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shredmeister last won the day on April 2 2012

shredmeister had the most liked content!

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About shredmeister

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    Inner Circle

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  • guitars
    TLE, Jackson PC1, Jackson Custom Shop Demon, Rico Jr. Custom Jekyll, Custom Nocturne NC2, Charvel San Dimas, 2 Kramer Ferringtons
  • amps
    VHT Pitbull, Fryette SigX, Marshall Anniversary 6100LM
  • fx
    TC Electronic M3000 and a pedal board

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  1. Customized Rico Jr. Jekyll Only one of its kind ever made Reverse Angel Flame Maple 3/4" Carvedtop Over really really light resonant Mohagany from the same shop his dad got all his wood from WB Custom Firewater Pickups - can't get them anymore as he is out of business Ebony Board Maple Neck Neck was ordered with custom measurements and THEN I took it to Murkat so he could customize the carve to my hands Neck is D shaped Combination Radius Fretboard 24 frets Scalloped 22 - 24 frets Titanium Block to replace original Floyd Rose block Jazz Tuners Custom Headstock - Jr. made it according to what I
  2. I have been using these for so long I can't remember when I first got 'em. I have tried lots of different ones and keep coming back to the small pointed ones. I drill holes in them for a little better grip. And I wear them out. Takes a while but they eventually start wearing. I have gone through probably 15 of them. Each guitar I have has a couple in the case. Didn't know they had unbuffed. I will have to give one a try next time I order.
  3. This thread again ? Sheeeeesh....... Just buy both and be done with it. It is personal prefernce anyway IMO. Biggest difference is the neck. Hamer more C shaped and Jackson more D shaped. Hamer neck feels quite a bit smaller as I think it is not as wide as the Jackson and has a 1-5/8" nut. Jackson has a 1-11/16" tupically. Also Hamer mostly used medium frets where Jackson used Jumbos. Finally Jackson had the option of 2 hums where most of the Calis you see have H-S--S. Then you get into the bolt on neck vs neck through discussion. And a lot of times it comes down to the indivi
  4. I should have mentioned to stress the locrian position after playing an F#min b5 chord which is a chord in the key of G maj. Try playing the F# min b5 arpeggio first then try a little solo using the same notes as the arp. Then you can experiment with adding other notes. Lets see if I can picture the arpeggio in my head ... Low E string play 14th then 17th fret Then A string play the 15th fret Then D string play 14th and 16th fret G string play 14th and 17th fret B string play the 17th fret High E string play the 14th and 17th fret Now use those same notes and just play a simple
  5. This is exactly right and it THE secret to figuring out the chords of any scale. Simple once you understand it. Once you understand this you can make 7ths or 9ths etc in any scale by adding an extra note or two..
  6. Not really - he is just doing a climb and descent along the scale in a melodical passage. For your own development use a G major scale (which is the same as an E minor scale - just different relative positions of the same exact scale - same exact notes ). An interesting exercise is to use the Locrian position / mode. That is playing the scale from the F# on the low E string up to the F# on the high E string. Notice where the other F# is. Notice how different sounding this is. Yet it is the same exact notes as the G major position and the E minor position and all the other positions
  7. I think of a mode as a just a position on what ever scale you are playing. It signifies that you are using and stressing a different note other than the tonic note as the root note in the position you are playing on the scale. So if in Gmaj (same as Em scale) and you are playing using the A as the root note - stressing the A note, playing from one A octave to another A octave - you are playing in the Dorian mode or position. Even though they are the exact same notes as Gmaj you are stressing the A as the root. Why would you be stressing the A note? Because the chord you are using in the Gma
  8. I have a SigX which as you probably know is very versitile. I also bring my pedal board along for delay etc.. and have 3 pedals for distortion as well. Usually I just use my amp cause that thing can do just about anything. The pedal set up however gives me all kinds of flavors for distortion / gain. I have and SRB808 by effects pedal boutique that is double sided - like 2 gain boxes on one pedal. One of the most killer sounding boxes I have ever heard. Then I have a Wampler Pinnacle Deluxe with its regular gain stage and then boost that can be set to vintage or modern. Then I push eithe
  9. Japanese Charvel 750XL or Dinky or Soloist. Case closed. Yamaha Pacifica is another outstanding value for the money.
  10. I might have posted on this thread already - don't feel like going back through all the pages - MATTER OF PERSONAL PREFERENCE IMO. Jackson necks personally feel the best of any necks I have ever felt - particularly the Charvel models. For me it is all about the neck which translates to playability and comfortability. D shaped, Jumbo Frets, 1-11/18" nut and combination radius is what I prefer. Hamers TYPICALLY are more of a C shape, 1-5/8" nut, medium frets - their necks feel small to my hands. Amazing what small differences translate to when playing. But hey - there are some things
  11. Blackberry Brandy - Shit I puked and puked on that stuff one morning. Never again.
  12. Cracking up reading this shit. I went to one of his concerts with my girlfriend and I could not stand the music. Funk shit all night long. Fucking torture to my ears. He owned a night club at one time where he walked by me on something like a Monday when it was not busy as all up on the second floor. Little is not the word - he was about 5'4" in boots with heels !
  13. Good music is good music. Has nothing to do with the speed, amount of notes etc.. Has everything to do with feel and communication and you do that by creating and relieving musical tensions based on intervals. When first learning to shred these cats don't mix it up they just play fast all the time. That is extremely boring. Some will be good in time some won't. It is a necessary step along the road. A good solo is like a conversation .... back and forth.. question and answer perhaps... Speed should be used sometimes, vibrato other times, slow down and let the music breath ..... vari
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