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BadgerDave

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Everything posted by BadgerDave

  1. Gus, IMO, the Newport 12 was close to perfect, but it had a few features that I would have changed, including the all maple body and top and the bridge. Mine souded just a bit too bright and a little unfocused. The bridge on mine developed a tendency to vibrate (as did the toggle switch). In contrast, the Eclipse sounds "woodier" has more mids, a tighter low end and clearer highs. Plus the bridge is rock solid. I also like the compact body on the Eclipse. Of course, my opinion is based on just one example of the Newport 12 and a couple of Eclipses. YMMV. The flip flop finish is VERY similar to the candy green and you're right about the candy green looking slightly turquoise in certain light. The flip flop differs in that it turns a distinctly different shade of bright blue as you move it in the light. The effect is not at all subtle. I'm just speculating here, but perhaps the flip flop finish is the unintended result of a slightly different clearcoat used in '95 that has yellowed over time?
  2. Gus, I checked the serial number on mine. It is the same guitar that you owned. It took awhile, but I think I spotted the "pizza fingers". There's a smudge on the heel of the neck. Great guitar, BTW. After trying a couple of Ricks, an old Fender, a Newport 12 and some others, I'm convinced that the Eclipse 12 is THE perfect 12 string electric.
  3. Here's a photo of the flip/flop Eclipse 6 that I used to own: I don't remember if it was a '95, but I may be able to dig up a photo of the serial # tonight. My Eclipse 12 is the more common metallic candy green finish. No finish issues on the back, so I'm guessing it's different from your old one, Gus. Eclipses are great guitars and becoming harder to find every day. I doubt Greg's will be available for long.
  4. There's at least one more. I had it for a while and, IIRC, it now resides with TomTerrific (BD scratches his head wondering if the onset of Alzheimers has begun). Very cool finish.
  5. Although the fellow siging lead did a pretty good "Bon". Not easy. Dave, I've heard you play. You have absolutely nothing to worry about. Go for it. If you hate it you can quit. It's not a lifetime commitment.
  6. Since Thursday, I've spent 18 hours in the air, breathing who-knows-how-many strains of recycled viruses and bacteria. My head feels like a solid block of lead, with a frat-party mucus spigot in the middle.
  7. Any thoughts on whether the tone control is original? I've seen a couple of 2 knob Calis, but I have no idea if they were original or "boogered".
  8. We're done with it when I SAY we're done with it! Special dispensation for guys from "the State that time forgot".
  9. You've been a member all your life, so you're set. OH SNA. . . oops, almost forgot we're not doing that anymore.
  10. I thought it was because of all the corpses he has sealed in the foundation of his house. I thought it was because he was one of a series.
  11. Well, there's the wood. And the "Slammer Series" logo. And the fact that it was made in Korea. But otherwise, I guess you have a point.
  12. Bruce, Welcome to the forum. I'm afraid that there just isn't much interest in the Hamer imports here. We're mostly Zenophobic! It sounds like you have an interesting guitar. Without meaning to sound harsh, the fact that you may have a prototype Korean guitar with US parts is likely going to be met with a resounding "so what" in the marketplace. I could be wrong - there may be someone out there who is looking for precisely what you have to complete his collection. However, as far as the general level of interest in import Hamers is concerned, there is none. I don't belive that even a rare or "one-off" Korean Hamer has collector value, with the possible exception of the Rick Neilson model. You may be able to find a buyer on eBay at $400.00 or more, but you'll have to market the crap out of the "rare prototype" angle. No matter what, you're going to have to do a lot of "splainin" to overcome the stigma associated with "Slammer Series" on the headstock. If yours is simply a regular production early Slammer Series archtop, the prices you've been quoted here aren't unusual. Good quality for the money, but the resale value is abysmal. There is a difference in quality between the early Slammer Series guitars and the later versions (Slammer by Hamer, etc.). I owned an early Slammer Series Califirnian and it was a decent guitar. Worth around $300 in near mint condition, BTW. Your best bet is to float it on eBay and see what happens. Good luck.
  13. Some kind of mix I think. Hamer has a name for it, but I can't remember what they call it. Dat be "Urelaq", I believe. Some sort of polyurethane concoction. Stike will chime in soon with the molecular composition.
  14. It really depends on the particular graphic. Some, like those posted in this thread are damn cool and worth quite a bit - probably north of $1K. Others are kinda lame and might bring half that. Condition is critical.
  15. I think Matt is right about the skill of the builders back in the 50s and 60s, especially in the Gibson shop. Fender had skilled guys like Taddeo (sp?) Gomez carving necks, but most of the assembly work was done by semi skilled assembly line workers. There's a ton of great information in the "Beauty of the Burst" book. One opinion expressed in that book that intuitively rings true is that the quality of wood has decreased over time, particularly mahogany. The theory is that old growth Honduran mahogany had virtually no mineral deposits in the wood. That's why a '59 LP Jr. will often weigh less than 7 lbs. As the supply of old, air dried quality mahogany was depleted, Gibson increasingly used inferior wood that had high mineral content (and was quickly kiln dried). That's why Norlin era LPs weigh 10 lbs or more. And, the theory goes, increased weight isn't the only detrimental effect. "Green" mahogany with high mineral content resonates much less than dry mineral free wood. Sounds plausible to me.
