Disturber
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Posts posted by Disturber
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I have no affiliation. This is sold by a music store. But a cool Dean non the less.
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5 hours ago, Biz Prof said:
I went through a rather obsessive Allmans phase in '92-'94. Got my first Hamer during that era, too.
Such a vast catalogue it is hard to know where to begin. I have a small CD box set with the later albums with Warren Haynes. And this morning I had Live at the Fillmore in my headphones on my way to work.
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I wish that I age that well. Dude looks cooler than ever.
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Some Korina Standard goodness from this past weekend:
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Don't know if this was funny? He posted a pic of the bands rehersal preparations that showed a Les Paul and some weird Explorery type of guitar.
I asked him if he would bring any Hamer's. This was his reply: ".... two Hamer's will be strapped up for the show!"
I see nothing funny here? Just hope he will play them during the gig.
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I asked him on his Instagram. It's what he said.
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John had that Hamer Vector on the first album. I am pretty sure he used it in the studio. I've seen pictures from the recording sessions. I don't know if he still has it. Will ask him if I run into him. They have their rehersal/gear room in the same complex as where we have our rehersal room.
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I asked the same question many moons ago.
The very big difference is that the Tally Pro is either solid or has a quite small chambering. So it will perform as a solid body. Tighter, not so airy. More like a long scale LP.
The Super Pro is chambered all the way. Even under the pickups. This makes i extremely airy in tone and feel. I hated it at first. But I have messed with different pickup combinations and settled on an old Custom Custom in the neck and a very early (1970's) Seymour wound JB in the bridge. The tightness of these pickups removes enough of the airyness to make it work through a Marshall stack. I love this guitar, but it still has an airy tone. So a long scale Les paul it is not.
Though I never played a Tally Pro I dare to say that the two models would sound quite different.
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On 4/6/2024 at 4:57 PM, cynic said:
I've never seen him live again but have heard more recordings, none of which leave me wanting more.
Don't you even like Black Country Communion? I love their albums.
But I think Kevin Shirley has been both a blessing and a bad thing for Joe. His productions always sound a bit too much. It's like when you do an ice cream shake and use to much sugar, cream and sweet ice cream - all at once. All the nuances disappear. I would like to hear Joe with a producer that like to take some risks. How cool would it not be if he was to work with Daniel Lanois or Jon Paul Jones as producers.
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The Celestion G12H 30s, 70th Anniversary speakers are some of my favourite Celestions. They sound great for many styles. They can sound very retro old school rock and they can sound modern - depending on the amp and guitar. The V30's are some of my least favourite Celestions. Only Prince could make them sound really good.
Bare in mind the the 70 Anniversaries need a long break in time (many hours of playtime). I worked with the softening the doping on a pair I had that were new, to break them in faster.
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7 hours ago, Jakeboy said:
Some people think the guitar actually sounds different, however slightly with the Trem cover removed. I have tried both ways and just don’t hear a difference.
No???? It is like pulling a damn blanket from the speakers when you throw away the cover.
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I watched it yesterday. Well done documentary. Interesting to hear the story behind his rise to blues fame. Off course, as it's produced by his own company it's biased. But I did not know the importance of Kevin Shirley from the beginning and how he helped develop Joe's career with creative ideas outside of the studio.
The trip to the crossroads where Robert Johnson sold his sold the The Evil Belsebub was perhaps a non necessary feature. I would rather have seen more of a tribute to BB King, who took Joe in at an early age.
Still, a good watch. Made me respect Joe even more.
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18 hours ago, cmatthes said:
First fret crown and tort.
I’m out!
Ever heard of black magic markers? Duh!!
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Is the reissue Nobels ODR1 just as good?
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The later ones from like 1999 and onwards seem to have fatter necks in general. My 2006 Korina Vector has the fattest neck I've played on any Hamer. But my Vanguard, Newport and Monaco's all have pretty big necks. My T-51 also has a substantial neck.
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13 hours ago, tbonesullivan said:
The pickup set is slightly different on this guitar, being that the JB in the bridge has an Alnico II magnet instead of an A5, but the rest of the setup is the same.
That makes it a Warren De Martini pickup. JB with an A2. They sound great. Prefer them to the A5 version many times.
5 hours ago, tbonesullivan said:
Now the big question: stick with the .009s on it, or go to the .010s I usually use.You can go with .0095's. It is what I started using one and a half years ago. I really like that gauge. A little bit of both worlds.
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Seems like Gibson is being sued by PRS and Ted McCarty's estate over this.
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1 hour ago, ARM OF HAMER said:
Same guitar correct? I mean he only had the one Hamer Standard right?
Read my previous post.
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I am 99% sure that the Hamer 4 digit on that table is one that Mike Hickey bought in Germany. I was in contact with Mike the other week and he told me he had just given it to Joe as a gift. "'He's done a lot for me". Joe played it on stage like a month ago. It's on the Hamerguitars Instagram.
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17 hours ago, hamerhead said:
It was both reeeeeally cool and just stoopid at the same time.
12 hours ago, Jimbilly said:It was a mistake to sell many of the amps I've owned. I did keep a '79 2204, I had two others, newer and older.
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Cool 1980 Dean Vee within the EU
in For Sale - Wanted to Buy - PIF - eBay & Other PSAs
Posted
Most definately Super Distortions.