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Everything posted by joshoowah

  1. What do you do when you really wanna rock out but the power's been out all afternoon? Acoustic didn't scratch the itch... I'm calling it. Scotch o'clock.
  2. You buried the lede by failing to mention the most important thing about it in the thread name - BLUE!!!
  3. Uh.... the whole top row (and most of the rest of them, too...)
  4. And that chunk of ooooooold growth spruce... depending on the manufacturer, that could be european alpine (swiss or italian), or Sitka or even Adirondack, harvested well over a century ago... if there's anything that isnt dry rotted and/or water damaged, that's guitar soundboard and bracing material. And the harp is art, with or without the spruce. Put it on a wall... or... Put it on some old cast iron machine legs, put a piece of glass on top, and that's an awesome table. Just don't try to move it yourself!
  5. You weren't wrong to solder to the back of the pot, but... that's the ground wire, and is soldered to to first lug of the volume pot, which is bent over to also be soldered to the back. Without that side of the pot connected to ground, you'll never get silence.
  6. No truss rod covers or trem backplate?! At that price? Knock off a zero! The only reason it deserves more than tree-fiddy is the extra neck! 😁
  7. https://www.hamerfanclub.com/forums/topic/87728-ngd-hamer-monaco-superpro-plus-pickup-question/ Pics (of this guitar) are in this thread from a few months ago... sorry for the bad link!
  8. Hey, at least he didn't leave the poker chip on! https://s34.photobucket.com/user/clay49/media/00473917-12A3-4890-AD93-4ED7FBCC9CF1_zpsf3qk5jwf.jpeg.html
  9. I don't know why, but when I hear "power pop," this is the first thing that comes to mind: https://youtu.be/XcATvu5f9vE (It's Robert Palmer's "Addicted To Love")
  10. My 2001 is perfectly balanced. Neither neck nor body heavy, so it won't swing up or down with a leather strap. It stays where I put it and never surprises me when I bend over to adjust an amp or pedal. They're perfect. Grab one!
  11. I had a super-bright maple on alder SSS that went through three sets of pickups before I found something that didn't dull the sparkle, but tamed the shrill top end. I was shocked to find SD Quarter Pounders sounded perfect in it. Can't recommend a complimentary hb for the bridge, but they worked well as an SSS set for an exceptionally bright strat. But Josh G should be able to wind you perfect a set with the description you posted and a little more info.
  12. Those are the standard Dunlop strap locks that fit all Hamers. So, yes, they are correct.
  13. Absolutely true! They are both amazing! The Alnico Pro II's sound fantastic in the Superpro - such a wide tonal palette on offer! Thanks, Cam!
  14. After getting an amazing 1991 Sunburst Archtop from Camstone back in March, I couldn't resist when he offered up his Jazzburst Monaco Super Pro, and it arrived yesterday! (Maybe I should re-title this thread "Camstone Knows What I Like!") I fell hard for the '91 as soon as I got my hands on it, and it's déja vu all over again with the MONS! I have a couple questions for all you Super Pro lovers, and am hoping for some info from any HFCers who may have been this guitar's former caretaker (Cam mentioned he owned it for 7ish years, and it was with at least 2 members before him). Question 1: Looking through old catalogs and ads, it looks to me like this 2004 was a CO, because I don't see Jazzburst as an option on the MONS until 2007. It came without its COA (which I'd love to track down), so I can't confirm that or if it had any other special features. Can anyone shed some light here? Question 2: Does anyone know how many MONS were made, and how many in Jazzburst? I see one on Reverb and another one or two in sold listings, but it looks like a relatively uncommon finish choice on a relatively low production model. Just curious. Question 3 - Guitar came with gold top hats and a second set of silver-top black top hats in the case. How did it come from the factory? I see black knobs on Jazzburst Newports, but Monacos seem to have amber or gold knobs on JZ finishes in the few pics I can find. I'm thinking about going amber... Question 4 - In later years, Hamer switched to Tonepros hardware. Does anyone feel this is a meaningful improvement? I'm not changing anything but strings and maybe knobs for a while, but was curious what folks who have/had both Schaller and Tonepros equipped MONS thought of the difference, if any. More pics to come (not from the listings) once I shrink my new family portraits!
  15. I prefer The Balvenie Double Wood 12 Year, but I was going for the giggles with my previous answer. He did say "gag gift..."
