Heritage H-535

I ordered it half November 2004 and got in half Januari 2005.... so either 2004 or 2005 made.
It is like the other H535 with a few modifications on my request:
-Seymour Duncan Seth Lover Humbuckers
-Regular stop-tail bridge (a bit less bulky than the regular ones installed by Heritage)
-Cream bound body, neck and head stock
-Cream coloured pickguard (like on their solidbody guitars)
-Real mother of pearl block inlays (much more beautiful than dot inlays)
-The colour is burnt amber (combined with the cream parts makes it look like a guitar-shaped cappucino)

This is really the most beautiful guitar I have ever seen. I really liked the fact that I could have any colour or hardware choice to my liking.

I also like the fact that the guitar is not too heavy.
Tried a Heritage real hollow-body (Kenny Burrell Groove Master) as well, but that one suffered a lot from feedback problems when I tried it with a little overdirve. Because of the centerblock the H535 does not have this problem.

Rating the features is a bit hard. I did not by this guitar for the amount of features, but because the features it has are all executed perfectly.

I have tried a lot of guitars before I stumbled upon Heritage, but I dare say it has the most beautiful sound of any guitar I ever played (including my teacher's 1969 Gibson ES335).

The sound is really has a very singing, warm, musical sustain. It sounds so beautifully wooden. I use Thomastik-Infeld flatwounds on it.
On my other guitars I often use a compressor (Black Finger form EHX), but the H535 doesn't need one.

I primarily bought it too play Jazz on it (think Grant Green, Kenny Burrell, Wes Montgomery). For this kind of music it is very well suited.
I also play pop/alternative/rock/funk on it, and there it shines as well.
The only music it really is not suited for is metal. It just doesn't do that Metal grind. No matter how much distortion you add, the sound remains beautiful and singing.

I play it through a Peavey Delta Blues (with a bit of reverb) through a rotating extension speaker by Songwork (Leslie like effect).
It really doesn't need any additional effects at all.

It is also one of the few guitars were I actually use the volume and tone pots. On many guitars this will mudden your sound, on this one it doesn't.
The volume pot really can be used to boost the overdrive (set it to 7 for your normal playing, turn it completely open when you start soloing or need more overdrive)
The tone pot works really nice as well. It does what all tone pots should do; warm your sound (not muffle it).

The action is flawless, did not need any adjustment.

Haven't found any finishing flaws. The paint job is nice and thin, which improves the guitars sustain and sound.
Even the inside of the guitar (looking through the F-holes) looks flawless.

The pickup were adjusted a little too high (so I deduct 1 punt), so my amp went in to overdrive a little to easy (it also dampens your sustain because of the magnet-pull on your strings). But this is nothing that a small screwdriver cannot adjust.

The overall quality of this guitar (both woods and hardware) is so good that I cannot think of a reason would it shouldn't last for 30 years or more.

As with all hollow-body guitars it is a bit more fragile than a solid-body, so it will not stand real abuse very well (but I don't see why anyone in their right mind would abuse any musical instrument).

Will this instrument withstand live playing? Hmmmm... I don't play any differently live than during rehearsals or at home...
It comes with a good hard-case, so it should be well protected during transport.

I called Heritage and spoke directly to one of the guys who actually build the guitars.
He was very helpfull in answering all my questions about sound, finishing options etc.

When I e-mailed they answered very promptly.

Did not have any problems yet.

I've been playing guitar for almost 20 years now. Next to the Heritage I also own a Fender Telecaster and a DeArmond StarfireSpecial, good guitars but not nearly as nice as the Heritage. I've alos owned some Gibsons, but I sold them when I got the Heritage.

I certainly would replace it when it would be stolen or lost (and I would be mad like hell).

I really bought it for the incredible sound. Even after 5 months of playing it the beauty of the sound still amazes me.

It is not a cheap guitar it's sound, finishing and quality are really comparable with Guitars costing 2 to 3 times as much, so it is fantastic value.

