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Thunderbird Club

#246,301
heatheroo1 said:
The Queen about had me convinced to take the the Bird and then MCF talked some sense into me (while using the word reticence......that's gotta count for something)..........still pondering.
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If you can keep it safe at all times, by all means take it. The audience deserves to hear it. But if you’re like me, and all you would do is worry about what might happen, and not enjoy the weekend, take the J. You can always find another J.

You may not know this, but I’m not much of a JBass fan. I don’t even own one among the way too many basses I have. I wouldn’t hesitate to take any of my several Epi Tbirds anywhere (except the Limited Edition sparkle Pelham Blue one). Or any of my three easily replaceable Fenders. I probably wouldn’t take my Peavy Foundation though, with its original Super Ferrites and classic Peavy knobs that are worth more than the rest of the bass. I’d worry too much about it. But I tend to worry about things.

Anyway, whatever you decide, have a fun time on the camping trip! And, of course, PLAY IT LOUD!
 
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#246,302
Justyn Brando said:
They're great basses. Best value out there for Gibson tone at a budget price.
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Best sounding (and closest to the original 60s) of anything Gibson has ever put out since then.
4.jpeg
 
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#246,304
Stealth57 said:
See the 100 for about a grand around here. All I see now:

[Invalid or Expired Link Removed]
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Not a 200. I know Kat has had reservations about hers at times. Different animal than the 300s and 100s.

Traynor really should get back here with a dealer network like they had back in the day. But I understand they pretty much run the lines at capacity as it is and have no problem selling all they can produce through Long & McQuade (same ownership group) stores in Canada.
 
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#246,304
MCF said:
He is something else. Except for his claim at one point that he played for Ringo on Beatles tracks. He may well have played over early Pete Best tracks, but there is no evidence that he played on any recorded tracks once Ringo joined the band.
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Yah, I know - doesn't do his otherwise good rep any good. Same with Carol Kaye - she claimed to have played on some classic Motown hits when she clearly didn't.
 
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#246,308
JIO said:
Yah, I know - doesn't do his otherwise good rep any good. Same with Carol Kaye - she claimed to have played on some classic Motown hits when she clearly didn't.
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Yeah. I never understood the Kaye thing. She and Jamerson pretty much owned a lot of the sixties. Heck, Brian Wilson, no slouch on bass himself, hired her for his classic, Pet Sounds.
 
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#246,309
Chucky Stiletti said:
that neck is nothing like a 2013….. muck more slender and no volute……V has the action set so low (0 fret noise) it’s literally butter…..feels like it plays itself….
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That's Mike Lull's work, I took that bass in one time, jeez, at least 15 years ago now and had him set it up ( he did almost all of mine), it really hasn't needed anything since. It was about $65, some of the best money I've ever spent, no way I'd ever be able to get a bass to play that nice!
 
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#246,310
MCF said:
Yeah. I never understood the Kaye thing. She and Jamerson pretty much owned a lot of the sixties. Heck, Brian Wilson, no slouch on bass himself, hired her for his classic, Pet Sounds.
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And Mission:Impossible, Whipped Cream and other Delights, Sonny & Cher, and many other hits from the '60s. Maybe old age clouded her memory. But there was also Bob Babbitt, David Hood, Chuck Rainy, Tommy Cogbill, Jerry Jemmott, Duck Dunn and Harvey Brooks.
 
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#246,313
Justyn Brando said:
Portaflex PF-20T paired with a PF-115HLF or 210 cab would be great
*For a new, off the shelf option*
If you can get your hands on an original B15N that's gravy
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I’ve often wondered if the new SS Portaflex combos sound anything like the old 1960’s tube portaflex combos.

JJR58 said:
B-15 for the win!
With a JBL in it.
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Certainly on my short list, but finding one that’s local (no one wants to ship one) and in mint condition is proving to be difficult. Plenty on the east coast for some reason, but few and far between out west.

