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  1. #1

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    I've played a very wide range of very good archtops. I've owned all of them for at least a year and gigged them all quite a bit - some a great deal.

    comins
    campellone
    andersen
    gibson (super 400, L5CES, es150, es 175s - old, new replica and new standard - L4, es 125)
    sadowsky (LS17, Jim Hall)

    now I have a new Eagle Classic and a 2016 Sweet 16:

    .Two good things about Heritage guitars-img_6522-jpg
    Two good things about Heritage guitars-img_4620-jpg

    I want to keep this super-simple.

    Both these guitars are BY FAR the best playing instruments I've ever owned. That means that they have a super-responsive feel (both are solid and carved rather than laminated), lovely thick, rich sound - AND - they both handle feedback fabulously well. I've had laminates that handle nearly as well on the band-stand, but they all sounded dull and 'low-fi' compared to these guitars. I was totally committed to laminates for the longest time - but these solid-carved heritage guitars leave me uninterested in laminate instruments. (I have a fabulous 50's 125 and a terrific modern gibson 175 '54 replica with p-90s to compare them to.)

    Second and final point -

    they are both the nicest looking instruments I've ever owned too! as well as being an obsessive jazz-guitarist I seem to be an obsessive lover of archtop guitars (it freaks me out a bit actually). Well, these two heritage guitars deliver just as powerfully when it comes to how they look as when it comes to how they play.

    the antique natural sweet 16 has the best rims I've ever seen - and the colouring and pickguard and binding are just perfect

    the classic is very plain and economically finished (no swanky binding) - but the sunburst is the prettiest thing I've ever seen on any guitar. you would need to be an excellent photographer to capture its magic - but it just takes colouring to a whole new level. So - it seems to me - that the Classic beats the L5s I've seen on aesthetics because the sunburst is just so lovely. (it easily beats the new L5CES I had for a couple of years in terms of playability.)

    so there - thanks Heritage - its taken me nearly thirty years but I've finally found my instruments.... (the sweet 16 is even more amazing than the eagle classic - but you have to put a Kent Armstrong pickup on it.)

    my two points are

    1- they play better than anything I've used before
    2 - very happily (because I'm nuts about archtop aesthetics) they happen to be the prettiest too (mostly because of the sunburst which is a way bigger deal than you might think.)

    (I suppose I would not have written a thing like this were it not for the fact that Heritage guitars are seriously under-rated and obviously so much cheaper than similar Gibsons.)
    Attached Images Attached Images Two good things about Heritage guitars-img_5907-jpg Two good things about Heritage guitars-dsc_8760-1-jpg 
    Last edited by Groyniad; 05-16-2021 at 07:41 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Beautiful guitars.

    I have to agree on Heritage...my 575 is absolutely the perfect jazz box for me.

  4. #3

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    You can't go wrong with a Heritage guitar.

  5. #4

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    My Wesmo type, mahogany back and sides, spruce topped Heritage Eagle has the most beautiful sunburst finish ever. And, the guitar is built like a tank, plays wonderfully, and sounds fantastic. Also, one of the best values for an equivalent type of guitar that I've seen.

  6. #5

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    The Sweet 16 is a very handsome guitar indeed, more pics please.

  7. #6

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    i really like that they are styled, "The Heritage." It's the truth. Congratulations, and play them in good health!

  8. #7

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    Truly underrated! That’s one beautiful burst!!! More Heritage love please.

    Two good things about Heritage guitars-2a7e0680-6dc6-4e39-bad0-2ede0eee60f2-jpg
    Last edited by 2bornot2bop; 05-16-2021 at 01:49 PM.

  9. #8

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    Happy that you are happy, Groyniad. The search for The One and The Other One is finally over for you.

    Play them in good health.

    'Twould be boring if we all liked the same things. There is something to be said for diversity of tastes.

  10. #9

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    Quote Originally Posted by Jabberwocky
    Happy that you are happy, Groyniad. The search for The One and The Other One is finally over for you.

