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Bosmitch last won the day on January 16 2014

Bosmitch had the most liked content!

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130 Excellent

About Bosmitch

  • Rank
    Outer Circle

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  • Interests
    Writing, playing and recording music; wine

Previous Fields

  • guitars
    Hamer standard custom 1983, studio custom, 2004 artist custom, 1997 mirage, goldtop les paul 1983, USA deluxe fender strats, warmoth Tele
  • amps
    Dr.Z Galaxie, Dr.Z Maz 38, Matchless Indy head + Bruno 2x12 cab, lots of cabs
  • fx
    Line 6 HD500X, various pedals

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  1. https://www.bloomberg.com/news/articles/2018-03-20/gibson-beloved-guitar-maker-faces-crushing-560-million-debt I continue to be impressed by how well the LP's hold up in value (at least offering prices), but I wonder if quality will go down as the company struggles financially. I still maintain that my Monaco Pro Elite's feel and play MUCH better (TO ME) than my original 1983 Goldtop LP. I will never sell the 83 LP for sentimental reasons, but I really don't enjoy playing that guitar as much as I enjoy my Hamers...
  2. Pedalboard Pron

    No pics yet, but I'm going in reverse now. After having built a giant rock pedalboard last year (with OCD AND satchurator OD pedals), I made an impulsive decision today and ordered the voodoo labs dingbat medium size board with the pedalpower 4x4. Since I don't know if I will ever play out with a rock band again (my rock band disbanded and I've totally switched to jazz now), I wanted a smaller pedalboard I could use with my jazz rig, and if I ever do use the giant pedalboard again, I can swap in the pedalpower (which I didn't have). I will also grab the Keeley comp, empress para EQ, and a few others and have a kickass jazz pedalboard. At least that's the hope...
  3. Well, I wanted very specific things from these guys. For example, one guy is a monster at outside playing, and I watched his youtube clips but I really wanted to talk to him and figure out how he actually composes the lines, how he "hears" the tensions and how he thinks about them. He answered all those questions and he showed me some very cool exercises for incorporating it into my playing. Very different from anything I got from his youtube clips. I probably only need one more lesson from him in a few weeks, but it's only one element to my playing that I wanted to improve. I don't think there is a need for me to meet with him every week or every other week. There is another guy who I think I will start meeting with pretty regularly. I had one great lesson with him, he has quite a lot to teach me in my weakest area and one where I really want to make huge progress over the next couple of years. So I guess I am kind of converging to the advice you guys gave me above. But I still think it's fun to take a lesson with someone very unique every once in a while. I love seeing unique perspectives and approaches.
  4. I do have a bi-weekly jazz group I meet with so I do get to try the stuff out once every two weeks. not enough though...
  5. Just curious if others have tried this and what their experiences have been. After spending the last 1-2 years doing self-study (lots of great clips on youtube from which to pick up ideas, but there is no feedback mechanism), I thought it would be great to take a lesson or two from various teachers, to see different perspectives and focus on different elements, and get some general objective coaching. In the Boston area, there is no shortage of Berklee professors and alumni who are happy to give some sporadic private lessons. I have done two very different ones so far and plotting with the 3rd guy now. The only problem is that I end up designing a whole practice routine around each approach, and having these different programs of study and working on them simultaneously pretty much sucks up all of my music time, leaving no time for just fun jamming, writing, recording, etc.
  6. Gibson Les Paul vs Hamer Studio

    Tone and sound are very subjective, and I don't know if it's fair to compare, when you can have such a wide range of pickups, amps and FX pedals (or even fractal FX direct into PA). So for me the comparison is more about which guitar I enjoy playing more and which one allows me to execute better what I'm trying to play. On that basis, custom Hamers are hands down better (TO ME). When I can reach for my 1983 Goldtop or one of my MonEL's or Studio customs, I grab a Hamer every time. It's not even close. I just LOVE the feel of a Monel neck and the fretboard (whether it's my rosewood or ebony one). The natural sustain I get on them is just as good as on my LP. And as I said here once before, if I were picking one guitar to take to a deserted island, it would be one of my studio customs, without hesitation.
  7. Bosmitch

  8. There are TWO Magnificent 7's on the bay right now. No affiliation. http://www.ebay.com/itm/HAMER-STUDIO-CUSTOM-MAGNIFICENT-7-ULTIMATE-QUILT-59-Burst-USA-GUITAR-/162497281256?hash=item25d597bce8:g:TikAAOSwmgJY3kPb and http://www.ebay.com/itm/Hamer-USA-Magnificent-7-Studio-Custom-59-Burst-No-1-/122485541833?hash=item1c84b50bc9:g:-ugAAOSwHHFZAATB One in FL and one in CA. Great opportunity for a collector... The tops are just stunning.