opinion – still am – it’s the right way to go. But most of you disagree, let’s talk about this …
A career as a well-paid jazz guitarist is not remotely possible for the majority of us. Recognizing that, we can be pragmatically content with part-time gigs that satisfies artistic expression combined with a bring-home-the-bacon career. That’s the way things have worked out for me – and I suspect for many of you as well.
By definition, this is a balancing act, and the purchase of a guitar with which to express artistic feeling is also a balancing act. I’ve always advocated buying the best instrument that you can afford. I’ve given my reasons for that including: making you play better, getting your money for the purchase back, tax writeoffs and so forth …
Having said all of that - as a prelude to a review of a nice mid-range-priced guitar, affordable to just about any of us - here’s the discussion:
Some photographs of a very pretty H-575 that I bought earlier this week are shown below. I was nailed by the wood on this guitar, the photos don’t do it justice – the grain/color is gorgeous. Here’s the instrument “posed” on the floor, photograph snapped quickly before the puppy noticed the new toy:
And a closer look at the front, showing the single neck pickup and simple black plastic pickguard (unlaminated, single layer):
Close-up, showing some of the body binding and the unbound neck:
Here’s the back:
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11-09-2009 02:09 PM
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The tailpiece, styled after the Gibson ES-175 but with the BIG “H” superimposed:
And the headstock:
I like this little guitar a lot. It has a good-time feel to it that makes me smile when I pick it up – I get that same feeling from my ’64 Gibson ES-330, another inexpensive instrument at its time, which coincidentally is about the same color. Both are light, comfortable guitars with a nice bright tone – needs the tone control to be rolled down just a bit.
The neck on the 575 is unlike the necks of my other archtops – it’s obviously modeled on earlier instruments, like “late fifties” guitars. The shape is very rounded and a little thicker than other archtop guitar necks. The neck is not bound and that normally would not attract me. (e.g. when playing the Gibson ES-135, I always regret not buying an ES-137 because it DOES have neck binding.) The lack of binding on the Heritage doesn’t seem to bother me …. maybe it WILL after I own it for a while.
Jumbo frets are fitted on this neck, I like them. That’s a matter of opinion, I suppose - I just don’t get along with skinny frets. They make my fingers hurt, dang it ! This point segues nicely into a commentary about the entire Heritage philosophy, one about which I am still conflicted –
Heritage and Carvin (another American guitar manufacturer, usually associated with solid body instruments) offer a unique service that other manufacturers have been reluctant to provide. Various degrees of “customization” are available to a purchaser, pickups, tuners, frets, scale lengths, woods, finishes, bridges and on and on and …
Their business plans addressed common complaints about major manufacturers (especially Gibson) that were insensitive to special needs of prospective customers who were prepared to PAY for them. Once committed to that policy, it’s not possible to turn back. So was it the right policy ?
I don’t know. Like so many other fiats, there are good and bad consequences. The good ones are obvious: any flavor, any topping and as many, as much as you want ! The bad part ? Just look at the prices of these guitars on the internet, they vary by as much as 400% for same year/same model. It’s really hard to make an assessment of the worth of a guitar with options that might amount to … I dunno - but in the order of THOUSANDS of combinations/permutations.
My opinion is that the bad resale value of these two manufacturers is largely a result of this shared policy. It’s not possible, without personal and extensive examination, to evaluate the worth of an instrument from afar (i.e. internet). So a huge part of the used instrument market immediately disappears from Heritage and Carvin owners and there is no commonly shared opinion about what these things should cost …
Just my rambling thoughts on the matter. Returning to the story:
I set the guitar up two days ago, readjusted the bridge yesterday and it feels stable and comfortable. The action on all of my guitars is low – I don’t play often and have no fingertip calluses. I need a light, soft action if I want to play for more than a few moments. There was no problem adjusting this guitar for maximum comfort. The shape and thickness of the neck doesn’t seem to affect my playing either. THAT doesn’t mean much because I don’t play very well these days J Those who play regularly might not care for the full cross-section, in other words.