    Play them in good health.

    'Twould be boring if we all liked the same things. There is something to be said for diversity of tastes.
    +1

    I wish I liked Heritage archtops as well as I like Gibson archtops. I would have saved considerable money if that was so.

    That said, I do like Heritage archtops, semi-hollows and solid bodies and I even like their headstock. Great guitars to be sure.

  11. #10

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    I have to agree that Heritage Guitars are really quite the guitars especially for the money. Like SS I happen to be very much a Gibson person but frankly you can do as well with a Heritage if not better in many respects. I think they along with Guild are the sleepy GIANTS in the guitar world. They are American Made and reasonable in most cases compared to what they compete against, and if taken care of you won't lose your shirt. I am contemplating a Heritage as I write this post. Lots of irons in the fire I have to be careful but my sense it move now because I don't think they will get cheaper and may bump up here in a bit. Look what happened with Gibson L5's over the past 18 months. I think they took a healthy move up in price.

  12. #11

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    So while agree those are some fine looking guitars, most Heritage Archtops I've played leave me unimpressed.
    I've only played one Sweet 16 that was superb sounding. All of the Golden Eagles and Super Eagles were very flat sounding and playing in my opinion.

    The necks are almost always 95% way too thin,as well as their tops and backs.
    I was more impressed with some Eastman Archtops than Heritages.
    And those follow the Benedetto design of thinner plates as well.

    I'm glad some of you have found your desired guitars and no disrespect to you.
    But I have yet to play any Heritage sans the one Sweet 16 that I would say competes with Gibson's from recent 20 year period.
    As well as the Boutique Luthiers mentioned. Campellone, Megas, Comins, Buscarino, Elferink,etc. These are way better instruments imo.

  13. #12

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    Beauties!

    What is the market for Heritage these days? I have not been to many stores that offered them new, and have only seen (or played) a few used. They used to be quite a bit cheaper than similar Gibson guitars, but wonder if that is still the case?

    I can't imagine a solid top Heritage, assuming I could find one, would be cheap, especially since they aren't making any more of them right now.
    Last edited by Doctor Jeff; 05-16-2021 at 06:41 PM.

  14. #13

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    Two good things about Heritage guitars-img_6475-jpgTwo good things about Heritage guitars-img_6477-jpg

    This one happens to have a 50's style neck - which I like. The classic has a much more modern neck - which feels great too.
    The KA pickup was a revelation. So good that I have ordered the mounted versions for the classic.

    My L5 (about 2015?) could not stand up to long comparison with gibson laminates - (old and new 175s). It looked a million dollars - obviously. But this humble relatively cheap classic catches my eye even more because the sunburst is just so good.

    The same wonderful gibson laminates that led me to sell the L5 can't hold a candle to these solid carved heritage instruments. The presence or thickness I got out of the laminates - which gave them the edge over the L5 - is even more satisfying with these heritage - but they have a freshness and hi-fi clarity too.

    of course my L5 might have been a bit of a dud...I was not in a position to say. - and I may have been very lucky indeed with these two particular heritage instruments.

  15. #14

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    Heritage archtops are remarkable guitars.
    My Johnny Smiths were world class in every way.
    If I may, I’d like to add a third good thing about Heritage guitars.
    I love the natural wood pickguard that they put on their guitars.
    And Groyniad, you are right. The playability of my Heritage guitars were second to none.
    Joe D

  16. #15

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    The thing about Heritage, is that when you get a good one, it's a REALLY good one! I've played a ton of Heritage guitars over the years. Most were good. A couple were dogs that should never have left the factory. Several were extremely good. Those are the ones I bought and still have. The very best Heritage guitars I ever played were custom orders.

