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Showing most liked content on 12/11/2017 in all areas

  1. 6 points
    I have always wanted a Talladega and the opportunity finally came. This is Hamer #6 in my stable and the first guitar I have ever owned with this kind of top. I have really enjoyed playing this guitar over the past couple of weeks.
  2. 4 points
    Yeah I was expecting a Christmas themed shot of some Silver and Gold. Only Gold here and no Hamers at that. I did take this shot about 4 years ago with the holidaze in mind.
  3. 4 points
    Silver and Gold silver and gold
  4. 4 points
    Just about ready for finishing ....
  5. 3 points
    Just thought I'd share a pic of my two favorite P-90 Hamers. They're both so fun to play! The Vanguard is a '99, very clean. I replaced the stock Duncans with Rio Grandes a few years ago, Bluesbar and Jazzbar. The switch is starting to go, will replace it soon. The top coat has yellowed, giving the guitar a slight green tint that I think is cool. Of course, you can't see it in this pic because the flash brings out the silver, not the green. Really, really sweet guitar... decided to post this because I just put a fresh set of strings on it and was thinking about how much I like it. The Studio Custom goldtop is a '96, all stock. Pretty clean except for a headstock ding I caused during a dumbass moment many years ago. I know a lot of people don't like the Duncan P-90s, but I've found there is a nice sweet-spot if I roll the volume pots back to about 7 or so. Anyone else have a silver and gold pair???
  6. 3 points
    The same friend who got snowed in and had to give up her Trans-Siberian Orchestra ticket had a friend who bailed out on going to Warren Haynes' 29th Annual Christmas Jam in Asheville, NC. The show was sold out at US Cellular Center. It was a few minutes past 5:00 PM when I was asked if I would use an extra ticket, and my reply was that if no one local would use it I would take it. I found out as I was about to drive out of my driveway. Just in case, I started driving in the direction toward Asheville which worked out well because I was the lucky person who got the extra ticket. It was 6:45 PM when I got one of the last close parking lot spaces. The tickets were for the general admission floor. We both walked down and found a spot. My friend decided she could move up closer, but I stayed put because I hate it when latecomers try moving in front of me. Girls can get away with stuff guys cannot. The show started with Warren Haynes on acoustic guitar and Jake Shimabukuro on ukulele playing the Allman Brothers song Melissa with Jake doing all the soloing. They jammed a couple of tunes then turning it over to Jake being by himself for a song or two. He runs his ukulele through a looper and plays it like a guitar, even using a little overdrive every now and then. Next up was a girl singing country music with a full band that included Joe Kwon from the Avett Brothers on electric bass, not cello. I never caught her name, but she must be somebody big in modern country. During set changes there was a side stage where a few people could stand close together and play. Jake Shimakbukuro and a piano player named Holly Bowling played three songs in the first side set. Bowling plays jazzy stuff. Both of them would accompany others during the night. The Avett Brothers came out and played their set of old time country with their modern day presentation. The cello added to acoustic guitar, upright bass, and banjo makes them a little different. They were well received. I had wanted to see them for a while, and now I have. When the Avett Brothers finished they moved from the main stage to the side stage to jam with Warren Haynes to play a couple of songs. Blackberry Smoke did a set that I wish had been longer. They are the current state of Southern Rock, and worth seeing. Charlie Starr had a single cut Les Paul Junior for most of the show. Paul Jackson had a Les Paul and some kind of hollow body Gibson. Between sets Warren Haynes came out to the side stage again. He brought out Ann Wilson and Jake Shimabukuro to do a couple of songs as the main stage was getting set up for the Trey Anastasio Band. When the Trey Anastasio Band started playing the entire concert hall started dancing. The entire floor was moving. People in the stands were dancing at their seats. Trey Anastasio had a guitar that I could not recognize with a hollow or semi-hollow body and a clean tone for his solos. He had some kind of effect unit set up high enough to just reach over and twist knobs or push buttons. His bass player sat while playing, and his P-Bass was in a stand rather than strapped over his shoulder. The keyboard guy had a real Hammond furniture console, a real Rhodes (I think) and few other keyboards taking up a lot of the stage. When those guys lock into a groove they stay there and hammer it forever. It was not my kind of music, putting me in a small minority, because for the hour or so they played they owned that audience. Warren showed up on the side stage playing with Holly Bowling. Then it was time for Warren to hit the main part of the stage and play the rest of the night. What was next was Gov't Mule, but I may be a little incorrect. I saw Warren Haynes and Jorgen Carlsson of Gov't Mule, but did not see Matt Abst. There were two drum sets, one of which was played by Paul Riddle, the original Marshall Tucker Band drummer. At midnight they started playing