This model is a variation on the standard H-535 built since Heritage's inception and is a clone of the original Gibson ES-335 developed in the 1950's. Rather than rehash the guitar's features I'll point out the differences from the standard H-535. My guitar is what Heritage calls Vintage Sunburst. In reality it's a light orange-gold gradation over nicely figured maple top, sides and back. The body and mahogany neck are bound with ivoroid and the rosewood fretboard has simple abalone dot markers. The unbound headstock is topped off with chrome Schaller tuners and the guitar boasts Vintage Seymour Duncan twin humbuckers rather than the standard Schaller or proprietary Heritage pickups. This model comes without a pickguard.

I don't want to get too worked up over this, but this thing sounds great! Better than the standard 535 and MUCH better than current generation ES-335s. With a good amp (I use a Twin Reverb of current vintage and a Tech 21 Trademark 60) you can literally get just about any sound you could ever ask for. Very cool 50's jazz to screamin' Freddy King to American Beauty Jerry and beyond; jazz, blues and pre metal rock is the forte and I don't think another guitar does it better unless you get to handpick custom shop 335's. The Vintage SD's sound like current PAF's are supposed to but usually fall short. If you're looking for an all around electric, this is it!

Just like Gibson's built in this factory 50 years ago, Heritage wins some and loses some. I had another Heritage (a much more expensive one) and ultimately sold it because of disatisfaction with the build detail. This one is perfect. Never order one sight unseen.

Any semi hollow body is by definition vulnerable to disaster, but this guitar feels very solid and well balanced. This finish is excellent.

Other than promptly answering my emails, I have had no experience with the factory.

I've been playing for over 30 years moving from 60's garage band chic to Creedence wannabe to straight ahead jazz to roots. This is my sole electric and I'll play blues, jazz and faux rockabilly when the spirit strikes. This pup handles it all convincingly. Just put one next to any thing less than a custom shop ES-335 and compare.

Model 2004, schaller pick-ups, nickel hardware, clear finish. The mahogany neck is a very nice light brown; body curly maple laminate is quilted -- an exceptional looking guitar. Has tune-o-matic type bridge, and although I prefer a roller-type bridge, I have not had to adjust it and I have not broken a string, so am happy so far.

Play modern church worship music, blues, electric folk, and some mild jazz, through a Fender Twin or a Rivera 55. Use a little delay occasionally and Full-Drive sparingly. The 535 produces everything from jangly-trebly rhythm to warm low-chording to clean lead tone to cutting wail. It just sounds great. I especially appreciate that other musicians go out of their way to compliment it. It goes without saying that to love the semi-hollow sound you have to love the sound of the guitar itself, not your stomp boxes played through an outrageously distorted roar. The 535 captures fingering nuances, hand pressure, and reflects your overall level of confidence tansparently. In other words, it's a musical instrument, not an axe.

The factory set-up was very nice. The top E string was a tad low, but easily adjusted. The finish is very nice and the overall quality is obviously very high. I have had very good success with Heritage.

Have played live several times and don't expect to have any problems, but time will tell. I'm very gentle. I also have a Tele -- not really as a back-up but as an alternative sound, but having two guitars does constitute insurance. The finish looks great and the hardware is solid. Rating 8 because I've only had it for a few weeks.

Have never had a problem with Heritage and they answer email questions promptly. I admire their commitment to quality.

Been playing 36 years and have owned all the common styles of electric guiar. The 535 is my main guitar, although I also rely on my trusty Tele for the expression of its own wonderful voice. I compared the 535 to other guitars costing up to twice as much, and it was the hands-down winner.

2003 MODEL MADE IN KALAMAZOO MICHIGAN. YOU KNOW THE HERITAGE STORY. ANTIQUE SUNBIRST FINISH WITH LOTS OF FLAME. ES335 STYLE WITH DUNCAN SETH LOVER PICKUPS. GIBSON TUN-O-MATIC HARDWARE. IVORY BUTTON SPERZEL DELUXE TUNERS. BOUND HEADSTOCK, NECK, BODY. BEAUTIFUL INSTRUMENT.

