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Thunderbird Club

I never owned one, but have played them a few times. Decades ago. They come up for sale from time to time. I'm not sure I'd like one if I played one today. They weren't offered but a few years (<4 or 5 yrs at best I would think).
Ross...


The Magnum weight is an instant pass, but I do like the way they look & sound. It had a nice string-mute that moved in and out of position with a slider tab.

I refurbished a '70s Magnum neck for my "Devil Magnum" - a very nice neck; mahogany w/an ebony fb and a carbon band running down the length of the neck back. I made the body (based on a late '60s Ampeg "Devil Bass") from a single slab of Honduran mahogany - it was very light, just over 8lbs and balanced perfectly due to the upper horn. Pat Wilkins knocked it out of the park with the finish. Novak Darkstar/V-T stacked knob, Hipshot bridge.

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In their promos, they state that they'll work for keys but they don't have any examples-or didn't when I contacted them.

They would probably sound great w/keys - the Mel9 sounds good with any instrument. Haven't tried a voice through it yet, but I bet it would sound wild - especially on the low & high choir settings.
 
The Magnum weight is an instant pass, but I do like the way they look & sound. It had a nice string-mute that moved in and out of position with a slider tab.

I refurbished a '70s Magnum neck for my "Devil Magnum" - a very nice neck; mahogany w/an ebony fb and a carbon band running down the length of the neck back. I made the body (based on a late '60s Ampeg "Devil Bass") from a single slab of Honduran mahogany - it was very light, just over 8lbs and balanced perfectly due to the upper horn. Pat Wilkins knocked it out of the park with the finish. Novak Darkstar/V-T stacked knob.

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:)
 
They would probably sound great w/keys - the Mel9 sounds good with any instrument. Haven't tried a voice through it yet, but I bet it would sound wild - especially on the low & high choir settings.
I s'pose I could go get one from the local GC-with the option of returning it for a full refund. I wouldn't "stomp" on it, but operate it by hand. If it can do what I want, I'll keep it. I guess...
 
The Magnum weight is an instant pass, but I do like the way they look & sound. It had a nice string-mute that moved in and out of position with a slider tab.

I refurbished a '70s Magnum neck for my "Devil Magnum" - a very nice neck; mahogany w/an ebony fb and a carbon band running down the length of the neck back. I made the body (based on a late '60s Ampeg "Devil Bass") from a single slab of Honduran mahogany - it was very light, just over 8lbs and balanced perfectly due to the upper horn. Pat Wilkins knocked it out of the park with the finish. Novak Darkstar/V-T stacked knob, Hipshot bridge.

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wow oh wow!!!!:drool:
 
I saw a band called Magnum open for Ozzy in 1982. The bass player played an Ovation Magnum. I found that kind of funny at the time, but that may have been due to the thick smoke everywhere.

My good friend had the Magnum with the 3 band eq. Was a cool bass but SUPER heavy, as others have pointed out. If I remember correctly the magnetic field of the pickup pole pieces was narrow and if you bent the string too far the sound would drop off.


I have an EB4-L that does the same thing.
 
Great photo! I've never played a Farfisa but my friend has a Yamaha YC-25 which has that electronic combo organ sound. Sounds great through a Leslie too. Terry Watkinson used one in Max Webster and he had a great bright sound. A Hammond would have been too heavy and overpowering for that band.
thanks man…like a Rhodes, in a class by themselves due to their timbre generating method….with respect to Hammonds, you’d be surprised how “modifiable” they can be…..
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At one point I had a Di Marzio Jazz pickup in the bridge position of my '73 4001........Later on, an Alembic pickup.


A lot of people ditched the stock bridge pickup because they didn't realize that there was a cap in the circuit choking all the bottom out of the poor things until mid 1984 when JH took over the company. It was a revelation when I found out.
 
Ok..I’ve been super chatty today.
Having said that,it is clear that this club is full of enablers.
I just closed the deal on a 22 NR.I was hoping for a sparkling burgundy from Sweetwater but it is unavailable at this time and this came up on my local CL.
My seller was super cool and we have a lot in common.
I’m already digging the new NR..it will be the first in rotation on the next gig.
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Congrats! Awaiting gig report!
 
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Ok..I’ve been super chatty today.
Having said that,it is clear that this club is full of enablers.
I just closed the deal on a 22 NR.I was hoping for a sparkling burgundy from Sweetwater but it is unavailable at this time and this came up on my local CL.
My seller was super cool and we have a lot in common.
I’m already digging the new NR..it will be the first in rotation on the next gig.
Cheers ya’llView attachment 4851962View attachment 4851965View attachment 4851969View attachment 4851972

Nice - are these finished in lacquer or poly?
 
Don’t know about the standard Eppi IV caps or Pups.

The Goth pups are wound heavy with a resistance of up around 14.5K for both the bridge and neck. They also have a high value tone cap of .068uf with 500k pots. Installing a .022uf tone cap in the Goth completely transformed the bass. It really opened up the tone palette and drastically increased the volume level. It basically lets the pups breath vs choking them down.

