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diablo175 last won the day on May 21

diablo175 had the most liked content!

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About diablo175

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  • guitars
    Hamer Custom Michale Fath Double Neck Cali, '12 USA Cali Custom, '89 Cali Elite LE (modded) x 4, '91 USA Cali custom single HB (modded), 4 Hamer USA Cali Mutts, HEL Custom Spitfire, HEL Custom Interceptor/Standard, USA Diablo (modded) , Jackson CS Star, Charvel CS Star, Gibson CS Axcess Les Paul, '76 Fender Strat (modded)
  • amps
    Fractal Axe FX3, HeadRush FRFR 112 cabinet, Fractal FC 12, Marshall JVM 205H, Marshall 1960B Cab
  • fx
    Boss ME 50, Cry Baby Wah,

Contact Methods

  • Website URL
    http://www.jimboarts.net,http://splitstream4.reverbnation.com/, https://www.facebook.com/JSVtunes/

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  • Gender
  • Location
    Chester County, PA
  • Interests
    Guitars (duh), skydiving, riding my Harley, scuba diving, martial arts, weight training, art, margaritas & tasty grub.

Recent Profile Visitors

9,467 profile views
  1. Was cruising Reverb for a possible Diablo acquisition when I saw this one posted claiming to be a US LE series of 20. But it was the follow up info that has my attention: "This is a Limited Edition model of twenty made for a guitar shop in the USA. (not the British LE, that has a toggle switch)..." So, has anyone ever seen one of these Brit toggle switch-equipped Diablo LE's? Would very much like to check one out.
  2. Yep. I learned that I am not a fan of bound necks. They look great but I generally find them to be less comfortable than the more rounded board edges on unbound necks. To me, they are the guitar equivalent of ivory or pearl handles on a pistol- they look distinctive but do they really impact the handling and accuracy?
  3. You stated that way better than I did. This is exactly where I'm at. I need every bit of help I can get. If it happens to come in the form of a guitar custom spec-ed to my idiosyncratic and flawed style, then I'm awright with shelling out for it. I'm just not good enough to make a low-mid end Mexi-Korean-Indo whatever, work/sound great.
  4. That was pretty much my take: the cost and pedigree of an instrument does not determine one's ability nor does it necessarily determine the quality, value and effectiveness of the instrument itself. A really good musician like Satch, can make music on almost anything. But when it comes down to it, high quality axes typically aren't cheap or inexpensive. And wouldn't we all prefer to ply our skills (in whatever quantity they exist) on the instrument that best conveys/channels those skills? Just remember: The right tool for the right job.
  5. As someone who has had extensive time on both inexpensive (cheap) AND some pretty badass ($$$) customs and limited editions, this is a tough call. Yeah, a real artist can make it work on pretty much anything but for this hack? I need all the help I can get. More $$ does NOT = better skills, but it can bring other attributes to the table. YMMV Your thoughts? https://www.guitarworld.com/features/17-pro-guitar-players-who-play-cheap-guitars
  6. Meh. I had considered ordering this. And while the real deal Orig. Floyd, reversed head stock and toggle switch are appealing, the white p'ups (not a fan of Super D's either), the made in Korea, the control layout, the neck binding and the lack of fret markers leave me cold. Had to learn that the hard way with my C3 re: binding (still pissed I opted for that even though it looks classy) and the HEL Willy G. Standard/Interceptor re: fret inlays. Like the binding, it looks cool but if you're used to rolled, unbound edges or using fret inlays to help visually navigate the neck, those can be problematic. But truthfully, the biggest factor is: it will never be as good as the 8 USA Cali's I have currently. Period. If Jackson wants to send me one to try against my Cali's, I'll gladly accept but otherwise, this is just a really nifty looking and well appointed wanna be Cali. And it would be flipped (for a loss) in a few months time because it wouldn't measure up.
  7. I'd likely opt for the same- we had some real momentum building in the early 90's with an originals band I started called Zombie Nation. Not that we were really all that good but the songs were 95% mine (something to I took a lot of satisfaction in, given my otherwise appalling lack of skill on guitar) there was a certain something, some x factor working for us where we had scouts and prospective mangers chasing us. We had a sizeable local fan base and there was a palpable buzz surrounding us. It was fucking surreal. Couldn't figure out why but wasn't spending much time doing so, either. Just was riding that train for all I was worth. Yeah, I'd like to go back to that and maybe be able to do a few things differently.
  8. One of the best feelings in the world: reclaiming a guitar you left over at a band mates at the onset of pandemic 5 months ago and having it play fantastically; even seemingly imbuing you with guitar god-like prowess for the session. All kidding aside, it was awesome and I did play better for the 20 minutes I used it. Good to have it home. Look forward to being able to take to back and actually use it in rehearsal with my band mates.
  9. Well, I do have a couple of Burrito guitars, though they're not quite so literal.
  10. Best to send one or 2 to me, then. No need to be burdened with 6. Lighten your load.
  11. Funny thing is, initially I spec-ed it to be bare wood. I love the look of the Charvels with unpainted head stocks and black tuners, locking nut and logo. Something about the visual contrast. Somewhere along the line, that request got missed. That said, I do like this arrangement but would have liked a black Hamer logo as it would stand out more.
  12. I've always been behind the curve in guitar tech. Never really had the patience (or the ear) for learning how to find the sound via 15 pedals. If I couldn't get where I wanted to be with delay, distortion and a wah, well, then I didn't get there. And rack gear? Shit. Couldn't afford it and didn't know how to connect everything, let alone find the correct parameters & settings. Then I started a cover band and bought a Roland ME 50 from somebody on here. While I made greater use of the ME 50 via compression, noise gates, EQ and some nifty add-ins like harmonizer, never really fully utilized that, either. Blaming that more on my inability to master the rudiments of sound engineering. With the Fractal Axe FX3, a lot of that shit is already available /done for you in the factory presets that approximate iconic guitar/amp sounds. And from that I can scavenge parts (preset settings) to find my own sound. Still don't know shit about the intricacies of sound engineering but with the help of more experienced users like @DBraz I get damn close with a combination of his expertise and cherrypicking settings from other presets.
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