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Thunderbird Club
- Thread starter TBird1958
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- club thunderbird
...24 track tape machine, analog desk, neumann valve mics...
Haji
Supporting Member
They're not dollies, they're action figures.
No personal experience but I've read good comments on the Fender Neo 610.
Reading your post I couldn't help thinking you may need something a bit more than a 410.
Have a read of the SB300 thread, a lot love these cabinets (and the head of course).
Gaolee
Official leathers tester and crash dummy
Not quite so exalted, but you sure got the direction right. Currently 8 preamp interface, 12 channel mixer, 125w stereo power amp, power conditioner. Other toys tbd. The mics are a motley bunch of Chinese and Russian condensers, ribbons and good ol' US made Heil and Blue dynamics. Plus three Shure 330s I have been scrounging up for a long time. The upright plugs right into the interface, and I can run di from the small bass combo for bass guitar. There are a couple pencil mics for overheads and a kick drum mic to deal with the kit. It took about a year to mostly tame the room, but it isn't done yet. By professional standards, it's crude. For making demo recordings it is probably overkill. I believe in overkill.
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
My beloved valet - installed a shallow aluminum restraint fence the exact footprint of my SWR Goliath, Eden 2x10 and Carvin 1x18. Super smooth heavy-duty hard rubber wheels, folds nicely for storage - wouldn't leave home w/o it!
You could run a perfectly decent small studio with:
8 preamp interface;
2 x kick/bass mic;
3 x snare/guitar mic;
3 x pencil condenser mic;
1 x nice vocal condenser mic.
Demos be damned - if the room sounds good and you have an okay reverb and compressors, it's ready for the world.
Gaolee
Official leathers tester and crash dummy
The room isn't quite right yet, but it's getting there. I have to put some sound deadening above the drum kit still, and there are some other small things that it needs. It's about 20 feet long by 12 feet wide, but less than 7 feet to the ceiling. The whole room was just drywall to begin with, which meant it was harsh and awful sounding. I made a bunch of 2x4 and 2x2 panels using two inch thick compressed mineral wool in plywood frames with acoustically transparent cloth over them so they don't look horrible, and that made a huge difference.
The most recent recording was done with a couple figure 8 ribbons. It was the trio with an electric guitarist and singer, and me playing the upright. We didn't mic the singer, and didn't plug in the bass. The guitar was kept fairly low. The ribbons into the interface into Cubase was the entire signal chain, and it worked far better than I expected. Those were intended as demos to get the trio some work, and so far, it's been successful.
I don't have much in the way of signal processing outside the software for the time being. That works well enough for now. It's more a matter of time than anything else. Pesky day jobs that pay the bills get in the way of a lot of fun.
A friend has told me a couple times that I should set it up as a money losing profession and deduct everything I spend on it. That's probably an economically good idea, but it takes more time I don't have for paperwork and the like. Plus, I am a born scrounger which means it wouldn't get much of a deduction anyway.
Gaolee
Official leathers tester and crash dummy
And for what it's worth, if you haven't recorded anything using a Shure 330, you are missing a real gem. They are unidirectional ribbons that don't have the high end crispness of a tube condenser, but are even warmer and more present sounding. You have to use a pop filter to keep them healthy and make sure Ps and Ts don't sound awful. They are low output, so I use a Cloudlifter with them to get the signal up. Once you do that, you don't have to be right up close to them to get a good sound, and if you are back a bit, you can move around more than with some mics and still get an even sound. Condensers are nice, but I have come to really like ribbons a lot, especially once they have been hot-rodded a bit.
It's not GI JOE, it's ACTION MAN!
I'm Mr quandary, nice to meet you again.
Still scratching my head at all the $300 (new) epiphone bird IV being sold used for $250-600, that last one on eBay was the clincher. Are people that stupid??? Like one person does it and now everyone thinks they are worth so much more, like there are $100 bills under the pickups if you take the time to look?
So my point is this. I am getting frustrated, I don't want to have to be made to feel like a lowballer just to offer what the bass is worth. I understand the rarity of the TV silver means I am not likely to get one under $350. I wish there were more colors than friggen sunburst. I would like gloss black, or silver or silver burst ideally. But perhaps sunburst it will have to be. I don't want a 2nd goth.