The bridge is carved rosewood with the normal stepped intonation compensation. With the 12-56 round wound strings that came on the instrument, it’s intonated well. It also plays as good as my other guitars (except the L-5) regarding temper, up and down the neck. A nitpick: the knurled adjuster nuts on the bridge are very thin and give the impression of insubstantiality (i.e. “cheap”). I will probably make new ones when I change the strings on this guitar, there is adequate room to at least double the thickness. (Some might argue that the adjusters are thin to reduce the mass of the bridge but I wouldn’t buy that – the adjusters on the Golden Eagle are quite substantial.)
I don’t know what pickups are used on standard models of Heritage guitars. The amplified sound of this one isn’t the same as a Gibson PAF (although similar) but it’s a nice sound, completely suitable for jazz and standards. (From the photographs, it can be seen that the pickup is a standard configuration humbucker.)
It’s difficult to give this guitar a comparative rating, I bought it because of its differences not its similarities consequently I don’t own a similar guitar. The closest in size, thickness and construction would be a Guild SF III. The Guild has two pickups and a Bigsby tailpiece, it’s a fancier instrument than the Heritage but both have the same level of craftsmanship, at least in the visible areas.
The Heritage is acoustically louder (only one pickup loading the top) and is a one-trick-pony. The Guild has a lot of versatility and can be used for any musical genre. The H575 can do jazz and do it as well as any other guitar in its price range, I think. (They seem to run around $1800 U.S. on the internet. That’s way cheaper than a Gibson ES-165 or ES-175S !)
(For what it’s worth, before retirement, I lived in the San Francisco Bay area, a nice place for jazz. In my estimation, a good percentage, maybe as high as 30%, of jazz guitarists there are playing this Heritage model, it gets a lot of respect which – in turn - impressed me.)
I don’t own an ES-175 but always wanted one, this may be as close as I’ll get. Having no way to compare the H575 against a 165/175S, I won’t speculate about differences and similarities. I do own a Gibson L-4CES, which is a very similar instrument to the H575, but they don’t compare well, in my opinion. (The L-4 is at a higher level of performance and considerably more expensive.)
A rumor on the internet persists about Wes Montgomery. It’s “said” that, late in his career, he expressed an interest in obtaining a single-pickup L-4CES from Gibson. If that’s true, he may have enjoyed playing this H575.
If one had a selection of used instruments from which to pick, the 575 might not stand out as an obvious choice. (e.g. Guild guitars are a fine value and consistently sell for prices that are almost silly.) Budget limitations (or wifely ones) might limit a purchaser to a single guitar. That being the case, a two-pickup instrument would be mandatory (for various styles of music) and the single-pickup H575 would not be considered.
This H575 is a simple instrument; it has been reduced to the lowest common denominator that can fulfill the intended purpose. Even ignoring the beautiful finish, I would have been attracted by the tasteful functionality of the model, marred (in my opinion) only by the very overstated “H” on the tailpiece.
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Cool, beans, man, looks great. Personally, at this point, from Heritage, I'd be more interested in a Heritage Kenny Burrell Groove Master, which is basically a "175" type of laminate hollow body with a partial center block----all the benefits of a laminate jazz box + sustain, and no need for a 2nd pickup, no need for "rock/blues/metal/indie/folk" externalities. Just a good jazz box with one neck pick up and a center block for sustain.
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i really like the loks of that 575. Has a lot to like about it spec wise, as well...
You say "jumbo frets," but in the pic they don't look to be too wide...are they a taller wire? I'm a small fret fan, but these look far from too big for my liking.
i'm not in the market for a new jazzbox anytime soon, but i'd seriously consider one of these in a few years when i am. As a full time teacher and part time player with bills, a mortgage, and a wife (with kids in the future--next year or two) i don't have a ton of disposable income, but this wouldn't break the bank. Thanks for the honest and detailed review.
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I'd guess Gibson-sized "medium jumbo" (6130) rather than true jumbo (6150).
