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  1. #176

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    Here’s some more fine abalone!

    Heritage again - but seriously...-6fa6f34f-5415-44f7-bb34-3caa9f5b7868-jpeg

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    The Jazz Guitar Chord Dictionary
     
  3. #177

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    Yes, abalone makes for beautiful inlays.

    This was my retirement gift...to me...from me.


  4. #178

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    whoa !!!!

  5. #179

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    Quote Originally Posted by Gitfiddler
    Yes, abalone makes for beautiful inlays.

    This was my retirement gift...to me...from me.

    Millennium Eagle 2000! That is a fine guitar. Not only is it stunning from every angle, it balances and plays well. Another little noticed feature is the use of the tailpiece for vibrato effect. The roller bridge permits a little string movement with palm pressure on the big H. No dive bombs but a little warble.

    Congratulations! Heritage only made a few of them at the turn of the century and at a high price. I got three of them over the years. That included the first production model, which had a Bigsby, a chestnut burst and a root beer. I'd take the last two back in a heartbeat.

  6. #180

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  7. #181

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    Any of you Heritage players use an H-530? If so, would love to hear your thoughts on it as it pertains to jazz!

  8. #182

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    Quote Originally Posted by monkmiles
    Any of you Heritage players use an H-530? If so, would love to hear your thoughts on it as it pertains to jazz!
    I have one with P-90s and one with humbuckers.

    I'm comfortable with the 335 form. 530s are pretty much the same shape. They are lighter because there is not a complete center block and they are thinner than the 335. No neck dive issues.

    Feedback can be a concern. You will have to learn to prevent it by positioning yourself vis a vis the amp.

    Another upside is that it is loud enough during alone practice time to get by without amplification. I think I can detect a little resonance from the hollowness with amplification but maybe a little loss of sustain.

  9. #183

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    Quote Originally Posted by Marty Grass
    I have one with P-90s and one with humbuckers.

    I'm comfortable with the 335 form. 530s are pretty much the same shape. They are lighter because there is not a complete center block and they are thinner than the 335. No neck dive issues.

    Feedback can be a concern. You will have to learn to prevent it by positioning yourself vis a vis the amp.

    Another upside is that it is loud enough during alone practice time to get by without amplification. I think I can detect a little resonance from the hollowness with amplification but maybe a little loss of sustain.
    Thanks. Oh man, a 530 with humbuckers would be WAY up my alley! It's P90s I'm a little hesitant on because I'm so use to humbuckers. I have a nice ES-335 that I love so I think I'll like where the H-530 neck meets the body. Right now for straight ahead stuff I use an Eastman AR372 (with Seth Lovers) and the ES-335 for crossover stuff (jazz/funk, some rock). It's the P90s I'm not sure on. Then again I LOVE the tones of early Grant Green and Eddie Roberts who both use an ES-330.
    Last edited by monkmiles; 07-02-2021 at 11:53 PM.

  10. #184

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    After resting comfortably in its case for 10 months, inaccessible to me as result of our feudal overlords' response to the Wuhan flu, I was finally able to visit and unpack this guitar. It's a 2015 Heritage Golden Eagle Thinline Florentine Brockburst. After swapping around a few things, this will be ready to make the scene. An organ trio somewhere awaits anxiously.

    2 1/2" rims, 17" wide, like a Byrdland, but with a 25 1/2" scale.
    Parallel braced. Extra f-hole binding. " '50s neck carve" - not really, but a bit larger than normal, with a nice round C shape. 1 11/16" nut. Fancy wood package. "Brockburst" finish - is there another one out there? Crazy good fretwork/setup done by Heritage dealer/luthier Gary Hines following delivery of the guitar.

    Here's a temporary shot until it gets to rest on the chair back at Nate's Shack of Sit.
    I'll post more later (I have to return some videos) but Marty has the background on this truly lovely guitar.
    Attached Images Attached Images Heritage again - but seriously...-img_1957-jpg 
    Last edited by Hammertone; 09-14-2021 at 02:42 AM.

  11. #185

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    Quote Originally Posted by Hammertone
    After resting comfortably in its case for 10 months, inaccessible to me as result of our feudal overlords' response to the Wuhan flu, I was finally able to visit and unpack this guitar. It's a 2015 Heritage Golden Eagle Thinline Florentine Brockburst. With a nice '50s neck. After swapping around a few things, this will be ready to make the scene. An organ trio somewhere awaits anxiously.

