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Disturber

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Disturber last won the day on November 23

Disturber had the most liked content!

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About Disturber

  • Rank
    Veteran HFCer
  • Birthday 10/23/1969

Previous Fields

  • guitars
    1979 Sunburst Custom, 1979 Sunburst Custom natural, 1978 Standard, 1980 Standard, 1986 sustainblock archtop Sunburst Custom, 1989 Snakeskin Steve Stevens II, 1995 Korina Standard,
  • amps
    Marshall JMP 2104-1984, Marshall 4140 Club & Country-1980, Marshall Artiste 2040-plexi modded-1973, Fender Super Champ-1982.
  • fx
    Playing with the left and dipped in taco sauce, for that extra flavour.

Contact Methods

  • Website URL
    http://

Profile Information

  • Location
    Stockholm SWEDEN. Home of the Pripps Blå and skärgårdsbrännvin.
  • Interests
    Rocket science, small animals and the adventures of Pippi Longstocking.

Recent Profile Visitors

7,876 profile views
  1. I really don't know... I first bought a Colorsound Wah wah, which was great. Then I read that Robbo used the Supa Wah, so I sold the Wah Wah and bought a Supa Wah. But I found them quite the same. I did not compare them side to side though. The Supa Wah supposedly has a longer throw. I never had a wah wah before I bought the Colorsound. Only borrowed friends from time to time. But I can't say if the Colorsound feels different. I am no Dark Overlord of the Wah wah unfortunately. There are people out there that can use these things far better than I can. I just step on it and make noise. I am no Wah Wah Watson, or Curtis Mayfield. Wish I was.... I think I need to practise more.
  2. Old 1970's Brittish ColourSound SupaWah for me. Just like Brian Robertson and Prince. They just can't be beat. I like the Fulltone Clyde Deluxe to, very good wah wah.
  3. Honest wear is often great, worn but not abused. I will take a good worn in instrument that can be bought at a good price, then leave it to the guitar repairman I use for a fret dressing, or a re-fret, and a set up, over a factory new guitar most of the day. I'd take a NOS Hamer, or a Shishkov, or a Dantzig, and perhaps a few others. But I love the old guitars I have that has natural road wear and that my guitar guy took care of for me. They really play the best. The 79 Sunburst I bought in 2002 have dimples at three places on the back of the neck where the former owner used to have his hand. He/she must have played this guitar sooo many hours. I mean there are dimples in the wood from wear. I have never seen this before. The neck had a slight twist and the frets were worn out, pretty much. I had the fretboard leveled straight and new frets put in. This is my no 1 Sunburst. It almost plays itself, and I swear it has that bright twangy Jimmy Page tone in spades. I think it is my no 1. I always bring it to gigs if I feel that I need to play my absolute best. This guitar just has "it". And it has the honest wear to prove it.
  4. Killer Sunburst! And that price can't be beat for a crowned and bound natural 79, bargain!
  5. Yeah, but his playing style is so old school it's jurassic.
  6. I finally got time to take some shots of the 1978 Hamer Sunburst Custom i recently picked up in Copenhagen. November weather here, very gray today, and dull. But the shots turned out good. Enjoy! I adjusted the neck which had some buzz. It's 100% dead straight. So I had no problem getting a great low action on her. I don't know if the frets ever have been polished, but they are in good condition. No cowboy chord wear, they look fine all over the fretboard. The neck is wider than on any other Sunburst I've played, more of a nice C shape than a D. Very nice rosewood fretboard. The top is almost quilted and has a nice flame. It's not heavy, but not super light either. Rosewood shimed bridge. A damn fine Sunburst!
  7. Would love to see a pic of that one. Never seen Juan with a Hamer.
  8. I really hate small buttons and a little LCD window with text, sitting for hours staring at that little screen trying to program a good sound. Been down that road years ago when I had a sampler, and a Roland Wavestation keyboard etc. I just get angry and frustrated. It usually ends with me being totally drained of creativity, turning everything off and stomping out of the room in a fury. That is what is good with "you can plug into any tube amp, turn some knob, and get a decent tone in 30 seconds,". Even staring at a PC monitor trying to program drums, or find the right settings in Cubase makes me totally drained of energy. "I'm an analog man", to quote Joe Walsh. Not to say that digital suck altogether. I am so super happy with my little Roland Micro Cube. It is the best bedroom amp I've had so far. Very easy to find good settings (just knobs). Sounds killer even when I play really low late at night-, and the missus is sleeping downstairs. But no, I have not felt that my gear lust had decreased. I love tube amps and I love guitars. Tube amps are a little like magic, how tf do they work. Why does the sound and feel change so drastically if I just turn the volume knob slightly up or down. Why is it that I can change the sound of the amp with different tube brands etc. It is way to much fun. Real fun. Nerdy fun.
  9. We played a gig this past friday with some other bands. I used the amp the club provided as we only had 5 minutes between each band. It was a Hot Rod Deluxe and it sounded much better than I expected. Smart little Fender amp. Anyway. The other bands, much younger players, all had brought their Kempers and what have you. I have to say, standing in front of the stage watching, that profiling amps just don't sound right in small clubs. In an arena, when everything comes out of the PA they might work. But it just sounded puny and weak when the guitars only came from the PA, when the live drums came from the stage and the PA combined, and the bass too. They all had set their guitartones for sweeping arpeggios and that nu-metal rythm tone with kinda scooped mids. But it just not the same as a guitar coming from a real amp on full blast - miked, so that it comes from the PA and stage at the same time. I want my bones rattled. Those Kempers sound like castrated dogs, no oomph. I will never go down that road. It's like riding a skateboard for real down a steep road, or playing Nintento Wii, riding that interactive skateboard infront of a tv-screen. So, I rather grab my to go amp for gigs. It's worth the hazle, always.
  10. This is my grab and go for gigs. The other guitarist in my band always gets pissed at me, he wants me to carry my 4x12 cab and JMP top. He always takes at least one 4x12, sometimes the whole full stack, to gigs. But I hate to carry stuff. And for club gigs the combo is easy to get on stage quickly, mike one of the speakers and adjust the volume according to the soundmans wishes. Then just roll it out after the gig and in to the car. This is a Marshall 2040 combo from 1973. Rebuilt in to a JTM50 on channel two. Channel one is a 6G6-B type of circuit, but with EL34's of course. Solid state rectefier. I mostly use the JTM50 channel. It sounds like heaven. 1973 greenback G12H-30 speakers, one 75hz and one 55hz. It's a heavy beast. But it has got casters. So I just roll it, smooth, like a pimp.
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