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Thunderbird Club

It's really difficult to consistently downstroke an entire song, much less a set. At one point I was reasonably good for a song or two, I'd have to put some time back into it today because I can't do it like this anymore. I've heard it said the one should be able to upstroke/downstroke with the same intensity/speed etc., I can't get it to sound the same, here I'm flogging the E string hard, it was about 95 degrees and excessively humid this day. Warning, if you like the dull thump of flats this not for you, big, clanky angry piano on a '76.




I've tried that one before with a pick and could last maybe a verse and probably slowed down the band in the process :laugh: but I've been practising since the pandemic hit with a pick and have gotten considerably better although I still doubt whether I could last through that whole song with all downstrokes but much better. I like both flatwound sound and angry piano, Entwistle was a hero of mine when younger, I think you get a great sound. I have Rotos RS66's on almost all my basses now.
I've always wished I were a better pick player as to me you get a better sound with both rounds and flats with them, much more articulate although I can play pretty clear with my fingers so basically I've been woodshedding over here for two years now and play almost all day so I've improved in several areas and pickstyle is one of them. When I was a kid first learning guitar I used to play for hours too, it got to the point where it just felt natural to have a guitar around my neck, it now feels the same way with a bass.
I was also told that you could make both upstrokes and downstrokes sound the same, I haven't yet. I think all downstrokes sounds a lot better anyway, I'm not a light player, I don't kill them anymore but I think your touch has a lot to do with your sound.
 
did anyone tell the dude with the IG 21 NR in the classifieds, that the claw he had installed is set too far back?
Hadn’t seen that one. It does kook a bit strange but shouldn’t matter. Very nice dark fretboard on that one. His price including shipping, if it’s still available (I’ve tried to make offers on a couple preamps lately, but they were sold although the sellers didn’t update the listings), is reasonable. Nice Thunderbird.
 
yeah, I use downstrokes when I want to alter the rhythmic into a more staccato less pillowy andante or ostinato…… for some stuff however, up/down strokes are indispensable……


Sounds great! The wig cracked me up! :laugh:
 
wow… just as we are talking pet birds……
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Harry the hummingbird decides to move in…..
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I get a nice short staccato - almost muted note by slowly dragging the pick or dragging it back to the string. I never really thought about what I'm doing, it just seems natural and works well for me. I'll have to try to pay attention when I do that next time to actually figure out what I'm doing. Don't where or when I started doing that. I know Larry Junstrom (Skynyrd's first bassist and then .38 Special) had a very tight up and down, so I'm guessing I absorbed something of what he was doing and took it a little farther.

Dig the song BTW.
thx D…trying to visualize the technique you describe…
 
Paul Martinez with a Reverse II. Mimed performance of course and I assume he used a P-bass in the studio but cool nevertheless. As is his attire too, especially when compared to Percy himself.


I like those first two Plant solo albums. Great players (Robbie Blunt's guitar especially) and good and experimental songs not dwelling on his then not so distant past (not that he does it today either). He did pretty well with drummers. Cozy, Barrie Barlow and Philip Collins who toured also. And when Phil's work load got toooverwhelming with both his dayjobs they managed to get Ritchie Hayward to drum.
 
thx D…trying to visualize the technique you describe…
Yeah, I'm not sure what I said makes sense to me about what I'm doing. Can't be complicated if I'm doing it that's for sure. Haven't grabbed a bass to try it, but I think I might be holding the pick tight and not having much travel beyond the string and comes back a kind of self-mutes before hitting it again. I don't do it very often.
 
Not a T-bird in sight and I can't draw a slightest parallel to the world of 'birds from this but I'm stoked that I came across a live photo of Mike Rutherford playing his 6-string Shergold Marathon. The song is most definitely "Back In NYC" 'cause it opened the show at Friars in 1980 and also because it needs the 6-string for those arpeggios (he played the studio version on a 6-string Micro-Frets bass).
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Ok, Daryl Stuermer used an RD Artist bass on his first Genesis tour '78. That's T-Bird-esque.