Originally Posted by mr. beaumont
I'd bet you like the vintage 6230 frets, MrB?
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is that the wire on the 'ol "fretless wonders?"
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"Medium jumbo" is the Gibson standard. I thought the fretless wonders were dressed or had something special done to make them lower, but I'm guessing about that. Originally Posted by mr. beaumont
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No, you're not guessing, BD, my '61 "fretless wonder" had jumbo frets that were then "leveled" to make them wider (file off the top of the trapezoidal shaped frets).
Sounds like a big deal but it's not, I did the same thing to my SG Jr AND the '73 Strat (had real skinny frets). Take the strings, bridge and nut off , lossen the truss rod then use a large "mill" file to carefully level the frets. Sounds like a major hassle but it's not. I've done it for friends over the years and the entire process rarely takes more than ten minutes.
But then a little finicky work is required, taping off the spaces between frets and then sanding and polishing with steel wool to remove the file marks. Still not a big deal.
The frets on the 575 are the same as on all of my Gibsons, including the L-5, they are approx .110 inches wide. I'll get around to sound clips for the 575 one of these days, now that I know how to do and know that you guys won't laugh me out of the place !
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Carvin offers fret size options, perhaps uniquely. I'm one who likes small frets, especially on basses.
Randy, that's a pretty Heritage. I keep thinking a 535 with a Bigsby would suit my needs (using the ordinary guitarist' sense of "needs" of course). That would be a much less expensive alternate to my unattainable dream, the cherry red mono 355 with a Bigsby. In fact, I was quoted under $2300, new, from a Heritage dealer in the midwest.
=sigh= I can't justify one, as long as I'm in lust with my blonde 335, but perhaps one will surface someday.
Although I can imagine selling the 335 and the Les Paul....
Nah.
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i'll have to measure...the frets on my tele are fender's "vintage wire," which are pretty small compared to modern fender spec--but the frets on my godin fifth av. are even smaller--and i love them.
i'm a slider, not a bender, and i love the intonation benefits of a small wire.
i've never had a problem with gibson's standard fretwire, though, to me, it feels "medium."
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Another fine review, Randy. And a very nice guitar. I wonder what makes you say that the L-4CES is at a higher level of performance...? I always thought that those two were in the exact same league. Well, that would be the H575 Custom for its additional bindings.
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If I'm recalling correctly something I once read, those fret wire codes, like 6230, come from Dunlop (?) and they originally had about 30 of them! The list I gave seems to be what places like Warmoth and USACG supply. I'd actually like something in between the Fender vintage and the medium jumbo, what you might call "medium". Oh well... Originally Posted by mr. beaumont
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I have that guitar and it's smokin'!!!! I used to play an H-575 and traded it towards a gibson ES-446. After I sold that I tried to use my H-535 as my primary jazz guitar but it wasn't quite right. I found the KB Groove Master on consignment at a shop in Santa Cruz and snatched it up. Swapped out the pickup and it sounds pretty special through an old pro reverb. Originally Posted by NSJ
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This past year, I was banging around all the local stores looking for new effects pedals. I wandered into this one mom & pop store and they had a new Heritage 575 on the wall. It was an antique natural finish with an ebony pickguard. I plugged it into a Heritage amp and probably played for 1/2 an hour. I REALLY dug that guitar, but was in the mode of downsizing, otherwise I would have probably bought it.
I would never hesitate to buy Heritage, and it looks like you got a very nice one Randy.
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I agree, Derek. I'd never spent any time with Heritages before buying these two. The 575 is just one sweet little guitar. I stress the "little" part because I'm so accustomed to the L-4 and L-5. I really enjoy it !