Allman Brothers Band songs which made me happy. Mike Barnes played guitar opposite of Warren as they did all those great harmonies. Lamar Williams, Jr. was on vocals which I thought was cool since his dad was bass player in the ABB in the 70's after Berry Oakley died. They did not start until midnight, and I really could not stick around too long if I wanted to make my self-imposed curfew of not driving after 3:00 AM. I kept thinking it might be good to leave at 12:30 AM to get home safely. The highways were clear after the big snow, but some of those people living in the mountains might have some slick back roads. The guests started coming out. Right when I was about to leave Marcus King came out to play Dreams I'll Never See and the next song. Craig Sorrells came out with a trumpet, and a kid named Brandon "Taz" Neiderauer came out with a guitar, and they all played Southbound. When they were done it was time to go home even though the show was not over. They all started playing Whipping Post as I walked out from the floor. It was 1:04 AM when I walked out of the front doors to the building. My friend who got me in was determined to see Ann Wilson on stage with Gov't Mule. She had not taken the stage by 1:35 AM, but was singing Led Zeppelin and other songs with them within an hour. After Ann Wilson had finished singing my friend left at 2:51 AM, and the band was still playing. I was within a few miles of my house by that time. We texted back and forth and felt that if a show is going to last so long it needs to be an all day festival. Even for the local people, a show that goes on to 3:00 AM or whenever is not practical. Being tired after drinking beer or smoking whatever does not help driving home safely. I have possibly left one other show early. It seems like I left something early, anyway. It bothers me to do that, but I am alive to tell the tale. I get up early for work every day which makes it hard to drive home late, especially two nights in a row like when there are shows in Atlanta or Charlotte. I missed the best part of the show, but what I saw was great, although I could live without so much Trey Anastasio. Just a few songs would be enough for me, but as I said, it was HIS crowd in the concert hall. For those of you who like travelling to Asheville, consider getting a hotel room and go see next year's show.
  7. 3 points
  8. 3 points
    Correction. Makes THE BEST Christmas gift!
  9. 3 points
    I still do have a pair of each......Silver Vanguard and Duo-Tone (the latter, a one off I believe), gold Monaco Elite (P90s) and CO Monaco Superpro. None of them have Duncan pups. All are superb. 3 of the 4 are untouchable at this point, inc the 3 in these pix. Vanguard? Maybe.
  10. 2 points
    Just reviewing this pair for some inspiration.
  11. 2 points
    Thank you, and a great observation. This was definitely inspired by a certain wrap-tail Artist Custom I used to own. We should be able to organize an upper midwest Shishkov jam soon!
  12. 2 points
    Josh has very kindly and patiently been working with me to develop his Mongoose pickups. The first(?) iteration went into my Swirled Cali and sounds killer but I had wanted a little more mid range bark and low end articulation. Josh took the challenge and has sent along 3 new ones (along with some cool swag!) 2 of which are the same model but he included some extra pole screws in 1018 and 1022: the type/grade of steel used makes a big difference. By including extras, I can run them in and out and tweak the tone considerably. The third, as I understand it, is similar to his Cobra wind but with a slug row and roughcast A4 magnet. All are at about 14.2 (+/-) K output. I foresee a LOT of soldering in my near future...
  13. 2 points
    My Triple Threat. 10s bend like 9s wide forgiving neck.
  14. 2 points
  15. 1 point
    This could be fun: While sorting thru (and getting rid of a lot of) memorabilia, I pulled out some older band publicity photos (the oldest of which was homemade), and noting some of the instruments used by yours truly and others was an interesting time warp. I thunk it might be cool if participants in this forum could post actual "publicity" shots from decades ago, in order to compare instruments (if shown in such images) to what we're using or collecting these days, as well as physical appearance, hairlines and hair length, etc. Basic guidelines: Performance photos don't count, unless it was released as a bona fide publicity photo (ain't seen many of those). Solo shots of you--performance or posed--don't count, unless it was released as a publicity photo for a solo effort. Submitted for your approval, in chronological order: 1968 (I honestly forgot the name of this short-lived trio, but vaguely recall the moniker may have been esoteric/pseudo-intellectual): 1974: "McIntosh" 1976: "Sunstorm" 1983: (solo shot for album publicity) 1988: "Executive Rock" These days, nostalgia ain't what it used to be...Others?
  16. 1 point
  17. 1 point
    With a face like this, how could it not be?!?!
  18. 1 point
    The catalog description at one point mentioned it being a 7/8 downsized body.
  19. 1 point
    Well said. I was actually really noticing that when I was playing it last night. Mike really does a beautiful job of tying all of the curves, angles and lines together in his designs - some of it is so subtle, that you don't see it at first, but when you do, it's one of those, "BAM!! HE MEANT TO DO THAT!!" moments.