AMAZING TONE!!! THIS THING NOT ONLY LOOKS GREAT BUT IT SOUNDS EVEN BETTER. RICH, FULL, DUNCAN SETH LOVER PICKUPS ARE GREAT. BETTER THAN MY GIBSON ES335 57' CLASSICS? DAMN CLOSE IF NOT EVEN BETTER. THIS THING REALLY LETS ME PLAY THE BLUES. EVERYTHING FROM SMOOTH TO DOWN AND DIRTY.

JUST A LITTLE TWEEK AND PERFECT. EVERYTHING TOP QUALITY. FINISH IS BEAUTIFUL AND HIGH GLOSS. FIT AND FINISH TOP QUALITY ALL THE WAY.

WILL STAND UP WITH THE BEST.

NO NEED SO FAR, BUT I'VE HEARD ONLY GOOD THINGS

I HAVE HAD A LOT OF GUITARS +35 (FENDER STRATS, GIBSON LES PAULS, ES335,ES135...PAUL REED SMITHS..) THIS IS AS GOOD IF NOT BETTER THAN ALL OF THEM. THE QUALITY IS GREAT. THE FIT AND FINISH IS TOP DRAWER. THE SOUND IS AMAZING. MY NEXT GUITAR WILL BE A HERITAGE H575 CLASSIC. THAT'S HOW IMPRESSED I AM WITH THESE GUITARS.

Model 2004 'Classic' With Duncan '59 pickups
The other features are all well documented below.

The guitar was also set up by Wim Heins, master luthier over here in The Netherlands, but I don't believe he did a lot. The guys in Kalamazoo used a PLEK machine on my Heritage which means very accurate fretwork.
Otherwise the guitar is stunningly beautyful. You could order with 'upgrade top' but I chose a regular one. I have walnut sunburst and it's abslutely gorgeous.
I play 0.10 strings GHS Boomers and at first I had tuning problems with the G-string and the B-string. After Wim Heins treated the nut it's become very steady. But I have to get used to a guitar that is so alive that you need to give it time to get accustomed to a new environment. It has to do with the mahogany neck. It will stabilize in the coming years.

Haven't played live yet but I'm pretty sure it will do the job. It's such a beauty - you want to treat it with care, so it will probably last. The guys who made it know what they're doing. I changed the strap buttons to locking ones.
I think it's very dependable, but anything could happen, so I'd bring my Parker along.

The company replies with ultra short emails, but they answer you. Hats off to Heritage.
Wim Heins will repair it if anything would happen within it's one year warranty. He also will treat the neck when the weather gets warmer. He predicts the neck will react to it. Hell - this guitar lives.

I played for 35 years. Now I'm happy to play the 535 on a Fender Dual Showmaster with red knobs.
I'd order a new one if it got lost. I love the genuine Gibson sound, which of course is more Gibson than Gibson itself!
I own both a Jap JD Tele with Joe Barden pickups and a Parker Fly De Luxe w. vibrato that has replacement Duncans. I use my guitars for chords while I'm singing or playing with other soloists and for soloing - like many people do.
After I got the Heritage I realized there is a distinction: some guitars are ready when you need them to be and some take more turning of various knobs to switch from rythm to lead. Yes, I can get wonderful sounds with both my Tele and Parker, but never with one setting of my amp that would allow both sides of the guitar's sound spectrum to be fully heard. In my opinion we much too often refer to how loud a guitar can scream instead of how gentle it could weep.
The miracle of the Heritage is its ability to switch from one side of the spectrum to the other simply by turning the volume up or down and even by using less pressure on the strings. The Duncan '59 are highly responsible for that.