BklynKen said:
Or you have their Fusion combos with a tube preamp.
Fusion Combos — Gallien-Krueger
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Interesting, I’ll have to try and find a local one to test, if possible.

MCF said:
George,
If cost is no object, get this:
Fender ACB 50 1 x 15-inch 50-watt Adam Clayton Signature Bass Combo Amp
That’s what I’d be looking at.
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Marshall, I hadn’t even considered Fender. 50watt is about the sweet spot for a tube amp combo in my living room. May be worth a test run if I can find one on a sales floor.

JJR58 said:
These are pretty cool too.

iu
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Acoustic is on the short list as well, but like the Ampeg Portaflex, there’s a dozen different models and different production years with some better than others. Like the Ampeg, if I go that route I’d have to employ a technical adviser to weed out the good models from the less good models.
 
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#246,317
GBassNorth said:
I’ve often wondered if the new SS Portaflex combos sound anything like the old 1960’s tube portaflex combos.


Certainly on my short list, but finding one that’s local (no one wants to ship one) and in mint condition is proving to be difficult. Plenty on the east coast for some reason, but few and far between out west.


Interesting, I’ll have to try and find a local one to test, if possible.


Marshall, I hadn’t even considered Fender. 50watt is about the sweet spot for a tube amp combo in my living room. May be worth a test run if I can find one on a sales floor.


Acoustic is on the short list as well, but like the Ampeg Portaflex, there’s a dozen different models and different production years with some better than others. Like the Ampeg, if I go that route I’d have to employ a technical adviser to weed out the good models from the less good models.
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I can recommend the PF50T. I did have to do a minor mod on mine to reduce the hum - just something to be aware of if you get an older one.
I find in large high ceiling spaces a high pass filter really helps to deal with boominess.
 
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#246,319
GBassNorth said:
I’ve often wondered if the new SS Portaflex combos sound anything like the old 1960’s tube portaflex combos.


Certainly on my short list, but finding one that’s local (no one wants to ship one) and in mint condition is proving to be difficult. Plenty on the east coast for some reason, but few and far between out west.


Interesting, I’ll have to try and find a local one to test, if possible.


Marshall, I hadn’t even considered Fender. 50watt is about the sweet spot for a tube amp combo in my living room. May be worth a test run if I can find one on a sales floor.


Acoustic is on the short list as well, but like the Ampeg Portaflex, there’s a dozen different models and different production years with some better than others. Like the Ampeg, if I go that route I’d have to employ a technical adviser to weed out the good models from the less good models.
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I can't say i'm a fan of any of the SS Portaflex series.
But that's just me.
If you can find an Ampeg Rocket 100, or 200. That's a different story.
And then there's The Heritage series B-15's.
I'd gladly take one of those.
 
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#246,320
JIO said:
Roger Moore was good in "The Saint" TV show. That RM JB period was kitsch-city like most of the '80s. I was cognitively aware in the '80s as a young adult and found much of it regressive and forgettable. I know others here claim it as "their" decade (and rightly so) - but I was just glad to get through it. I didn't dislike all of the '80s... just most of it.
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I suppose the '80s could have been 'my' decade, but I was working and trying to get established in my work. The early '80s were an economically miserable time, and I struggled like everyone else. That colored my attitude a fair amount. That said, I was on the east coast most of the '80s, and in New York from '82 through '87. That was a radically different version of the '80s than what most people think of, and it was indeed pretty amazing. Between the tail end of the disco thing, punk, and the explosion of hip hop, there was a lot going on in a very small area. The art scene was a bit of a bust for me. You had to be skinny, wear all black, and androgynous if not gay to fit in. I was none of those things, and couldn't even begin to be, so I didn't spend much time on visual arts. There was a lot happening in that realm then, too, even if I didn't end up in it as much as in the music.

I assume New York is still a pretty amazing place like that and that the '80s were not some anomaly like the Harlem Renaissance seems to have been.
 
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