    Remember back in the early days of Heritage, they would build just about anything a customer or dealer asked for as long as it fit their general design requirements. And a few that didn't. The custom order instruments just seemed to have that special attention to detail that other run of the mill guitars didn't. Also, since custom or upgraded instrument requests were so prominent that the owner/builders rarely even documented them as such. The guitars all had a label stating the basic model. Not much more. Maybe the label had a few signatures by the owners. My one and only custom spec Heritage remains my all time favorite. Marv Lamb followed my requests and executed the perfect guitar...for me. It's my H-525 Custom. It can do no wrong. Recently I found another H-525, offered by a fellow forum member, and I bought it. I love it. But nothing comes close to my custom spec H-525. Even though there's a new crew in Kalamazoo (sounds like the title of a song), Heritage has amazing talent still building amazing guitars.

    The new owners seem committed to building a consistently high quality guitars. They've limited the model range, and charge a hefty premium for anything custom. It's great to see the brand offered by major retailers like Sweetwater, Musicians Friend, Chicago Music Exchange and many more. Likewise, its great to hear from a Heritage guitar owner so pleased with his guitars that he started a thread to sing its praises.

    @Groyniad, enjoy your beautiful Sweet 16 and Eagle Classic.
    Those are amazing archtops, hand built by an amazing crew...from Kalamazoo.

  17. #16

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    nice post Gitfiddler

    I have no history with Heritage - and (like everyone else) I have every reason to prefer Gibson because all my heroes play them.

    No sooner did I realise that this sweet 16 is the deal - I moved my amplifier on my marble patio with the guitar plugged into it and elevated on a stand and it crashed to the floor and the head joint snapped.

    I've never damaged a guitar before - not seriously.

    Turned out fine - because there was NO damage except the snap - and I was able to repair that perfectly with good glue and clamps.

    It is now fine - and since I won't ever sell it I figure I got away with it. the aesthetic damage is negligible - unlike a scratch on the top etc.

    it was a truly terrible moment. (I've kept the guitars safe in a house with two very small boys for years and years)
    Last edited by Groyniad; 05-18-2021 at 03:55 AM.

  18. #17

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    The necks are almost always 95% way too thin,as well as their tops and backs. - Jad57

    just a detail - the new eagle classic is easily the heaviest guitar I've ever used. so it must have a pretty thick top and back - it is superbly feedback resistant. (it does have a modern neck-carve)



  19. #18

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    @Groyniad~ I'm glad your Sweet 16 was repaired satisfactorily. I bet your heart stopped for a moment after seeing it lying face down on marble with its headstock broken. Yikes!

    By the way...Heritage named that model "Sweet 16" because after designing and building it, they loved its 'sweet' sound. I do not know which of the Heritage owner-builders named it, but that's the story I was told. Based on your comments about your Sweetie, I think they were correct.

  20. #19

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    25-30 years ago, there was a store in Manassas, VA, that was a Heritage dealer. When I used to hang out there, I was super impressed with the Eagle Classic, the Sweet 16, the Golden Eagle, and--especially--the Johnny Smith "the Rose."

    Those guitars were simply sensational. I thought the standout, though, of the bunch--all things considered--was the Eagle Classic. It had humble appointments, but it was a fully carved 17" archtop with Gibson DNA that featured a great finish. It sounded fantastic and played like an instrument dropped out of the heavens.

    I always thought it would be "MY" Heritage. Later on, however, I ended up buying a Super Eagle from Patrick Amato, one of the nicest guys you'd ever meet on this forum (may he rest in peace). Patrick, who had a sizeable personal collection of Heritage archtops, really worked with me before I settled in on the Super Eagle that I bought from him. He was willing to sell me any of several of his very nice Heritages.

    Groyniad, do enjoy your brace of Heritage archtops.

  21. #20

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    Heritage necks can be thin, fat or in between. The older ones tended to be thinner, but it all depended on how they were ordered.

    I have a small collection. One of them is a definite 59 LP carve. A few of them are slightly thinner, much like a Gibson Lucille. Two of them are thin-ish, like a Gibson early 60s. The three ghost built Gretsches made by Heritage are just like the later Lucilles, as they were ordered to be.