Order placed December 1999, delivered March 2000. Custom ordered: Antique Natural, flame package, MOP fretboard markers and script logo, ebony fretboard, SD Seth Lover pickups, bone nut. I requested a backplate (flush, continuous wood or metal) so I could easily remove and replace wiring harnesses, etc., but dealer said Heritage wouldn't oblige. (I spoke to Ren about this in September 2004 and he said they would have been happy to oblige. Considered ordering a 25.5 neck scale, which was available, but decided against it. Neck shape is very close to a 1959 ES-345 I owned in the early '70s. Essentially I bought this instrument to replace the '59. Came with usual black hard case with large cheesy THe Heritage logo stenciled on it.

Suits my music style just fine. I play blues, raga rock, jazz. I use Blues Pearl Texas Tornado (a splendid boutique replica of a blackface Deluxe Reverb) with an area51 Italian wah, and area51 bias-modulated tremolo. The sounds from this instrument are just beautiful. Acoustiscally it is also very alive. When I first pick it up and play it acoustically it sounds thin, but after it has warmed up a little the sound gets quite rich with overtones and subtle dynamics. The same is true for it plugged in. Behaves more like a solid-top jazz box in this respect. The solid center block (as opposed to the semi-solid center block design that Gibson later used) makes a real positive difference to the electric sound, a more serious rock/blues tone, when pushed. The sensitivity of this instrument is excellent. Even small variations in my right- or left-hand technique are audible and pleasing. Once warmed up, the guitar has a delicious tone. The Duncan Seth Lovers are excellent on this guitar. One reason I have wanted a back plate was so that I could mess with pickup and wiring options, including a Varitone. I loved two of the five notch-filter positions on my '59 Varitone, and really wanted to get those back on the Heritage, but I later found out the Varitone circuits are not the same values as they originally were. There is a reportedly excellent boutique Varitone on the market-- Big D guitars -- it's even affordable and easy to wire up, but I refuse to go that route unless or until I get a proper flush backplate on the guitar. My search for someone who knows how to do such a mod continues. Even then, I wouldn't just drill an extra hole into the top to install the Varitone. I'd probably disable the bridge pickup tone control and install it there so I could audition the Big D and decide whether or not to drill a hole for it. Assuming I liked that varitone and installed it permanently, I'd probably also add a stereo wiring option with an additional TSR side jack, so I could send either a mono or stereo signal. A true stereo signal, sending each pickup through separately powered channels, is a magnificent sound when both pickups are selected -- IMO. I think Gibson's foray into stereo-field guitar sounds (and Varitone filtering for that matter) was a very cool idea. It's bad rap is undeserved, IMO.

Fit and finish are excellent. Nitro finish is sweet, light and even. The guitar had a little too much nitro smell when I first got it, as if it should have stayed in the drying room longer. I was afraid it hadn't cured properly, but everything turned out fine. I think the pickguard is a little subpar. I like that it's color-matched and flamey, but the white binding around it looks a little cheesy to me. (The rest of the guitar is done in cream binding) I also dislike the exposed bracket screws, particularly the lower one. I scrape my right hand against it sometimes. I've considered installing a Gibson B-W-B guard, will probably do this when replacing the bridge (see below).

Of course this guitar will withstand live playing every bit as well as the Gibson. Pickup covers oxidized very quickly. The Grover machines eventually did too. Metal polish works wonders to restore luster and slow real corrosion. I am not thrilled with the Schaller bridge, it buzzes and I think the posts should be fatter. I haven't done anything about this yet. I think I'll replace the bridge with one that has more heft and standard-shape saddles. I can depend on this instrument, no question. I would gig with it and no backup. So far the finish is holding up well, not shrinking back anywhere except at the right forearm.

