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Thunderbird Club

We eat oysters on the half shell a lot in the season. Raw oysters are not for everyone. A friend of mine said he tasted a raw oyster twice. Once going down.... :)
I love me some oysters on the half shell. I grew up on raw clams and oysters. The family used to go to a restaurant in Sheepshead Bay Brooklyn called Lundy's. 3 stories and a full block with sidewalk oyster bars. It was waterfront on Emmons Avenue. Fabulous memories.
 
Les Claypool: “The Pachyderm bass has one knob on it, a volume knob: I don’t want any tone” . So much for tone shaping. I concur. I have a one knob job. A Charvel SK3 offset I modded with Joe Naylor ( Reverend) Railhammer pups. Just volume and a 3 way toggle. She sings.
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Hm, yeah I guess I should check! But SansAmp has always been an analog thing... I'll be back.

The Chorus is in fact digital. Glad you asked!
SansAmp is an analog thing, but only the SansAmp circuit. I am not sure about the other effects. Fuzz and wah are pretty simple circuits, so I would be surprised if they were digital. But anything with a delay/modulation, digital is now much cheaper than analog.
 
Yes, that was a great one, my favorite, I loved Ed Gagliardi's Ric bass tone on the first two albums until they threw him out for some reason, very melodic player. My girlfriend at the time used to play this on the jukebox all the time and give me knowing looks, yup it was coming and it was mostly my fault.




I got to see them in 1978/9 at a Summer Jam here. Thin Lizzy, Steve Miller Band, Foreigner and REO Speed Wagon, respectively. I think a regional act opened for TL. All were great, but SMB was musically a little out of place and wasn't received that well. I didn't mind the variety but it was apparently a little too much variety for some.

From what I've read, Mick Jones was a bit of a sphincter head. He saw it as his band 100% (was his idea and he wrote most of the music I think). Treated Lou Gramm very badly when giving percent of credits for song writing later on.
 
I often see the Afterglow on Marketplace and right now there's a 3rd Dimension for sale on MTL's South Shore. The Thunderstorm I never see, but that might indicate it's a pedal you keep.

Yeah, probably right. It is a pretty versatile pedal.

Some in that line were really great pedals (perhaps others not so much) at really good prices (less than $100) new. Of course, the cork-sniffers would turn their noses up as they were not suitably expensive.
 
From what I've read, Mick Jones was a bit of a sphincter head. He saw it as his band 100% (was his idea and he wrote most of the music I think). Treated Lou Gramm very badly when giving percent of credits for song writing later on.

Yesterday I took Spooky Tooth's last seventies album "The Mirror" from the shelf but forgot to take it with me to the car. Will do it today.
Mick Jones was part of that band during their last few years and wrote some stuff too.
The late great Mike Patto was on it too, having replaced the departing Mike Harrison.
 
This is painfully true.


Thanks for posting that, Ken. Yep, and this is why we can't get tone like we hear on a record. I didn't get to watch to the end, but one one other aspect is we are hearing those tones via home or car speakers (now earbuds)--after being run and processed through possibly $100k worth of equipment. All those things add up. I guy I used to play with was once talking to a studio engineer from Nashville who was discussing all that's done and he mentioned a known person and said "she doesn't sound like what you hear until the end, and that [person] didn't sound like [person]" in real life. I'm sure there was a little overstatement, but also a lot of truth as well.
 

I was in the market for one of these a year or so ago-maybe 2-and ordered one from Music and Arts near me, mostly because nobody had any in stock and I wouldn't have to pay for shipping.

2 weeks became a month became 2 months became 4 months and no VPs anywhere. I blamed the Evergiven.

At that point, I said to hell with it and bought a couple used CPs, which I do very much like (especially the darker burst) but there's something supremely cool about the look of the VP/60s. I also hear the Probucker 760s are brighter with more bite than the Gibby TB+.

It's also nice to see they've more-or-less decided on pickup positions unlike the CPs, which seem to vary depending upon the year.

I hope to find a cheap, beat up one in the future...maybe in need of a hs repair.
 
I was in the market for one of these a year or so ago-maybe 2-and ordered one from Music and Arts near me, mostly because nobody had any in stock and I wouldn't have to pay for shipping.

2 weeks became a month became 2 months became 4 months and no VPs anywhere. I blamed the Evergiven.

At that point, I said to hell with it and bought a couple used CPs, which I do very much like (especially the darker burst) but there's something supremely cool about the look of the VP/60s. I also hear the Probucker 760s are brighter with more bite than the Gibby TB+.

It's also nice to see they've more-or-less decided on pickup positions unlike the CPs, which seem to vary depending upon the year.

I hope to find a cheap, beat up one in the future...maybe in need of a hs repair.
CPs seem more rare around here. I bought my VP lightly used from Guitar Center. Got them to ship it to a store just across the line from me.
 
I got to see them in 1978/9 at a Summer Jam here. Thin Lizzy, Steve Miller Band, Foreigner and REO Speed Wagon, respectively. I think a regional act opened for TL. All were great, but SMB was musically a little out of place and wasn't received that well. I didn't mind the variety but it was apparently a little too much variety for some.

From what I've read, Mick Jones was a bit of a sphincter head. He saw it as his band 100% (was his idea and he wrote most of the music I think). Treated Lou Gramm very badly when giving percent of credits for song writing later on.


Yeah and they (or he personally) threw Ed out of the band after the second album. Did Steve play his 'hits' or his good stuff? :laugh:
 
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