Hackubus Posted February 8 Share Posted February 8 2008 Hamer Standard Custom, chambered Korina body, hard rock maple top under a Les Paul Goldtop Gold finish. It weighs nothing! My one and only custom ordered guitar, courtesy of BCR Greg. I've grown tired of the uncovered, open coil pickup look over the years, but thought I might see what the ol' girl would look like with a pair of double cream 'buckers. So out with the boring old Duncan 59s and in went some Wolfetone Marshallheads. Still on the fence about it, to be honest. I've been mulling over the possibility of Dimarzio Super Distortions, but I'd have to buy a pair and I already had these Wolfetones lying around, so I thought...why not see how it looks first. Tonally, I liked the Wolfes better in the R9 they lived in before. And much to my dismay, I preferred the sound of the 59s in the Hamer. 14 1 Quote Link to comment Share on other sites More sharing options...
velorush Posted February 8 Share Posted February 8 Honestly, the guitar looks so good I barely notice the pickups. The covered pickups (to me) look more classic while the uncovered pickups give off way more 80's vibe. I suppose it depends on the vibe you're going for. Aesthetically, I'd stick with the covered pickups, but if the '59's sound better, I'd cover them and put them back in. 3 Quote Link to comment Share on other sites More sharing options...
cynic Posted February 8 Share Posted February 8 (edited) Completely off topic, but it was my stumbling across some of Greg's photos of that guitar that first brought me to this forum years ago. I installed double creams in my LP a bunch of years ago and it kinda had the weird effect of making the pickups look too large for the guitar. It may be the perspective in the photos, but they appear overly prominent in your guitar as well. I'd at least put some electrical tape over half the neck pickup to see how the traditional Hamer config might look before making any other changes. Edited February 8 by cynic 2 Quote Link to comment Share on other sites More sharing options...
BTMN Posted February 8 Share Posted February 8 That looks great. Love double creams in Hamer. 😎👍🏁 9 1 Quote Link to comment Share on other sites More sharing options...
princeofdarkness56 Posted February 8 Share Posted February 8 When you have a guitar that looks that good you absolutely have to put the best sounding pickups in them. Even if it means going back to the boring 59’s. Don’t comedown with that boutique disease that is always going around. 5 Quote Link to comment Share on other sites More sharing options...
BubbaVO Posted February 8 Share Posted February 8 I love the different looks you get from just fooling with the pup covers. Both Covered - yummy. Neck:covered & Bridge: crème - yummy. Neck: zebra & Bridge: crème - yummy. Both Zebra - yummy. I can live with zebra neck and black bridge. Least favorite is the double black. The double cremes on these standards are outstanding. 4 Quote Link to comment Share on other sites More sharing options...
Hackubus Posted February 8 Author Share Posted February 8 I don't wanna yuck anybody's yum about zebras, but I'm just soooooo over that look anymore. Not all that long ago, just about every guitar I had sported a pair of zebras or at least one, and one day... I just got tired of the look. But it's a case by case basis, YMMV. It always struck me funny how one set of great sounding pickups in one guitar would not sound as great in a different guitar. The 57 Classic for instance, always sounded pretty good to me in a SG or 335, but I couldn't get them out of a Les Paul quickly enough for example. I've pooh poohed the Duncan 59 for a long time, but I did put one in something recently and it really knocked my socks off. Don't remember what guitar it was now thanks to my advanced case of CRS/CRAFT, but I'm sure I'll recall it one day. The impetus for all this rambling is that I'd been thinking to myself I haven't had anything with a Super Distortion since maybe around 1994, and now that I've got decent amps to play through, maybe it would be nice to see what all the hub hub was about. And the other half of that was, I really wondered how a pair of double creams would look in that goldtop. I think I'll live with this awhile and see if I don't warm up to the Marshallheads and actually play the durned thing instead of posting about it. 7 Quote Link to comment Share on other sites More sharing options...
scottcald Posted February 8 Share Posted February 8 I don't tire of the double off white (to avoid a DiMarzio lawsuit 🤣). At this point, to me, covered and uncovered are both classic looks. I do still like the neck zebra with the double cream at the bridge as well as both covered and a covered neck/uncovered bridge a la Page. In order to not help you along, I'll say both look awesome in that Standard. 3 2 Quote Link to comment Share on other sites More sharing options...