Real friendly company. I don't recall anything about the warranty. If the neck twisted or the top came unglued I'd look into the warranty. Otherwise, warranty-shmarranty

Been playing 39 years. I also play a 2000 American Deluxe (ash) Stratocaster and 2003 Martin OM-18 GE. I have McIntosh, Eventide and JBL equipment for my electrics also. Were it stolen I'd probably get a custom solidbody or a jazz box. Heritage makes some excellent spruce-top jazz guitars and I would consider them closely. I love this guitar for its sound and its looks, though I play the Strat more these days in part because it's more ergonomic. I plan on keeping the Heritage a long time to come. When I can, I'll upgrade/modify it, just for kicks, but no hack-butchering under any circumstances. In a world where a real-deal vintage dot-neck costs many many thousands, a properly equipped Heritage is real-deal enough for me, and I'm fussy. Before ordering this guitar I did look into getting a Gibson Memphis Custom Shop Historic dot-neck but I couldn't justify the cost and the wait time was too long (something about ceasing production during the move to Memphis). I paid a premium for the upgrades I received, but would have paid even more for them on a Gibson. Nonetheless, this instrument is a superb value.

Nothing new to add here...has stock shallers, and the roller bridge has been replaced with a tune-o-matic.

it's a beautiful jazz machine. use it with both a fender pro jr and a reverend hellhound. seems like the fender was made for it, the tone is rich and satisfying. can also use it with the reverend for some good old fashioned rock and roll sounds. tried a gibson 333 and a gretsch but liked this better.

here's where it beats the gibson 333 easily. flawless finish. excellent setup (although i bought it used from ed roman's and they may have done a setup). everything perfect and the tune-o-matic bridge enhances the sustain a lot.

guitar seems very durable. it's not a heavy plastic finish so it's needs some care, but that finish allows the beautiful wood grain to show. nothing glopped on here. everything shows a pride of craftmanship and quality workmanship.

called the company when I considered the purchase to get some advice. got one of the designers on the phone. Wow! Small US companies are the way to go -- call reverend, and you can talk to Joe directly.

been playing 7 years. have this guitar, a brawley, a Seagull acoustic, a reverend hellhound, full pedal board setup. it's gorgeous and sounds amazing. i'd definitely purchase again, in fact, i'd like to get my hands on some of their other guitars!

There are so many reviews for this guitar where do I begin? It's a basic ES-335 but is it a knock off? It's made at the factory by the very guys who made the classic 335s of the 50's and 60's those dot marker Larry Carlton specials (he is the man who made this guitar IMHO) Well him and John Scofield. Anyway its' a basci H-H setup with volume and tone for each p/u and a 3 way switch. I used the Schallers for a while but had a pair of Seymour Duncan Antiquities and eventually dropped them in and the results in a word are astounding. The sweetest sounding guitar I have ever owned (and I've owned a 60's ES-335 as well as an 80 dot marker re-issue). The neck is incredible and the bridge is ok though a little fragile feeling, This guitar is a trans red and the fit and finish should be giving Gibson sleepless nights.

What can I say? I'm a studio musician and I need lots of sounds. The Schallers were kind of funky sounding and I used them on some big records but the sound now with the antiquities is so creamy it's beyond belief. The guitar has a wonderful acoustic almost transparent sound that the antiquities just transmit straight to the amp.

The factory setup was pretty bad but this guitar was just sort of handed to me and wasn't really setup. Once I had a pro setup done it's just gorgeois. Like a custom made guitar made just for me but at mass produced prices. The body and binding everything is flawless.

this guitar is a semi hollow body so you need to be a little careful but it's solid as a rock and I would gig with it with no backup,

Haven't dealt much directly withthe company and really haven't needed too although I am intrigued by the new pick up and electronic setups they offer.

Hey this guitar is the best semi hollow i've ever used. I've used a few different ES-335s the Howard Roberts fusion and the Ibanez George Benson model but this far and away is the best.