  20. 1 point
    Prolly not. Except that I've spent the last couple of years developing and honing my soldering skills to the point where I can do it in around a half hour... just seems a shame to not use it after taking the time to hone them. LOL
  21. 1 point
    Damn Haynie, don't you ever stay home?!? Sounds like a great show and that's another stellar review, Steve. Well done!
  22. 1 point
    Oh good heavens how tight is that flame!? Woh...
  23. 1 point
    ^ memory serves you well. That is exactly it.
  24. 1 point
    I love the journey. I won't deny that back in the day, the NGDs were some of my favorite posts - twas many a good day indeed. But this is taking it all to a new level. Seeing those pics from blanks to finished product just makes me smile. I won't lie - I've revisited this thread a bunch of times. And it's not even my guitar! Every time I look, I see something different - just now I noticed how the curves on the "left" side of the headstock are an echo of the curves on the "left" side of the guitar body. It's just too cool. We're lucky. Thanks to Mike and Chris and the rest of you who are sharing your Shishkov journeys.
  25. 1 point
  26. 1 point
    not even hard for me, Shishkov all the way ArnieZ
  27. 1 point
    Deluxe, Princeton, and Bassman of the brown/blonde variety rock very, very hard.
  28. 1 point
    I've no doubt that is precisely why, but I think an unintended consequence is a generation of guitarist who started playing after the first Line 6 Pods came out probably think British = Marshall, and more specifically a 2203.
  29. 1 point
    There was a set change where they took out the two drum sets, and then Matt Abst was playing. So, Gov't Mule was separate from the jam on ABB tunes.
  30. 1 point
    Not much of a high resolution scan, but nevertheless, it was media coverage from the The East Carolinian. We made fun of that "staring at a distant ship on the ocean" photo for a few months until we shot a proper replacement in mid '92. Hard to believe we'd only played together a few months at that point. Over the following 12 months, we honed our chops and signed with East Coast Entertainment. Good times.
  31. 1 point
    Yup to all. and what do we call a Watkins Dominator that Marshall copied for the 18 watt 1974? Surely that is British. Fender suffers the same fate sometimes...most people, (the 5e3’s popularity notwithstanding) are referring to Blackface Fenders when they speaking of “Fender tone” or American tone....yet my tweeds and especially my Brown 6g3 Deluxe sound more like Marshall’s than they do BF Fenders. My Blonde Bassman bass channel too, for that matter. It can certainly get confusing.
  32. 1 point
  33. 1 point
    I love Jon Herington's playing...................This cut is from "The Complete Rhyming Dictionary' which was released in Japan and later reissued as "Pulse and Cadence" The original CD...........and I have it, sounds a little different. In any case this guy.............. a guitar genius. And he plays a Hamer as well.
  34. 1 point
    Man, if that's not your favorite and the flagship of your collection, send it to me so it can be the favorite and flagship of mine. Wow, simply wow!
  35. 1 point
    That headstock works great with that body style.
  36. 1 point
    Welp, all I had to do was read on a few more 'graphs and I'd have learned that. A clever touch to a gorgeous guitar. Thanks for sharing.
  37. 1 point
    Another amazing build! Congratulations it is stunning
  38. 1 point
    Very sly, headstock kept out view in every pic until now arniez
  39. 1 point
    You know, I just love that!!!!!! arniez
  40. 1 point
    Incredible. Its times like these I struggle for words.
  41. 1 point
    Warms the heart to know that in this day and age, someone can make a living out of producing art like this. Epic.
  42. 1 point
    Agreed. This pic should be on Team Shishkov's web page. Stunning!
  43. 1 point
    Forgive me if this has been revealed / discussed in the thread prior, but are those routes for 'trons? If so, it would kill me not to send Mike a message asking for the CMatthes signature model. Exactly like that!
  44. 1 point
    Korina, "That Neck", Blended Heal, and Shishkov! What is there not to like? Hamerica
  45. 1 point
  46. 1 point
    The neck contouring...so smooth!
  47. 1 point
    The workmanship is exquisite. This fabulous thread brings back so many great memories of my build. Every morning in the closing stages I’d check my emails first thing hoping for another update from team Shishkov.
  48. 1 point
  49. 1 point
  50. 1 point
    Another idea, and it could be fun, would be to examine examples of a variety of classic tube amps. Circuit design, component selection, even the materials used for the chassis and cabinets all play into the sound of an amp. I remember some conversations with Gary Croteau years ago when I was younger and dumber than I am now, when he was working on the first of his Juke amps. He was talking about how he was taking the circuits from some of his favorite classics and combining them into his own unique design. I wish I’d payed more attention as his amps are seriously cool.
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