    My point is that it is difficult to generalize about Heritage guitars. They started as a semi-custom shop. They had some standard models but customers and dealers had their particular preferences. For example, Jay Wolfe had at least some of the archtops he ordered be sprayed sparsely with lacquer. Jimmy Wallace had certain specs on his solid bodies. Some dealers had archtop carving preferences. Many, many guitars were built with specific neck specs. Some people photocopied their left hands and asked for appropriate neck carving. I know some preferred asymmetrical neck carves.

    There were generic built instruments, particularly going to Asia, but I've seen racks ready for shipping in which a large number of guitars had idiosyncratic specs.

    If I asked the Gibson Custom Shop to make a cross braced L-5 with a 3" depth, a thinner top, a medium D carve neck and cloud inlays, what are the odds I get it for 25% higher than the usual L-5? Add to that order that I want P-90s, quilted maple and a 1 3/4" nut. Heritage did those one offs all the time.

    Here are two examples that illustrate my point.

    This is a standard H-157 with abalone inlays, a belly cut, and three way mini-toggles for coil split and phase reversal. I changed this to P-Rails so that up is P-90-ish, middle is humbucker, and down is rail.

    Two good things about Heritage guitars-20200616_210944_resized-jpgTwo good things about Heritage guitars-2020-04-08_21-21-06-jpg

    This one is a H-530 that is 3" deep, has humbuckers, deluxe binding, an ebony board, block inlays, gold appointments and a mahogany pickguard, all custom features.

    Two good things about Heritage guitars-28577634_10155478965327239_181166307439155166_n-jpgTwo good things about Heritage guitars-img_0135-jpgTwo good things about Heritage guitars-img_1565-jpg

    Nowadays, Heritage doesn't do these custom builds all the time. But they did them routinely up until about 2015.

    So it's hard to generalize about Heritage builds. The most unifying concept about their products is that they built what to customer and dealer asked for. Without specific instructions the older necks tended to be thinner, it's true.
    Last edited by Marty Grass; 05-18-2021 at 07:21 AM.

  22. #21

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    What I dislike about Heritage guitars is there are not enough of them for sale over here in Europe!

  23. #22

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    Two good things about Heritage guitars-img_6489-jpg

    they're just spot on

    I have a pair of black KA 12 pole pickups arriving soon to put into the classic. The stock pickups are fab - but the KA's are going to be even better.
    I'm so lucky to have both - but my goodness it has taken a long time to get to this point.
    Last edited by Groyniad; 05-18-2021 at 06:39 AM.

  24. #23

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    Two good things about Heritage guitars-img_6493-jpg

    maybe get a sense of the sunburst here - its a half decent camera and the light is good

    this is a very heavy guitar - top looks pretty thick?

  25. #24

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    Quote Originally Posted by Ray175
    What I dislike about Heritage guitars is there are not enough of them for sale over here in Europe!
    There's a sweet 16 NOS in a shop in France - has just the best sunburst....you can find it on reverb I think. (they will come down in price a bit I think)

    Thomann stock them now - and maybe the oddly named - 'The fellowship of the acoustic'

    I think Thomann say they can get you new Heritage archtops....even if they don't have them in stock.

  26. #25

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    Another good thing about Heritage... Gibson went corporate leaving Heritage as the real Gibson.

    If I were to buy a pricey guitar Gibson would not get any consideration, Heritage would though.

  27. #26

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    Quote Originally Posted by fep
    Another good thing about Heritage... Gibson went corporate leaving Heritage as the real Gibson.

    If I were to buy a pricey guitar Gibson would not get any consideration, Heritage would though.
    Especially since Gibson doesn't really make any archtops anymore...

    I think Heritage still makes the H575 and Eagle Classic though.

    Anybody been to Dave' Guitars recently? He used to have one of the largest selections of new Gibsons in the country, if not the world. Then Gibson kinda screwed him over and dropped him (last gasp of the Henry admin). So Dave started carrying Heritage. A couple of years later they kind of made up and Dave started carrying Gibson again.

