No, I have the all analog Rumble, not the Houston Mission Control version.
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Thunderbird Club
- Thread starter TBird1958
- Start date
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- club thunderbird
No, I have the all analog Rumble, not the Houston Mission Control version.
- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
- Mar 13, 2008
- 18,894
- 142,211
- Disclosures
- Endorsing Artist Mike Lull T Bass pickups, The Bass Shop, Seattle WA.
I’ve got a Leo Quan BadA$$ on my ‘71 EB because Gibson used nylon saddles on their bridges that year with no replacement. There wasn’t a lot of good aftermarket bridges back then and the Leo Quan was highly recommended.
I had Lay’s install it because the body needed routed to fit. That Leo Quan bridge really opened up that bass and the sustain was so much better! I switched the Mudbucker to choke and dialed up the bridge PU to get that subtle muted bass sound.
Back then I could (almost) play like Andy Fraser with a nice finger style attack…Add Some bends and bass chords on the pencil thin neck using a Traynor tube amp.
Just below the bridge cover you can see the BadA$$ logo which was the original design. Nothing like it back then.
I think they were designed for Fenders so that’s why the EB set neck needed the bridge routed.
Free was one of my favorite Bands. I was just listening to their Fire and Water Album last night. All Right Now is not the best song on that Album but it’s the best known.
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- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
Just guessing, but is that Stanley Sheldon who played on “Frampton Comes Alive”?
I remember that first gen bridge being very popular with EB basses (don’t think I recall ever seeing one on an EB-2) back then, dig the II on this….
I’m gobsmacked by that wild guess- who would’ve thunk?!!yes, that has to be the COOLEST 7ender P in the whole world…..
Another great P player of that era that comes to mind is Dee Murray- check this out-
Just Elton, Nigel Olson, and Dee- don’t know where Davey Johnstone was-
Gaolee
Official leathers tester and crash dummy
I am in lust with that bass guitar.Some troublemaker playing my Lull.
Gaolee
Official leathers tester and crash dummy
I wonder if I could find one that would work on my EB-2. The tilt-o-matic is a pain.
Well, since we're going down a Rickenbacker rabbit hole, I never got rid of mine. It's a 1976 Azureglow that I've had since 1980. Bought it out of the Recycler ads from a cowboy-type in a high desert trailer. Had some buckle rash on the upper backside.... which told me he swung it low, and wore a big ol' belt buckle. Saddles were facing the other direction - that was an easy fix. Nice clean HSC. Otherwise, one of my dream basses checked off my list.
Played it in first 2 "garage bands". Wasn't getting the full potential, as I was still feeling out my amp setup. I learned later that when you have a master vol channel, you crank the normal volume, and bring the master up to 2 or 3 to get the overdrive. If I remember - I was doing it sorta backwards. Dohh! Nobody said anything either. When I got to the 3rd band, we rehearsed at S.I.R. in Hollywood, and the guitarist used a Marshall/Les Paul - so now I had to play louder than I used to, to be heard.
What I didn't like, was when I would turn to the amp/cab to fiddle with settings, the Rick bridge PU would howl with feedback. Annoying not just me - but my bandmates. So I pulled it out, and put in a Dimarzio J-bass PU. The poles didn't line up, of course, being made for a wider Fender string spread. But no more feedback... and a lot more oomph. Kept it that way for a while, and then chose to put in a Duncan J-bass NECK PU in the bridge location. Because the pole spacing was closer now. Whether I got different tone or not remained to be heard. Plus, it was black, not creme, so aesthetics.
A couple years ago, I took the bass out and studied it, and decided to de-value it some more. Out came the J pickup, and I shoe-horned in a soapbar humbucker. Which made the neck pickup feel inadequate. So that got replaced by a Model One Dimarzio. As both pickups could be wired series or parallel - I thought, why not put in mini toggles to do switching? Hence the 2 switches under the neck PU location. I've retained the high pass capacitor on the bridge PU, so much of the classic Rick sound is still there. Doesn't look half bad, if I do say so myself. And being a BC Rich devotee, having mini switches to play with is cool.
The original nut was getting long in the grooves - the G string was low in first position. So out it came. Put in a brass nut. Much better - and more sustain. Wheee. Finally, the bridge had to go. Because I noticed the dreaded lift starting to happen. Now there's a Hipshot on there, and I don't miss the mute which I hardly used. Plus, the action and intonation adjustment is way better as a result. All in all, I'm happy with it. I don't ever plan on selling it, so reversing the mods is not a concern, but still could be done. I have brite flats on it, just so I don't eat the original fret wire up. Sounds like a 4001 on steroids, and if there were stainless steel roundwounds on it, no doubt even more wicked. Down side is weight. I call it Blue Thunder, obviously a nod to my other favorite bass type.
Oh, and it's got Rick-o-Sound, so imagine routing those PUs to 2 separate amps! Billy Sheehan, anyone?
Played it in first 2 "garage bands". Wasn't getting the full potential, as I was still feeling out my amp setup. I learned later that when you have a master vol channel, you crank the normal volume, and bring the master up to 2 or 3 to get the overdrive. If I remember - I was doing it sorta backwards. Dohh! Nobody said anything either. When I got to the 3rd band, we rehearsed at S.I.R. in Hollywood, and the guitarist used a Marshall/Les Paul - so now I had to play louder than I used to, to be heard.
What I didn't like, was when I would turn to the amp/cab to fiddle with settings, the Rick bridge PU would howl with feedback. Annoying not just me - but my bandmates. So I pulled it out, and put in a Dimarzio J-bass PU. The poles didn't line up, of course, being made for a wider Fender string spread. But no more feedback... and a lot more oomph. Kept it that way for a while, and then chose to put in a Duncan J-bass NECK PU in the bridge location. Because the pole spacing was closer now. Whether I got different tone or not remained to be heard. Plus, it was black, not creme, so aesthetics.