Here is the ultimate quandary... Our ex drummer has a sunburst that I know he paid $160 (or $140-150 I forgot) for. I have been tempted to ask him, but am reluctant to since the guitar player ratted me out by referencing things he did and said while drunk at the venue after the other guys left, when there were so many other reasons why he was fired, but my info surely was the final straw.... Awkward... And he still has the banner, and I had been asked to get it from him since I live closest to him... Nobody else wants to see him... But that might hace meant a $20 offer to me if I did it. Maybe I should just bite the bullet and call him, get the banner and $20 bonus, and see if I can score his bird for $140-150.
Or should I just keep waiting for a fair price on one to show up? I think if I got it, I would swap pickguards, white on my goth, and black on the sunburst. Aesthetic opinions? I think the white would be a nice tuxedo touch to the goth, which blends in too much as is, but how would the goth pickguard look on the sunburst?
Still scratching my head at all the $300 (new) epiphone bird IV being sold used for $250-600, that last one on eBay was the clincher. Are people that stupid??? Like one person does it and now everyone thinks they are worth so much more, like there are $100 bills under the pickups if you take the time to look?
So my point is this. I am getting frustrated, I don't want to have to be made to feel like a lowballer just to offer what the bass is worth. I understand the rarity of the TV silver means I am not likely to get one under $350. I wish there were more colors than friggen sunburst. I would like gloss black, or silver or silver burst ideally. But perhaps sunburst it will have to be. I don't want a 2nd goth.
Here is the ultimate quandary... Our ex drummer has a sunburst that I know he paid $160 (or $140-150 I forgot) for. I have been tempted to ask him, but am reluctant to since the guitar player ratted me out by referencing things he did and said while drunk at the venue after the other guys left, when there were so many other reasons why he was fired, but my info surely was the final straw.... Awkward... And he still has the banner, and I had been asked to get it from him since I live closest to him... Nobody else wants to see him... But that might hace meant a $20 offer to me if I did it. Maybe I should just bite the bullet and call him, get the banner and $20 bonus, and see if I can score his bird for $140-150.
Or should I just keep waiting for a fair price on one to show up? I think if I got it, I would swap pickguards, white on my goth, and black on the sunburst. Aesthetic opinions? I think the white would be a nice tuxedo touch to the goth, which blends in too much as is, but how would the goth pickguard look on the sunburst?
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Is the bolt pattern for the pickguard the same on all Gibson/epiphone thunderbirds or did it change with different OEMs?
The Markbass combo you have appears to be a 210 with 500W @ 4 Ohms or 300W @ 8 Ohms from my reading of the specs. I assume you are running it without an extension cab, as one isn't mentioned. If so, you are running it at 8 Ohms or only a maximum of 300W through a 2 X 10 inch speakers. An option would be to add a matched extension cab- thus potentially delivering full power (500W) from the amp and more speaker surface area. Should be louder.
It is hard to say whether that will be enough because I don't know how loud your band is.
I can say, I use either a GK Fusion 550 or a GK MB Fusion 500 paired with either a GK Neo 4 Ohm 410 or a pair of 8 ohm GK Neo 212iis to gig with. The volume limits at the places we play are 105 dB or lower. I have never had any problem being heard at all with any of the combinations. For example, at about 105 dB the Fusion 550 (with Gain moderate) is about a quarter on the Master. The MB Fusion 500 needs a little more Master, but still does it easily. Plenty in reserve at that volume. Those 500W GK heads are very loud when paired with enough speakers and the right resistance. I have done gigs in big Club auditoriums without any PA assistance no problems.
I guess tone preference is a personal thing and the three options you are looking at will all sound a bit different.
I think they are different, there seems to be all sorts of little differences between the Bird cousins.
But could they be the same for say a Korean I06 and a newer China/Indonesia standard?
Not sure, but I know that @Larry V Was collecting various templates earlier in this thread in order to make pickguards.
Probably not.
If you're getting a custom pickguard made, it's best just to scan your pickguard, or a tracing.
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