    The website does not show any new Gibson electrics, though it does show acoustics. There is a fair selection of Heritages listed. Lots of used guitar of course.

    Back in the day Dave must have had 3-400 new Gibsons all lined up on the left side of the shop. A dozen or so 175's. Several L5's, Tals, etc., you name it. It was my idea of heaven back then!

  28. #27

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    Quote Originally Posted by Groyniad
    There's a sweet 16 NOS in a shop in France - has just the best sunburst....you can find it on reverb I think. (they will come down in price a bit I think)

    Thomann stock them now - and maybe the oddly named - 'The fellowship of the acoustic'

    I think Thomann say they can get you new Heritage archtops....even if they don't have them in stock.
    You're right about Thomann, but paying 6,000USD (4,899€) for a sunburst eagle that you cannot try before buying is something of a gamble......... you can get one at Sweetwater for 4,800

  29. #28

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    Quote Originally Posted by Ray175
    You're right about Thomann, but paying 6,000USD (4,899€) for a sunburst eagle that you cannot try before buying is something of a gamble......... you can get one at Sweetwater for 4,800
    the extra 99 euros (which you would lose of course if you wanted to import from Sweetwater) might be cancelled out by a deal from Thomann - they came down for me.

    part of the point of the post is to say 'these are really fantastic instruments - I've got two now and they are BOTH better than anything I've had before'. I bought - for example - a sadowsky Jim Hall guitar on the strength of recommendations from experienced players. it was certainly worth trying out.

    I played my eagle classic in the shop before buying it - but I was dead-set on getting it when I walked in, and I found out very little about it in a nervous hour and a half of playing in the shop.

    In my view it takes a long time to try an instrument out - and I've always had to pay for the privilege. I've only lost out when sellers have been dishonest, because I've been able to sell my boutique and gibson archtops for pretty much what I paid for them. so I got to try them out for very little and for as long as I needed to.

  30. #29

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    Quote Originally Posted by Jabberwocky
    Happy that you are happy, Groyniad. The search for The One and The Other One is finally over for you.

    Play them in good health.

    'Twould be boring if we all liked the same things. There is something to be said for diversity of tastes.
    when I've found another other one - now that I have the one AND the other one - I'll finally be okay....

  31. #30

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    Quote Originally Posted by Ray175
    You're right about Thomann, but paying 6,000USD (4,899€) for a sunburst eagle that you cannot try before buying is something of a gamble......... you can get one at Sweetwater for 4,800
    Thomann has a 30-day return policy on most items, so you could try the guitar out that way.

  32. #31

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    Once I'm convinced the price is right, the 30 day option is a possibility - I've used it on other items, but the Eagle has to be ordered (not in stock), and I don't feel comfortable forcing them to carry a guitar of that price in their inventory if I don't like it

  33. #32

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    they will certainly give you the thirty days approval period on it

    I'd forgotten about that

  34. #33

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    Robben Ford said that he gives himself six months of playing before he decides whether to keep an instrument. I've admired that position. But there are qualifiers to that statement I'm guessing.

    He wouldn't start the six month trial with something that didn't sound good and wasn't decent. The rest of it must be getting comfortable with the balance and feel. After six months of playing hours a day, you and your guitar should have become good friends.