  16. I tried several speakers in my Carr Rambler looking for tighter bass response, smoother high end and nice even breakup. The candidates were a Weber alnico Blue Dog, Weber alnico Silver Bell, Tone Tubby, Celestion Century, Jensen reissue, the original Kingpin and a Eminence Cannabis Rex. Of that group, the Kingpin and Jensen were pretty obviously outclassed. Both speakers sounded thin and raspy in comparison to the rest of the field. The Century surprised me. I expected it to sound sterile and "papery". It didn't. I didn't pick it as the best of the group for the Rambler, but it wasn't far behind. The Webers were slightly different flavors, both very good. I'm using the Silver Bell in my '67 Deluxe Reverb where it tames some of the excess highs and makes that great blackface sound a bit rounder and fuller. The Blue Dog would work just as well in that application and I also came very close to keeping it in the Rambler. Not surprisingly, it sounds a lot like a well broken in Celetion Blue that I've used in several amps. Not quite as "open", but close. Finally, the biggest surprise - to my ears, the Cannabis Rex sounded better, in every way, than the Tone Tubby. Clearer, slightly brighter, and more focused. The Tone Tubby was darker and more compressed. I'm not saying that the Tubby was bad, in fact it might be the top choice for a brighter, higher-powered amp, but the Cannabis Rex seemed to be the perfect match for the Rambler. It's still in there and seems to be getting better all the time.
  17. Matt, I wasn’t a fan of the relics until I tried several. Some were OK, some were very good, and a few were among the best guitars I have ever played. I like the look of the lightly aged versions. Here are a couple that are phenomenal guitars. The first is a Nash, the second is a Fender with a few custom features – 9 ½” radius neck and big frets. These truly feel old and played-in, though the frets are in perfect condition and the electronics don’t phart out.. I find them more comfortable to play than brand new shiny guitars. I’ll also admit that the look appeals to me.
  18. How much will you be able to sell the $2300.00 Suhr for in two years? There is a reasonable chance that that beat Strat will appreciate to, say, $30,000.00. Again, utility value vs. investment value. Your sole criteria is utility and therefore the price of the Strat makes no sense to you. An investor wouldn't touch the Suhr at $2,300.00 because he knows that it will depreciate (or at least that there is no proven market appreciation for Suhrs). Strats have been appreciateing at geometrical rates for the past 5 -10 years. To the investor, it's also a "no-brainer" in favor of the strat!
  19. Anyone who is paying $90K for a Stratocaster isn't buying a guitar. They're betting that they will be able to sell it at a profit at some point in the future. So far, this assumption has proved to be correct with respect to many, but certainly not all, Fender and Gibson guitars made in the 50's and early 60's. Comparing a '55 Strat to an Anderson or Suhr is like comparing an early 60's Jaguar XKE to a new Mazda Miata. The Mazda will top the Jag in every technical spec you can name. The Jag will still sell for 5x the price. In 10 years, the Jag will be worth substantially more than it is today. The Mazda will be worth scrap value. Completely different market. Utility value vs. investment value.
  20. Gabe, please take no offense. You are certainly entitled to your opinion and we all have our "guilty pleasures. Hell, I like ELO and Hall and Oates! But, if anyone wants an example of why John Mayer needs to be banned (or at least dismissed as irrelevant), watch his performance of "Gravity" on the DirecTV free concert broadcast this month. All of the insipid, grating, horror-inducing Mayer elements are there. The "play three notes and contort your face like you're passing a kidney-stone" fake emotion, the vacant mouthing along of the words by the soccer mom and daughter JM fanclub audience, the pseudo intellectual haiku lyrics and the "why the hell can't you just sing like a normal human instead of that blatantly affected gargling thing you do" vocal delivery. Yes I watched. For three full minutes. I still feel unclean. Have I mentioned that I'm not a fan? edited to add that Duke Robillard kicks ass!
  21. I don't know which is more pathetic. John Mayer or Rolling Stone. I remember when that magazine at least made an attempt at intelligent journalism. It now resides comfortably on Jewel Osco checkout impulse racks right between TV Guide and the Bat-Boy tabloids. If the criteria is talent, creativity and actual impact on the "state of the art", I'll take Trucks, give JF a nod as an interesting fringe contributor and substitute Jack White and John Bonamassa.
  22. Have you ever tried to play a finished maple fingerboard in the rain? Once those things get wet, they are virtually impossible to negotiate, especially any type of bending. The fact that Prince could do monster bends and stay (mostly) in tune is hugely impressive. I noticed that the "symbol" guitar was horrifically out of tune almost from the moment Prince started playing it. Still, he was able to bend into pitches in a way that i haven't seen anyone other than Hendrix do. Little Prince Nelson can play the crap out of those guitars!
  23. Chris, you forgot to mention one very unique characteristic of the bass - the complete and utter absence of any smell. Most used instruments smell like something - smoke, Febreeze, dryer sheet, sweat, etc. This one has no smell whatsoever. Wierd! I have no idea why I thought the Drive By Truckers had an album called "Souther Culture". Guess I'm mixing band names and album titles. The record I was thinking of was "The Dirty South". I think it's their most consistant and accessable release to date and a great place to start for a DBT newbie. It also contains two of my favorite Truckers songs - Tornadoes and Daddy's Cup.
  24. And the amazing thing is, I bought nothing! Except a few CDs at the Borders across the street. I'm now absolutely certain that the Drive By Truckers are the best band in the world. Souther Culture had me 90% of the way there, Southern Rock Opera pushed me to the edge, and "Buttholeville" from Gangstabilly closed the deal. BTW, Chris, the Keith Urban CD sucked. Your comparison to John Mayer was right on. Better player, similar songwriting, worse production. Very dissapointing. Thanks for making the trip, Matt. I'm connecting well with the Gretsch.
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