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I played a Heritage 575 in Knoxville once that was the bees knees--looked and sounded great for half the price of the 175. After all of my experiences with Heritage over the years and guitar shops all around the country, I would take one (to play, not for resale, sadly) over any comparable Gibson any day of the week. There are a few cosmetic differences that big Gibson fans might point out, and I for one am probably inclined to prefer the Gibson styling because it's what I see most in the hands of my favorite guitarists. That said, the Heritage is an honest, authentic, well crafted product made by thoughtful people who are happy to customize any order. The best guitar I've ever owned was a 535, and I wish I still had it--pictures don't do justice to the quality of the wood on Heritage guitars. What I don't get is why so many people fawn over well made boutique guitars like D'A s and the like, but not Heritage.
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In the past two weeks, as I've noted, my opinion of Heritage has changed a bit - not that I EVER thought they weren't good, they are just better than I thought. And your last line REALLY resonates with me. I LIKE good, mass-produced guitars and have no use for the boutiques, for many reasons that I've expressed here. Originally Posted by N8RD7
But before we get a Heritage Admiration Club going, their aftermarket service leaves a lot to be desired. I've had three e-mail "conversations" with their customer service person. That person (whose name makes gender determination impossible) is the most cryptic, inarticulate individual in my experience. Why Heritage would allow a person like this to be the "face" of their company is mystifying !
Oh yes, for those that complain about the huge price difference between Gibson and Heritage, which is true for the INITIAL investment, if your heart is not strong, never contact these people for pricing information concerning after-sale parts. They are able to unblinkingly quote prices that would make a hardened Gibson saleman blush !
It's not all perfume and roses in my relationship with Heritage yet.
cheers,
randyc
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I have to agree with you there--Heritage's customer service is as wanting as their marketing and distribution (can't hardly find a Heritage shop). I got mine from Jay Wolfe, who handled all of my business, but trying to get good answers from Heritage's factory was damn near impossible.
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I've owned the H-575 for just over two months now - "we" are past the honeymoon phase. I still like the guitar very much and have just a couple of additional points to make about it.
This single-pickup, small and lightweight instrument has become my favorite for accoustic practise. It's surprisingly lively for a thin-bodied guitar and - happily - really, REALLY likes heavy strings. (The set of 12 - 56 D'Addario flatwounds that I first installed actually felt slack.) Something didn't feel "right" with the strings so I replaced them, single string at a time, with more robust ones. We're at 14 - 60 now and everything feels tight, comfortable and LOUD !
There was no action penalty to be paid by using heavier strings, the Heritage plays as slick and smooth as I require from my instruments (infrequent practise, no fingertip callouses) and setting up the guitar was a minimal effort. The instrument stays in tune and does everything that it's supposed to do, there are two minor issues that prevent me from "gushing".
I don't care for the pickup, it sounds just OK to me. I must quickly admit that my decades-long Gibson conditioning may affect my tonal evaluation, but I even preferred the semi-floating pickup on the Golden Eagle to this humbucker. (This is a major concession, for me, I generally don't care for floaters at all.) Since the pickup on the guitar is standard size, it's easily replaced and my complaint is definitely nit-picking.
OK, now THIS one is going to sound silly. I can't get along with the guitar jack-in-the-end-pin deal. Fifty years of playing guitars that had the jack neatly tucked out of the way, without affecting the sound properties, have conditioned me. When I set the Heritage aside, it's reflexive to lean it against the nearest vertical surface, naturally this is not at all good for the poor cable that becomes the bottom bearing surface for the guitar. Even when placed on a standard guitar stand, undue stress is applied to the cable.
Everything else on the guitar has good human engineering. I know that this jack placement is the trend for more modern archtops but it's not a good trend, so far as I'm concerned. In my experience and that of my friends who also play "conventional" configurations, there was never a down-side to the original location. Some make a point regarding the fragility of the original location but I've never known a failure to occur at the jack. (Obviously, most manufacturers agree.)
Anyway, I can live with this minor inconvenience since I usually don't play the guitar through an amplifier anyway. I love the light, comfortable feel of the instrument (comparable, as I mentioned in my initial review, with my old ES-330). Part of the charm of this compact guitar is that it's perfectly adequate, in volume and tone, out on the redwood deck in the afternoon with no cable to encumber or restrict movement and no amplifier to disturb my neighbors
The past two months have been confirmation to me as to why so many working guitarists buy the H-575: lots of value for the price. (I'm going to repeat my earlier attempt to produce accoustic sound clips of this instrument.)