Cboss Posted February 8 Share Posted February 8 24 minutes ago, Hackubus said: I don't wanna yuck anybody's yum about zebras, but I'm just soooooo over that look anymore. Not all that long ago, just about every guitar I had sported a pair of zebras or at least one, and one day... I just got tired of the look. But it's a case by case basis, YMMV. It always struck me funny how one set of great sounding pickups in one guitar would not sound as great in a different guitar. The 57 Classic for instance, always sounded pretty good to me in a SG or 335, but I couldn't get them out of a Les Paul quickly enough for example. I've pooh poohed the Duncan 59 for a long time, but I did put one in something recently and it really knocked my socks off. Don't remember what guitar it was now thanks to my advanced case of CRS/CRAFT, but I'm sure I'll recall it one day. The impetus for all this rambling is that I'd been thinking to myself I haven't had anything with a Super Distortion since maybe around 1994, and now that I've got decent amps to play through, maybe it would be nice to see what all the hub hub was about. And the other half of that was, I really wondered how a pair of double creams would look in that goldtop. I think I'll live with this awhile and see if I don't warm up to the Marshallheads and actually play the durned thing instead of posting about it. I've been wanting to see what all the fuss was about with a super Distortion as well, managed to score one for 50 bucks on reverb, put it in the back of my standard and now I understand, it's great found someone's comment that the key is having this pickup lower than you would think; I think mine ended up at 6/32 fretted, it did not sound that great at the normal 3/32 3 Quote Link to comment Share on other sites More sharing options...
Dave Scepter Posted February 8 Share Posted February 8 48 minutes ago, Hackubus said: I don't wanna yuck anybody's yum about zebras, but I'm just soooooo over that look anymore. Pfft, nonsense! 7 4 Quote Link to comment Share on other sites More sharing options...
Hamerica Posted February 8 Share Posted February 8 @Hackubus just a thought go covered on the neck and uncovered on the bridge no matter what brand you choose. Hamerica 3 Quote Link to comment Share on other sites More sharing options...
Hackubus Posted February 9 Author Share Posted February 9 2 hours ago, Hamerica said: @Hackubus just a thought go covered on the neck and uncovered on the bridge no matter what brand you choose. Hamerica Like this? It's sporting it's original double cream DiMarzio PAF Pro now. 10 Quote Link to comment Share on other sites More sharing options...
Disturber Posted February 9 Share Posted February 9 11 hours ago, Hackubus said: It always struck me funny how one set of great sounding pickups in one guitar would not sound as great in a different guitar. The 57 Classic for instance, always sounded pretty good to me in a SG or 335, but I couldn't get them out of a Les Paul quickly enough for example. I've pooh poohed the Duncan 59 for a long time, but I did put one in something recently and it really knocked my socks off. I have a very early 80's set of 59's laying around. You made me decide to try them out in my 91 LP. Will light up the soldering iron this weekend. 2 Quote Link to comment Share on other sites More sharing options...
velorush Posted February 9 Share Posted February 9 16 hours ago, Hackubus said: It always struck me funny how one set of great sounding pickups in one guitar would not sound as great in a different guitar. The 57 Classic for instance, always sounded pretty good to me in a SG or 335, but I couldn't get them out of a Les Paul quickly enough for example. I've pooh poohed the Duncan 59 for a long time, but I did put one in something recently and it really knocked my socks off. Don't remember what guitar it was now thanks to my advanced case of CRS/CRAFT, but I'm sure I'll recall it one day. That Howard Roberts I've had forever came with 490T/490R pickups that I absolutely hated to the point of almost never playing the guitar. I replaced them with Lollar Imperials and the guitar was suddenly magic. I am constantly amazed at how those pickups seem to be highly regarded any time they come up in discussion. Maybe it was just the guitar (or maybe the 300k pots, or a combination of both) but I hated them so much I've never tried them in anything else. 1 Quote Link to comment Share on other sites More sharing options...
Hackubus Posted February 9 Author Share Posted February 9 8 minutes ago, velorush said: That Howard Roberts I've had forever came with 490T/490R pickups that I absolutely hated to the point of almost never playing the guitar. I replaced them with Lollar Imperials and the guitar was suddenly magic. I am constantly amazed at how those pickups seem to be highly regarded any time they come up in discussion. Maybe it was just the guitar (or maybe the 300k pots, or a combination of both) but I hated them so much I've never tried them in anything else. I'd be willing to bet it was the 300k pots holding those pickups back the entire time. It wasn't that long ago, it seemed everyone shat on the T-Tops from the 70s and now they're suddenly hot again. I've got a 79 LP Custom I acquired in '94 that I've been around the horn through the years with regards to pickup swaps, and nothing really sounded great til I put a pair of Seth Lovers + 500k pots wired 50s style. I managed to hang on to the original T Tops that came out of it though the years (which is a tiny miracle itself) and got the brilliant idea of putting them back in just to see what a 70s LP with 70s pickups sounded like with a early 70s Marshall Super Lead. Well, I went and broke a wire from the coil going to the pushback wire while I was futzing around with one of them. So, I had Josh Gravelin rewind both T Tops. Long story short, they're even better than the Seths (Seth's? Seths'? Seth's'?) were with 500k pots & 50s wiring. Especially the neck T Top. He really sprinkled the fairy dust on it. 4 Quote Link to comment Share on other sites More sharing options...
