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Hamer Guitars Like the Sunburst Archtop, the Artist Archtop Played More Name Games As It High-End Boutique Or Budget Vintage? Part 4 Evolved

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Hamer Guitars Like the Sunburst Archtop, the Artist Archtop Played More Name Games As It High-End Boutique Or Budget Vintage? Part 4 Evolved 22 Vintage Guitar September 2000 www.vintageguitar.com BY MICHAEL WRIGHT WITH ANDREW LARGE, The Different Strummer STEVE MATTHES AND PETER FUNG LEFT TO RIGHT (from left) Two limited edition Korina Standards, one-off Korina Archtop Watson model made for Neil Zaza with a scalloped fingerboard from the third fret on, Custom, two limited edition Korina Flying Vs, one of four Korina Futuras. Customized Jeff quilted top and active EQ. Goldtop Jeff Watson and customized Neil Zaza Jeff Watson. called the Artist Arched Top or Archtop Artist –fun, eh?) was very similar to the Sunburst Archtop, introduced in ’91. And Hamer Guitars like the Sunburst Archtop, the Artist Archtop played more name games as it High-End Boutique or Budget Vintage? Part 4 evolved. The Artist Archtop was an equal double-cutaway (as with most 1 ell, we near the end of the long fingerboard had a 25 /2" scale, dot inlays, ’59 Burst, Honey, Kool Blue, Red Trans- Hamers, upper horn slightly extended) tale of Hamer USA Guitars, a and a Hamer three-and-three head. The parent and Tobacco Sunburst. Other- with a mahogany body and ivoroid-bound saga that began in the early Mirage was equipped with three Sey- wise, it was similar to the Mirage. carved flamed maple top. Other features W 1970s and is today a great suc- mour Duncan single-coil-sized humbuck- The Mirage and Mirage II lasted until similar to the Sunburst Archtop included cess story in American guitardom. For ers (all perpendicular to the strings) – a ’97 or ’98, when they were replaced by the a mahogany neck, Hamer three-and-three this installment we bring the litany of Hot Rail at the bridge and two split-rail Mirage Maple Top (essentially the Mi- headstock (blackface), a bound 22-fret, 3 Hamer guitars up to date... Vintage Rails. These were controlled by rage II with a flamed maple top), Sey- 24 /4" scale rosewood fingerboard with a five-way select and one volume and one mour Duncan ’59 and JB humbuckers, crown inlays, finetune bridge, stop tail- Eclipse tone control. A mini-toggle bypassed the and locking Schaller tuners. This model piece, twin humbuckers, three-way se- Not resting on its laurels, yet two more volume control for instant lead mode. came in honey, kool blue, and red trans- lect, volume, and two tones. There were new Hamer models debuted in ’94 – the The vibrato was a non-locking Wilkinson parent. The Mirage Maple Top disap- two primary differences; first the Artist Eclipse and the Mirage. VSV vibrato combined with chrome lock- peared after only a year. Archtop was a semi-hollowbody with a The Eclipse (Model GECS) was a ing Sperzel tuners. Finish options in- sound chamber and f-hole, and the sec- new asymmetrical offset double-cutaway cluded Cherry Transparent and natural. Artist Archtop, et al ond was in pickups, which were Seymour design with short horns, the upper some- In ’95 the Mirage was joined by the In ’95 Hamer introduced the Artist Duncan Seth Lovers. what larger and rounded, the lower more Mirage II, which differed in that it had a Archtop (Model GATA), the Studio After the relocation, the Artist Arch- pointed, and a rounded lower bout. The carved maple top and two Seymour Dun- Archtop Artist, and the new version of top became known as the Artist Custom, body and glued-in neck were all-mahogany can humbuckers, with three-way select the CruiseBass. the name it carries today. with a black-faced three-and-three Hamer and no bypass switch. Finishes included The Artist Archtop (sometimes also Also introduced in ’95 was the Studio headstock and screened logo. The 22-fret 3 rosewood fingerboard had a 24 /4" scale and dot inlays. The Eclipse sported two Seymour Duncan mini-humbucking pick- ups with three-way select, one volume and one tone control. The bridge was a Wilkinson Hardtail Wrap Around, and the nut a Lubritrak. An Eclipse 12-String was also available with the same specs. These were offered in Black, Cherry Transparent, Candy Green, Ferrari Red, and Vintage Orange. The Eclipses were eclipsed in ’98. Mirage The Mirage, also introduced in ’94, was another upscale model in an upscale world. It had just slightly offset double cutaways with a slightly extended upper horn and a slightly deeper treble cut- away. Otherwise it was similar to the Sunburst. The body was mahogany with LEFT TO RIGHT Zulu Phantom GT and fretless Phantom of the pairs. Two custom-made Firebirds made for Scotti a carved, figured koa top with a glued-in GT with LED side position markers. Custom-ordered 8- Hill of Skid Row, 3/4 bolt-neck on left, set-neck on right. mahogany neck. The 22-fret rosewood String