A couple years ago, I took the bass out and studied it, and decided to de-value it some more. Out came the J pickup, and I shoe-horned in a soapbar humbucker. Which made the neck pickup feel inadequate. So that got replaced by a Model One Dimarzio. As both pickups could be wired series or parallel - I thought, why not put in mini toggles to do switching? Hence the 2 switches under the neck PU location. I've retained the high pass capacitor on the bridge PU, so much of the classic Rick sound is still there. Doesn't look half bad, if I do say so myself. And being a BC Rich devotee, having mini switches to play with is cool.
The original nut was getting long in the grooves - the G string was low in first position. So out it came. Put in a brass nut. Much better - and more sustain. Wheee. Finally, the bridge had to go. Because I noticed the dreaded lift starting to happen. Now there's a Hipshot on there, and I don't miss the mute which I hardly used. Plus, the action and intonation adjustment is way better as a result. All in all, I'm happy with it. I don't ever plan on selling it, so reversing the mods is not a concern, but still could be done. I have brite flats on it, just so I don't eat the original fret wire up. Sounds like a 4001 on steroids, and if there were stainless steel roundwounds on it, no doubt even more wicked. Down side is weight. I call it Blue Thunder, obviously a nod to my other favorite bass type.
Oh, and it's got Rick-o-Sound, so imagine routing those PUs to 2 separate amps! Billy Sheehan, anyone?
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totally, great player, played Js and G&Ls as well..
Nice mods, beautiful color!Well, since we're going down a Rickenbacker rabbit hole, I never got rid of mine. It's a 1976 Azureglow that I've had since 1980. Bought it out of the Recycler ads from a cowboy-type in a high desert trailer. Had some buckle rash on the upper backside.... which told me he swung it low, and wore a big ol' belt buckle. Saddles were facing the other direction - that was an easy fix. Nice clean HSC. Otherwise, one of my dream basses checked off my list.
Played it in first 2 "garage bands". Wasn't getting the full potential, as I was still feeling out my amp setup. I learned later that when you have a master vol channel, you crank the normal volume, and bring the master up to 2 or 3 to get the overdrive. If I remember - I was doing it backwards. Dohh! Nobody said anything either. When I got to the 3rd band, we rehearsed at S.I.R. in Hollywood, and the guitarist used a Marshall/Les Paul - so now I had to turn up to be heard.
What I didn't like, was when I would turn to the amp/cab to fiddle with settings, the Rick bridge PU would howl with feedback. Annoying not just me - but my bandmates. So I pulled it out, and put in a Dimarzio J-bass PU. The poles didn't line up, of course, being made for a wider Fender string spread. But no more feedback... and a lot more oomph. Kept it that way for a while, and then chose to put in a Duncan j-bass NECK PU in the bridge location. Because the pole spacing was closer now. Whether I got different tone or not remained to be heard. Plus, it was black, not creme, so aesthetics.
A couple years ago, I took the bass out and studied it, and decided to de-value it some more. Out came the J pickup, and I shoe-horned in a soapbar humbucker. Which made the neck pickup feel inadequate. So that got replaced by a Model One Dimarzio. As both pickups could be wired series or parallel - I thought, why not put in mini toggles to do switching? Hence the 2 switches under the neck PU location. I've retained the high pass capacitor on the bridge PU, so much of the classic Rick sound is still there. Doesn't look half bad, if I do say so myself. And being a BC Rich devotee, having mini switches to play with is cool.
The original nut was getting long in the grooves - the G string was low in first position. So out it came. Put in a brass nut. Much better - and more sustain. Wheee. Finally, the bridge had to go. Because I noticed the dreaded lift starting to happen. Now there's a Hipshot on there, and I don't miss the mute which I hardly used. Plus, the action and intonation adjustment is way better as a result. All in all, I'm happy with it. I don't ever plan on selling it, so reversing the mods is not a concern, but still could be done. I have brite flats on it, just so I don't eat the original fret wire up. Sounds like a 4001 on steroids, and if there were stainless steel roundwounds on it, no doubt even more wicked. I call it Blue Thunder, obviously a nod to my other favorite bass.
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One of my engineer friends was obsessed with the sum of squares equation, a variation of Pythagoras’ which I’ve long forgotten-
Apogee products are great, apart from their becoming obsolete via MacOS upgrades- my first gen Jam and Gio pedalboard among them-
Thankfully my second generation DUET still works-
With that said I’m more partial to IK Media products-
I love the history of Link Wray’s Rumble.
It was banned in several US radio markets, because the term 'rumble' was a slang term for a gang fight, and it was feared that the piece's harsh sound glorified juvenile delinquency.
The record is the only instrumental single ever banned from radio in the United States and originally called "Oddball".
It was an instant hit with the audience.
Wray said the band struggled to replicate the sound live they made in the studio so He punched holes in his guitar amplifier speakers. The effect was to produce distortion that set the world on fire in 1958. Kinks guitarist Dave Davies says he used a similar method of slitting his speakers to fuzz up the group’s guitar sound (this was just before the invention of the fuzz box). So much behind the scenes music history!
Every once in a while I dig out an old Advanced Calculus college book and thank God I never have to solve another differential equation!
Just remembered the time I sat in a brand new black 1989 Lotus Esprit Turbo with charcoal gray interior at the dealership where my parents bought their pine green Volvo 740 Turbo-
The Lotus was just a dream but at least I got to sit in one!
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