If you buy an H-535 it's because you want a SH bodied guitar, but don't want to pay twice as much for a Gibby that is inferior. Everyone knows the story here with Heritage. My guitar was made at the same factory on the same machinery and quite possibly by some of the same people as the old 335s that cost $10K an up. Schaller TOM bridge, Schaller PAFs, two tone and two volume, solid center block. Neck is a bit fatter than a standard, but Heritage is basically a custom shop and all of the necks will vary a bit. You have to like the fact that you can try four or five and find one that fits your hands.

I play in a Classic Rock/Blues/Country type band and this ax cover all with ease. I play through a Guytron Gt-100 or a Hiwatt DR103. My board has tuner Fulltone Clyde Deluxe, Barber Tone Press, Keeley BD-2, Keeley TS-9. I use the Tone Press as a boost when I'm playing clean. I'll step on the BD-2 and the TS-9 together when I want controlled feedback. One of the things I love about the SH. The Schallers are actually pretty good PAF replicas. I did replace them with Wagner CR Coils Crossroads to clean up the neck pup a bit. I really wouldn't have been necessary to do so. The guitar sounded fine before the change. I put CTS pots and copper foil and oil tone caps in her too. That improved the range and roll off of the tone controls quite a bit. When I bought the 535 I was able to play it side by side with a '66 ES-335. Yes, the '66 had some vibe to it, but not enough to make me think I was getting an inferior product. The H-535 is a bargain in my book with tone that is absolutely equal to any 335 out there with the minor modifications I've made. You would have to go Historic to get a Gibson that even approached this quality.

The set up was great, although I bought mine from Jay Wolfe and he checked it out before I took it home, but the factory setup was fine. I noticed a bit of the Faded Cherry stain on the neck binding, but it came off with my fingernail. Very solid guitar. I always have a backup in case of string breakage. I've broken one string on a gig, but it was the last song and no other problem. Took it to my tech and he fell in love with it. Did I mention it was pretty lightweitht also?

This baby has been gigged from the first week I had it. The nitro is nitro. A thin finish that will show some wear. Haven't worn any of yet, but I don't like the finishes to be trowelled on anyway. This is a a first rate guitar. One note; I like bone nuts and the tone you get with them. The Heritage H-535 has a straight string pull, unlike the Gibbys. The bone nut will last in your Heritage where the nut slots will wallow out on you 335.

I have spoken to and exchanged emails with Ren at the factory. I have another Heritage on order. Have had no issues with this guitar, but have confidence that any problem that could arise would be dealt with professionally and with expedience.

My wife is wonderful. She understands my affliction (GAS) and has even gotten a good case of it herself. I've played for 35 years and I've owned all kinds of guitars. I wish I would have discovered Heritage a long time ago. Would have saved me a lot of time and money. I also own two Melancons, a DeTemple '56 Strat, McInturff Zodiac I play slide on. I have an H-157 (read LP Custom) that is really custom, on order from Jay Wolfe right now. I will use my 535 for many years to come and I'll be happy it's a Heritage. Dollar for dollar they are the finest guitars built today.

It's a great sounding guitar...basic guitar features I guess

Sounds warm and thick, just the way it should! Bluesy rock, can do jazz, country, you name it.

Great action, plays faster and more comfortable than most ES-335s I've played. Great finish...nice color.

Been playing it on gigs for about 3 years, and I've never had any problems. The only reason I'd back it up on a gig would be if I broke a string, which I do quite often on any guitar. Which, come to think of it, I haven't broken too many on this particular guitar, below average string breakage on this guitar compared to other guitars I play just as much and as hard. Very very dependable

N/A

This is a great guitar with a great tone. I've played for about 10 years mostly with this, a custom mexican telecaster, and a Taylor K10. I play electric through a TU2-Guyatone OD2-Keeley RAT-Boss TR2-Line 6 DL4-Silverface Bassman Head through a custom 1x12 cab. Both this and the tele give me great tone through that set-up and the only reason I switch between the two is for a different tone. Great guitar, and a Gibson ES-335 (any year in my opinion) is not worth the dough with a guitar like this out on the market.