Bass with maple fingerboard and reverse stringing Photos: Peter A. Fung. subscribe @ 1-800-844-1197 Vintage Guitar September 2000 23 Different Strummer Slammer by Hamer y 1996, Hamer had begun to modify its import strategy and made a transition for its Ko- B rean models which would end up being called the Import Series – basically upscale copies of its better Hamer USA guitars, still made in Korea. The Slammer brand name was switched to more down-market guitars made in Indo- nesia. These Indonesian models were then called Slammer by Hamers, with the Hamer block logo- type. Early Indonesian Slammers from ’96 featured a “Slammer by Hamer” logo, with “Slammer” in the Hamer block lettering and “by October ’93 UK ad for the Slammer Hamer” small underneath. Three Diablo. Firebirds, the two on the right being stock models, the three on the left being guitars and one bass were offered. custom orders. All were in a more conventional Slammer by Hamers available in Fender-style mode. The guitars late ’98 included the Pacer PCC3 Archtop Artist. This was essentially the was redesigned to have a much more were Strats with Hamer six-in-line (Strat copy with pickguard, three same as the Archtop Artist, except it rounded form, much closer to a Fender heads, the bass Fender-style. All single-coils, traditional vibrato), lacked body and fingerboard binding, bass design, just slightly more exaggerated had bolt-on maple necks, rose- Centaura CT21 (superstrat with and had dot inlays. The original version waists. The upper horn remained ex- wood fingerboards, dot inlays, and humbucker/single/single pickups also had a Wilkinson Wrap Around tended, but was much thicker. The body pearloid pickguards. Guitars had and locking Floyd Rose), Special bridge, although by ’97 this had changed was now made of alder, and the maple traditional non-locking vibratos. SP1 (Special shape, solid wood, to a finetune bridge and stop tailpiece. By neck was bolted on, with the four-in-line The Slammer DA3 guitar had three twin buckers), Special 2 SP2 ’96 the name had changed to become headstock. The pickguard was a natty single-coil pickups with a five-way (single-cutaway modified Les Paul simply the Artist Studio (Model GATA- laminated tortoise affair, sort of oval ex- ($269.50). It came in three-tone shape with body binding), XP-Stan- SO). In ’97, the name changed again to tending under the strings from the neck, sunburst (SB), copper metallic dard XP1 (Explorer with pickguard), just plain Artist. This model remains in but with a kind of batwing extension over (CM), and jet black (BK). The DA212 Vector VK1 (Flying V with Modern- the line to this day. the treble cutaway horn. The rosewood had a humbucker/single/hum- style V-head), Chaparral Bass CP4 There would be further variations on fingerboard was now 22 frets (34" scale), bucker layout ($289.50), in black (one P-style pickup), and the Blitz the Artist Series, as it became known, but still with pearl dot inlays. Replacing the only. The DA21 had twin humbuck- Bass BZ4 (two J-style pickups). All we’ll come back to this in a moment. former P and J-style pickups were a pair of ers ($279.50), in copper metallic came with bolt-on maple necks, Duncan Vintage Jazz J-style units, one only. unbound rosewood fingerboards, CruiseBass pickguard-mounted, the other on the top These Slammer by Hamers were dot inlays and chrome hardware. In ’95, Hamer brought back a number near the Gotoh bridge/tailpiece assembly. probably available through the Finishes included Black, Transpar- of variations on the venerable CruiseBass, Controls remained two volumes and a move to Connecticut. By late ’98 ent Wine Red, Sunburst, Silver Sun- the original of which had run from ’82 to tone. Color options in ’96 included two- the logo treatment on the Indone- burst, Two-Tone Sunburst, Red ’90. The first had the sleek offset double- tone sunburst, black cherry ’burst, candy sian Slammers changed to a more Metallic, Transparent Blue, and cutaway body similar to the Phantom red, candy blue, candy green, emerald contemporary “italic” typeface. The Purple Metallic, though not all fin- guitar, with pointed horns (the upper ex- green, and white transparent. name had changed but the appear- ishes were available on all models. tended), glued-in neck, and a three-and- Alongside the four-string CruiseBass ance was still generic. They remain in the line. three headstock, which changed to a four- was the CruiseBass Five (Model BC5T). in-line. The new version (Model BCRS) The Five was essentially the same as the Logos Dating Hamers amer’s headstock logos can ’96 Indonesian-made models began be misleading. For Ameri- coming in with “Slammer by Hamer” he first Hamer Standard was or more) are the running total of all can-made models, from ’74 logos – “by Hamer” small underneath, numbered #0000 (stamped guitars numbered using this method H to ’97, the logo can be either Slammer in block letters.
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