  35. #34

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    MG, You are so right.
    Sometimes it takes 6 months to find things about a guitar that you don't like. Sometimes you grow fond of one guitar and then play another, and your fondness gets challenged.
    You really have to WANT to work with it. Its really like marriage in a sense. It takes work.
    There was a Heritage that I had that initially, I could not bond with. Then, after time I learned how to play it and I became very attached to it. And it helped me learn how to play it, so I was ready form my L5. Conversely, I've had a number of guitars that I went the other way with. Initially I became enamered with the playability and in some cases "the Look" and then, months later the sound, or some other obstacles soured me.
    You gotta WANT the guitar you fall for. Heck, if I didn't WANT my L5, the weight of it would get to me after a while. But I WANT it and LOVE it. So, I keep working out..
    JD

  36. #35

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    Quote Originally Posted by Max405
    MG, You are so right.
    Sometimes it takes 6 months to find things about a guitar that you don't like. Sometimes you grow fond of one guitar and then play another, and your fondness gets challenged.
    You really have to WANT to work with it. Its really like marriage in a sense. It takes work.
    There was a Heritage that I had .....

    But I WANT it and LOVE it. So, I keep working out..
    JD
    JD, the only diff is that the guitar can't just up and leave you for messing around with another guitar! Boy, we'd all be in trouble if that were the case!?

  37. #36

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    Quote Originally Posted by skykomishone
    JD, the only diff is that the guitar can't just up and leave you for messing around with another guitar! Boy, we'd all be in trouble if that were the case!?
    You can't hock your wife-- or can you??

  38. #37

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    It’s just nice to not see a Heritage thread derailed by comments about headstocks and such. You’ve got wonderful guitars Groyniad, and the fact that you’re enamored with them is all that matters.

  39. #38

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    the point of this one (below post) is that it is very flat and bright light - it shows that the sunburst is very close to light cherry - but it looks black-dark cherry a great deal of the time.

    even if it only looked ONE colour it would still look better than the other sunbursts I have had relationships with (!!)
    in dim light the thing glows
    Last edited by Groyniad; 05-21-2021 at 02:26 AM.

  40. #39

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    Two good things about Heritage guitars-img_7382-jpg
    my internet hardly works - sorry about the double post

  41. #40

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    Gronyiad where did you see the Heritage Sweet 16 in a shop in France?
    Any link?
    When I searched this morning the first find is a guy (Guitorama site I think) demoing a Sweet 16, posted today.. Might be that one, but doesn't seem to be on sell.. Maybe he juste bought it ?
    The acoustic sound is great by the way in that demo.


  42. #41

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    it has a strap pin - so I don't think its new - and the one that was in the shop in France was NOS

    this does seem roughly the right colour though - and the right tailpiece - so it could be the one. contact the shop?

    I suspect they tend to be really amazing - they do have very unusual specs.

  43. #42

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    For me the Jeritage guitars are some of the best deals. I prefer the thinner tops on my acoustic models - most guys like the fatter thicker tops like on a WesMo, that doesn’t work for me
    I’m the same way with my old fives up for the older months because they have the more acoustic guitar builds

    I think I have a eleven Heritage Archtops, Mostly the older era ones from the late 80s early 90s

    The other thing I really like about the Heritage Guitar’s most of mine have the H tailpiece and since my last name starts with a H it’s like my guitar

  44. #43

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    Quote Originally Posted by Jx30510
    Gronyiad where did you see the Heritage Sweet 16 in a shop in France?
    Any link?
    When I searched this morning the first find is a guy (Guitorama site I think) demoing a Sweet 16, posted today.. Might be that one, but doesn't seem to be on sell.. Maybe he juste bought it ?
    The acoustic sound is great by the way in that demo.

    Be prepared for a cannon price !
    Heritage Sweet 16 Antique naturel | CUSTOM GUITAR SHOP | Reverb

    I got mine (used) 6 years ago for 2000€ and can't be happier !

  45. #44

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    Ouch!
    Beautiful guitar, thanks for the link.
    But it's way too much for me unfortunately.

  46. #45

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    Sorry fellas but I just have never played many Heritages that have ever impressed me. And that includes the ones they made during Gibson's time as well.
    The newer Jim Hutchins and Crimson Series are way superior guitars in every imaginable way.

    And again I've played at least 50 to 100 Heritage Archtops as well as owned many of their Thinlines from Roy Clark, 550,535, Millineum Ultra, etc.
    The H550 was the best of the lot!