  16. A small bottle of Johnny Walker in a large expensive single malt box or canister. It's all about presentation.
  17. So... we hear about "vintage-correct" features, like the long-tenon neck joint... is this a long or short tenon (I'm guessing short since the body's so small), and what about neck pitch and headstock angle? Plenty of room to add some biscuits for reinforcement if it falls off the stand, I guess... 🤣🤣🤣
  18. I gotta say, with this low-hanging fruit, I really expected many more suggestions, ranging from the "Twice-used douche-nozzle" variety to "Vince Downey" or "Bill Lumbergh" references... Oh well... 😉
  19. Don't forget, boys and girls, he still has that epic 1-off Superpro A/E for sale!
  20. Apologies ahead of time for this short book. I've told this story before (but I'm not sure if I shared it on the HFC, so...): Back around 1993, when I was 15 and had only been playing for 2-3 years, my parents brought me to a really wonderful, intimate performance by Bucky at Raritan Valley Community College. It was sort of a BYO wine and cheese concert, with everyone seated at picnic tables on stage, just a few feet from Bucky and his bassist on a one step riser. Being NJ, the audience was probably 90% his close friends, and I remember thinking it was weird that I was at a concert with my parents where they were the youngest folks there by 20 years (other than me, of course), and stranger, still, that we might have been the only 3 audience members not on a 1st name basis with the performer! It was magical. We ended up seated at the table right in front of his riser, so I spent the whole night watching his hands and his playful expressions as he came to a break, realized he had no notes to play, seemed to relax for a moment only to be shocked back into action when the bass solo ended before he expected. This pantomime was highly entertaining, and I suspect was an inside joke directed at a few specific audience members, because they laughed louder at it than anyone else the first time he did it, and there were multiple winks and nods in that direction throughout the show. He was amazing, never missing a note, playing with the relaxed comfort, joy and familiarity of a man on a couch in his living room playing for his family and friends. He felt no pressure and was all smiles. When it was over, he moved around the crowd of 40 or so, shaking hands and giving and getting hugs and well-wishes from old acquaintances. I waited until he'd finished saying goodnight to most of them, then approached with my parents to say thanks. My Dad said something about what a pleasure it was, both to hear such amazing music and to see his son so engrossed and focused throughout. Bucky turned to me and said, "Oh! So you play?" I was 15, and somehow thought my snark and sarcasm wouldn't be inappropriate, here. "Yeah. Thanks! Now I need to go home and start all over!" He laughed, grabbed the guitar and thrust it into my arms. "Here ya go!" I may have only been 3 years into the guitar, at that point, but I knew who Bob Benedetto was, I knew he had a ten year waiting list, and I knew his guitars were commanding over $20k new. This was never going to happen again! I'd never seen a 7 string before, so after turning it over in my hands a few times, I asked what it was tuned to. A. I played an A in a few different positions to see what that low note felt like ringing open, and nearly lost my breath in shock! The whole instrument came alive, with every piece of it seeming to vibrate at 440, from the neck in my hand to the back against my stomach... it was ALIVE! I never knew a guitar could be so fine, so beautiful, and so resonant! It felt like it might actually shake itself apart, the way it was moving! I began examining the guitar, inspecting every little detail. I looked inside the bass f hole and saw the label. "Benedetto Guitars, Stroudsburg, PA," with a note in faded #2 pencil. "To my friend, Bucky, from Bob" along with the serial number and date, though I've forgotten both. I knew I was holding something priceless, a true piece of musical history, but I needed to check one more thing before I handed it back, so I held my nose up to the f-hole and inhaled. He cocked his head to one side, giggled, then said, "You just bought a Martin, didn't you?" Then he dissolved into a hearty laugh, I turned crimson and sheepishly nodded. "Yes sir, a D35..." I'd been getting donations to my Martin fund for over a year instead of any holiday or birthday presents, and had finally picked one only a month or two before. By this time, I'd been holding that Benedetto for a few minutes, and I could hear my parents both grinding their teeth over my shoulder, so I handed it back, thanked him again, and we left. The whole ride home, I couldn't get that guitar's incredible responsiveness and tone out of my head... I knew I'd never be able to afford such a fine work of art. I'd have to learn to make them! Three years later, I graduated, took a "gap year" and built my first guitar under the tutelage of the late Norman Reed and Phil Messer at the Totnes School of Guitarmaking. After dropping out of college and deciding to pursue luthierie, I tried the Roberto-Venn School in Arizona, argued with the late lead teacher until he booted me, called up Norman and returned to Totnes for all of 2001. I never got the guitar shop up and running as a business, though I still hope to, eventually, but I never would have discovered my curiosity about guitar construction, or my talent and passion for it if I hadn't held that box of maple and spruce and had my mind blown by playing just a couple of chords on it. I owe my entire journey as an aspiring builder and working and touring tech to that encounter with Bucky Pizzarelli when I was 15. A concert I didn't really want to go to. A brief conversation. A life and path permanently altered. We never know who or what will leave that mark on us, or when. All we can do is try to be open to it and perhaps recognize it in hindsight. RIP, Bucky!
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