    Here are a couple of temporary shots until it gets to rest on the chair back at Nate's Shack of Sit.
    I'll post more later (I have to return some videos) but Marty has the background on this truly lovely guitar.
    THAT is the GE I asked Marty about a couple of years ago! I've lusted after that thinline ever since first seeing his original photos over at the Heritage Owners Club Forum way back when. Glad to know its been living the good life up in Canada.

  12. #186

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    Now that's a Heritage that I would love!

  13. #187

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    Awe. Some.

  14. #188
    I saw a Gibson Tal Farlow for sale on Craigs List in Nashville. I think owner is asking 4600$. I am not linked to him in any way but I know this guitar is quite popular with many here. I hope this helps a guitar find a new home.

  15. #189

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    I don't think Heritage will make another thinline. This one was made as the guard was changing at Heritage. Gary Hines designed it and spared no option. It was a long process to build this. Pete Farmer did a lot of the work on this. I happened to see his projects one day while visiting Heritage. He said that doing such radical custom work is disruptive beyond what most would think.

  16. #190

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    Quote Originally Posted by Hammertone
    2 1/2" rims, 17" wide, like a Byrdland, but with a 25 1/2" scale.
    Parallel braced. Extra f-hole binding. " '50s neck carve" - not really, but a bit larger than normal, with a nice round C shape. 1 11/16" nut. Fancy wood package. "Brockburst" finish - is there another one out there? Crazy good fretwork/setup done by Heritage dealer/luthier Gary Hines following delivery of the guitar.
    Now that's serious !
    My dream guitar !

  17. #191

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    Quote Originally Posted by Crm114
    And here’s my other to a 1956 Gibson L5 with staple P90 pick ups
    followed by my 2002 Gibson Crimson custom shop L5 which is made in the older style with a thinner top and back many of you recognize it I’m sure it’s been around the block it’s a wonderful instrument and the style I prefer which is more acoustic I hope you enjoy the photos
    Attachment 82553Attachment 82552
    There is just something about a red L5 that takes me back to being a little kid looking at the late 50's and early 60's Gibson catalogs my best friend's Dad had in their house. Such a perfect combination!

  18. #192

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    To be more on topic, typical camera phone quality circa '08 pics of my Jay Wolfe Chesnut Sunburst Triple Nickel w/block inlays




  19. #193

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    Speaking of H-555's, here's my working girl, "Amber", with her companion Heritage Liberty amp at a pre-pandemic gig.


  20. #194

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    Quote Originally Posted by jim777
    To be more on topic, typical camera phone quality circa '08 pics of my Jay Wolfe Chesnut Sunburst Triple Nickel w/block inlays



    Quote Originally Posted by Gitfiddler
    Speaking of H-555's, here's my working girl, "Amber", with her companion Heritage Liberty amp at a pre-pandemic gig.

    Look at that backdrop Git! Perfect for a jazz gig! Both of these are fine examples of what Heritage created back in the days before this current generation took over. Love it!

  21. #195

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    Quote Originally Posted by Marty Grass
    I don't think Heritage will make another thinline. This one was made as the guard was changing at Heritage. Gary Hines designed it and spared no option. It was a long process to build this. Pete Farmer did a lot of the work on this. I happened to see his projects one day while visiting Heritage. He said that doing such radical custom work is disruptive beyond what most would think.
    I was thinking that a Byrdland tailpiece, gold knobs, Gibson bridge base and Gibsonish L5CES-style pickguard would make it even more swell. Looking good:
    Attached Images Attached Images Heritage again - but seriously...-img_2741x-jpg 
    Last edited by Hammertone; 10-12-2021 at 12:09 AM.

  22. #196

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    Quote Originally Posted by Hammertone
    2 1/2" rims, 17" wide, like a Byrdland, but with a 25 1/2" scale.
    Parallel braced. Extra f-hole binding. " '50s neck carve" - not really, but a bit larger than normal, with a nice round C shape. 1 11/16" nut. Fancy wood package. "Brockburst" finish - is there another one out there? Crazy good fretwork/setup done by Heritage dealer/luthier Gary Hines following delivery of the guitar.
    Hey, I know Gary Hines, he’s in my neck of the woods. He’s still working?

  23. #197

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    Quote Originally Posted by 2bornot2bop
    Hey, I know Gary Hines, he’s in my neck of the woods. He’s still working?
    He's working away. Gets most of his work by reference and reputation, and sees no particular need for digital drum-banging. And, while we're at it, here's the family - acoustic, acoustic/electric, and electric:
    Attached Images Attached Images Heritage again - but seriously...-heritage-x3-headstocks_2306x-jpg Heritage again - but seriously...-heritage-x3-front_2328x-jpg Heritage again - but seriously...-heritage-x3-backs_2310x-jpg