Oh yes: it's also easy to understand why Ingeneri selected this instrument to accomodate his traveling schedule and why he enthusiastically supports the marque.
cheers,
randyc
PS: forgot, as I did in the intial review, that a right-angle plug on my guitar cable will eliminate the problem with the end-pin jack.Last edited by randyc; 01-07-2010 at 02:25 AM. Reason: add PS
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Oh yes, another slight improvement that costs just pennies: replace the very visible stainless steed screws (6 total on my guitar) with "black-oxide" equivalent parts available from the local hardware store. Looks MUCH nicer !
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03-16-2010, 11:24 PM #21TommyD Guest
My only quibble with the guitar is the tasteless metal tailpiece. If only it had a nice ebony tailpiece it would look better and sound better. That said, Heritage guitars seem to have a special identifiable sound peculiar to themselves - and a very nice one at that; more guitarry than Gibsons, and never boxy, like some Oriental guitars I could name. I LIKE their sound. And if memory serves, (I owned an early Heritage, model forgotten, with a too-skinny neck) they are easy-playing.
Tommy/
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Yes, that company gives good value for the $ (and everyone agrees with you about the tailpiece). But the traditional trapeze-style, in its many variations, has worked well for many decades. The Heritage tailpiece is perfectly functional, it's just GAUDY
in my opinion.
(Not suggesting that an ebony tailpiece is "bad", LOL. Just a matter of personal taste - and the appearance to which one is accustomed. Never could afford those guitars whose names start with " D' " so I stuck with less expensive manufacturers.)
I'm not experienced with Heritage guitars but I like my recent "H" purchases (the Eagle more than the 575 - the semi-floating Bartolini has a nice sound) and I also like my "G" guitars (the ones that end in the letter "n" and also the letter "d". I think that I'm not the least bit unusual in that I like switching off on these instruments - variety is the spice - and so forth ...
The "One" for me, is the L-5 "Wes". The rest of 'em sort of fall in line and sort themselves out depending on mood and tune. If that sounds presumptuous or patronizing it's not meant to be. I love ALL guitars that have a basis in my youthful love of music - especially jazz.
Chinese instruments don't have a place in my compartmented appreciation although I have a lot of respect for Japanese-made instruments of a certain era.
Here's a comparison of a "G" L-4CES tailpiece and the "H" guitar:
Cheers !Last edited by randyc; 03-17-2010 at 12:15 AM.
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Randy; that is one beautiful 575. A good friend of mine owns a guitar store and is a Heritage dealer. I have played several of the guitars he has in stock and none I've played has a prettier top than yours.
Fine review, too. By the way, I have an H535. The pup on your 575 looks like the ones on mine, which are the Heritage PAF style made by Shaller.
Best of luck with your new axe.
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Back in the late 80's I was looking at and pricing ES175's in the Bay Area. 175's were selling from $1,400 and up back then. One day I went into Real Guitars in SF and played this Heritage 575. Everything about the 575 beat the 175's I had been playing. I walked out the door with the guitar for $600. Tax and all! I play that guitar in two big bands and a combo three or four times a week. I have a late 90's Eagle too but mostly I play the 575 and the Eagle sits. She's a lonely bird.
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I know there are a few fellow members with Heritage H575 guitars here. I'd like to know how you guys find them in terms of feeding back when playing electrically at medium to loud jazz volumes? I know it's a sold top guitar, but it also isn't as deep as say an ES175 I don't think.
I'm considering one, if I could find a good deal on a used one and sell some things. I'm just not sure how well it would work being a solid top if I use it in an organ trio or a typical jazz quartet. So looking to see what those that have one typically find.
The alternative I'm thinking about is the Eastman AR371 for comparison which is a laminate top obviously. Anyone play both an H575 and an AR371 by any chance?
Thanks!
-Dan
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