  47. #46
    I have only owned one and it was a real disappointment. It cost about 3500$ new. There were unacceptable blemishes right out of the case but Marvin Lamb refunded me 75$ on it. The instrument was extremely top heavy meaning the headstock kept gravitating towards the floor. The S.D. pickups sounded o.k. in the neck position but was not well-balanced with the bridge.I ended up sending it back to the factory and they kept it 3 weeks before they even opened my box. Then they said they did not have anyone who could help with finish damage.The dealer J.Wolfe was one of the crummiest,cheapist I have ever dealt with. He made me wait a week for a paper check rather than give me debit card refund over about 2.85$ on a 3500$ deal. Unreal! and talked about 1600$ fake Dumble amps like the price was nothing. The county in Fla. his store is located is one of the wealthiest in the U.S. Burt Reynolds used to live there. The model was the D.C. Millinium kind of a minature 335 type instrument. The case pocket had a bumper sticker of a female Satan the Devil image with horns and a tail re: the vibrato arm system. I guess looking back that was prophecy to let me know that I would have a Hell of an experience for my 3500$ Some got it in pawnshop for 900$. It was good riddance for me.

  48. #47
    I got so angry remembering I forgot to mention the "hand rolled" neck I was was supposed to be grateful for was way too big to be very comfortable. I do remember seeing the Ramsey Lewis quartet in Nashville with Henry Johnson I think and he sounded great with a Super 400 style Heritage and of course Kenny Burrell is one of the player that influenced me to take up jazz guitar and love good organ trio jazz. So it looks like there is a wide range of quality of instruments coming out of their factory just like Gibson and others.

  49. #48

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    Quote Originally Posted by steve burchfield
    I have only owned one and it was a real disappointment. It cost about 3500$ new. There were unacceptable blemishes right out of the case but Marvin Lamb refunded me 75$ on it. The instrument was extremely top heavy meaning the headstock kept gravitating towards the floor. The S.D. pickups sounded o.k. in the neck position but was not well-balanced with the bridge.I ended up sending it back to the factory and they kept it 3 weeks before they even opened my box. Then they said they did not have anyone who could help with finish damage.The dealer J.Wolfe was one of the crummiest,cheapist I have ever dealt with. He made me wait a week for a paper check rather than give me debit card refund over about 2.85$ on a 3500$ deal. Unreal! and talked about 1600$ fake Dumble amps like the price was nothing. The county in Fla. his store is located is one of the wealthiest in the U.S. Burt Reynolds used to live there. The model was the D.C. Millinium kind of a minature 335 type instrument. The case pocket had a bumper sticker of a female Satan the Devil image with horns and a tail re: the vibrato arm system. I guess looking back that was prophecy to let me know that I would have a Hell of an experience for my 3500$ Some got it in pawnshop for 900$. It was good riddance for me.
    There’s a lot to unpack here!

  50. #49

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    Cry havoc and release the haters of Heritage.
    or dogs of war. I forget which.
    Why go negative in the midst of a group of people who obviously like their Heritages? Is that what the internet has taught you? Did your Mom tell you to do that? Do you seriously think its cool to shit on people?
    get a life dude.
    (Not jk’s best day, sorry)

  51. #50

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    Just stating the truth about Heritage guitars from my over 30 years of playing and owning them. While Gibson has had their share of clunkers as well,they also have stellar guitars available as well.
    Can't say I've ever felt that way about any Heritage I've ever played.

    I also think I've played enough great Archtops vintage, boutique,etc to recognize the difference.
    For those of you who have not played a great Gibson, Campellone, Buscarino,Megas, Comins, D'Aquisto, etc. Play one and then post your feelings about Heritage again.

    I also think the newer luthier Pete Farmer is a huge improvement to Heritage builds. The old guys would rather go fishing than deal with any custom orders from my experience. And that was just about a 1950s profile neck request.
    And finally 8 months later, when my 535 was done the neck was twisted and unplayable.