velorush Posted February 9 Share Posted February 9 6 hours ago, Hackubus said: I'd be willing to bet it was the 300k pots holding those pickups back the entire time. It wasn't that long ago, it seemed everyone shat on the T-Tops from the 70s and now they're suddenly hot again. I've got a 79 LP Custom I acquired in '94 that I've been around the horn through the years with regards to pickup swaps, and nothing really sounded great til I put a pair of Seth Lovers + 500k pots wired 50s style. I managed to hang on to the original T Tops that came out of it though the years (which is a tiny miracle itself) and got the brilliant idea of putting them back in just to see what a 70s LP with 70s pickups sounded like with a early 70s Marshall Super Lead. Well, I went and broke a wire from the coil going to the pushback wire while I was futzing around with one of them. So, I had Josh Gravelin rewind both T Tops. Long story short, they're even better than the Seths (Seth's? Seths'? Seth's'?) were with 500k pots & 50s wiring. Especially the neck T Top. He really sprinkled the fairy dust on it. In order: 300k pots: Could be, but I ain't messin' with the Lollars (with RS Guitarworks pots / caps). They're... pristine. As clear as I recall EMGs being back in the 80's, but way more organic. T-tops: Loved T-tops at the first note. Had an original set in an ES-355 back in the day. Unbelievable! Had I understood what was going on (a low-powered humbucker) it would have saved tons of money spent later on high-powered humbuckers. Now if I could only get that guitar back! 50's wiring: Still mulling the 50's wiring for my 50's Les Paul. I think it's the idea of defiling the pristine solder. It's not like it's a rarity or anything, but still I hesitate. Quote Link to comment Share on other sites More sharing options...
Hackubus Posted February 9 Author Share Posted February 9 I don't blame you one bit. I'd never retreat back to 490s either. Especially in a hollow body! I spent a some time playing the 79 LPC and it's original T Tops this morning into a Rivera Quiana, and these T Tops really had it going on. Was absolutely the right move to get them back in there. 1 Quote Link to comment Share on other sites More sharing options...
BadgerDave Posted February 9 Share Posted February 9 1 hour ago, velorush said: 50's wiring: Still mulling the 50's wiring for my 50's Les Paul. I think it's the idea of defiling the pristine solder. It's not like it's a rarity or anything, but still I hesitate. I was searching forever for that magic formula that would give me full range control of volume and tone with a hard "bump" up in volume between 9 and 10. I hated the standard modern wiring that only sounds good with the volume control on 10 and turns to mud as soon as you back it off. I wanted to be able to play clean on 4, progressively add crunch from 4 to 9 and then get a volume boost on 10. I also wanted a uniform progressive transition from bright to warm on both tone controls (on a Les Paul). Finally, I didn't like the change in tone i got with every treble bleed circuit I tried. What finally worked for me was high quality 500K (measured at or above 500K) linear taper volume pots and audio taper tone pots with 50's wiring and no treble bleed. Sorry for the thread deviation. I can't believe Marshallheads sound bad in anything and the best color combination is double cream in the bridge and zebra neck -especially in a Hamer. 2 Quote Link to comment Share on other sites More sharing options...
Hackubus Posted February 10 Author Share Posted February 10 4 hours ago, BadgerDave said: What finally worked for me was high quality 500K (measured at or above 500K) linear taper volume pots and audio taper tone pots with 50's wiring and no treble bleed. Sorry for the thread deviation. I can't believe Marshallheads sound bad in anything and the best color combination is double cream in the bridge and zebra neck -especially in a Hamer. I'll have to try that one day. The Marshallheads didn't sound bad, they just didn't sound as good to me at the time as what I'd taken out. And I thought they worked better in the R9 LP. But I'm warming up to them. I played it quite a bit today LOUD and had zero complaints. Quote Link to comment Share on other sites More sharing options...
Cboss Posted February 10 Share Posted February 10 On 2/8/2024 at 5:06 PM, Dave Scepter said: Pfft, nonsense! What year is this beauty? Quote Link to comment Share on other sites More sharing options...
Dave Scepter Posted February 10 Share Posted February 10 12 minutes ago, Cboss said: What year is this beauty? 1978 2 Quote Link to comment Share on other sites More sharing options...
velorush Posted February 10 Share Posted February 10 (edited) 22 hours ago, BadgerDave said: I was searching forever for that magic formula that would give me full range control of volume and tone with a hard "bump" up in volume between 9 and 10. I hated the standard modern wiring that only sounds good with the volume control on 10 and turns to mud as soon as you back it off. I wanted to be able to play clean on 4, progressively add crunch from 4 to 9 and then get a volume boost on 10. I also wanted a uniform progressive transition from bright to warm on both tone controls (on a Les Paul). Finally, I didn't like the change in tone i got with every treble bleed circuit I tried. What finally worked for me was high quality 500K (measured at or above 500K) linear taper volume pots and audio taper tone pots with 50's wiring and no treble bleed. Sorry for the thread deviation. I can't believe Marshallheads sound bad in anything and the best color combination is double cream in the bridge and zebra neck -especially in a Hamer. Didn't want to deviate either, so I updated my original question: Oh, and thanks for the encouragement! Edited February 10 by velorush 2 Quote Link to comment Share on other sites More sharing options...
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