Pre cap change, I’d run the volume around 7 and the tone at about 5. After the change I’m running the volume around 3 and the tone at about 1. If I take the volume up to 7 or 8 those hot pickups tear the house apart.


Here’s a flashback to the original testing from 2020…
Just wrapped up the first leg of the Goth tone cap and pot test where the 500K pots were in the control circuit.

Keep in mind this test was done with fresh Cobalt Flats and stock Goth pups. String or pup changes could give different results. I also limited the tests to finger playing only, between the neck and the neck pup with the neck pup soloed. No adjustments were made to the amp, everything centered.

The first run through was wired with a specific cap and the tone pot set at zero and the volume knob at two, followed by volume settings of 4,6,8,10 with notes taken at each volume setting.
The second run was the same cap with tone set at 3 and volumes at 2,4,6,8,10.
The third run was the cap with tone set at 5 and volumes at 2,4,6,8,10.
That's 15 data points for each cap.

I didn't bother to record data above a 5 setting on the tone pot because I found no significant change in tone with any tested cap above that setting. I eliminated a few caps in pre-testing, the 1.0 cap ended up being nothing more than an off/on switch. At a tone setting of zero there was no signal to the amp, great if you want a mute switch, settings above that were deep and dark but resulted in very little tone change regardless of the setting. I eliminated the caps with values less than .022uf because they seemed to have very little impact on tone, it was nearly the equivalent of hardwiring the pups to the output jack.

The caps that were tested were .001, .082, .068, .047 and .022 (my apologies to those of you who use commas in place of decimal points, I'm sticking to the American standard on this one).

Findings were different than I anticipated but did highlight a huge interplay between the volume and tone knobs. Some of the caps that sounded best at a given volume were completely unuseable at other volumes. And louder is better doesn't always hold true.

Findings:

.082uf cap - smooth, deep and dark, nice low mids BUT very little adjustability. A tone knob setting of zero requires a volume knob setting of 8 to get any useable level of sound, and at a volume setting of 9 or higher it sounds very harsh and unpleasant (my notes actually say "yuck"). This is the cap that I thought would sound best, so much for confirmation bias. Kick the tone knob up to 5 and you have nice smooth useable lows starting at a volume setting of 4 to 6. At a volume of 8 the high mids start to kick in and quickly ruin the party. Bottom line - not ready for prime time.

.068uf cap - this is what the Goth comes stock with. Unfortunately my stock cap got fried in the desolder so I had to wire a couple of orange caps together for a .069uf value, close enough. Good deep tone, a bit muddy at the low tone settings and moving to more mid focused as the tone pot value is increased. Loud and boomy at volume settings of 9 or higher. Sweet spot on the volume knob is between 4 and 8. Below that and not enough useable volume, above that it's boomy and undefined. Bottom line - ok but could be a lot better.

.047uf cap - I found this one surprising. At zero tone it's much to quiet until you get the volume knob up to about 7 or 8. At that point it sounds great, but then takes a massive volume jump when the volume knob hits 9 and sounds harsh as it's maxed. The good news is it takes on a different personality when the tone knob is set at 3. Sounds very nice and balanced, smooth, deep but defined at volumes of 2 to 8 very linear and predictable, then falls apart again at a volume of 9 or higher when an upper mid hump sets in. If the tone knob is set at 5 the mids kick in much sooner and sound nice until you hit a volume setting of 8 or higher. Bottom line - I could live with this one. Lots of useable tones once you get off the zero tone setting.

.022uf cap - not what I expected at all. At zero tone setting it was very smooth and balanced across all strings. At a tone setting of 3 it had very musical lows and low mids, very useable tone at volumes of 3 or higher. At a volume of 9 still quite nice. Volume maxed at 10 brought out the yuck factor with an almost overdriven distortion boomy obnoxious sound. But again, a picture perfect sound from volume settings of 3 to 8 and tone settings of zero to max. bottom line - this is the keeper cap of the bunch for the 500K pots. Will be interesting to see how it works with the 250K pots.

.001uf cap - tone on zero gives super loud deep lows even at volume settings as low as 4, thunderous at a volume of 6, destructive at 8, then at a volume of 9 the upper mids mix in and you better have hearing protection and a spare set of speakers for your cab. Increasing the tone cap setting drastically increases mids. On this bass this is the cap to use if all you want is lows and low mids and don't mind leaving the tone pot on zero and the volume at 5 or less. Truly makes a one trick pony (or wrecking ball) out of the Goth. Bottom line - "nuke em from orbit"

And there you have it (well, half of it, the other half will happen when the 250k tone pot arrives).
TB rules, pic or it didn't happen...
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Note: the cap labeled .1 in the pic is actually a .001uf cap

Perfect - now you are ready to do a YouTube demo going through all the same audible choices!