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Thunderbird Club

On the way home...

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Well, a couple of things get considered.
I always take two basses, so I like them to be somewhat similar, kind a pair sonically. This night I had the Lull, but actually played the '89 for the first set and sound check - same pickups.
Some venues allow for turning the amp a little, some don't, some basses don't sound good at low volume, like a '76, my two don't come out that much anymore.
Room onstage, our singer is a klutz, she moves around a lot, not always gracefully - she's hit the headstock of several of my basses, so I'm careful about the '64.
Halloween is on a very large stage with a good sound guy and FOH, so he'll deal with whatever I throw at him just fine - The '64 may go to our show on the pier in Pt. Angeles on 7/17 as well, kinda want to bring the Bugera along for that as well, stage is big there too.
Lastly, but not least what clothes to wear, yeah, that's important too :)

Of course... totally understandable! :) And thanks for your insightful explanation, I really appreciate hearing how we (bass-players/fellow musicians) do related things. I totally get how some basses work best in specific situations. I'm always testing whatever bass in a live situation - usually my band's rehearsal (TSC) or jam-session. As in, not at a live gig for the first time. Some fit, some not so much regardless of their sonic worth otherwise. Oh, and as much as I have brought more than one bass to a live gig... not usually, and after (how many years?) have never, ever had an issue other than an amp failing mid-set.

Related story... TSC has a gig coming up in a few weeks, and (for whatever reason) I told our drummer he can pick which bass I play that night. Without hesitation he said "the Thunderbird"...:bassist:
 
Well, a couple of things get considered.
I always take two basses, so I like them to be somewhat similar, kind a pair sonically. This night I had the Lull, but actually played the '89 for the first set and sound check - same pickups.
Some venues allow for turning the amp a little, some don't, some basses don't sound good at low volume, like a '76, my two don't come out that much anymore.
Room onstage, our singer is a klutz, she moves around a lot, not always gracefully - she's hit the headstock of several of my basses, so I'm careful about the '64.
Halloween is on a very large stage with a good sound guy and FOH, so he'll deal with whatever I throw at him just fine - The '64 may go to our show on the pier in Pt. Angeles on 7/17 as well, kinda want to bring the Bugera along for that as well, stage is big there too.
Lastly, but not least what clothes to wear, yeah, that's important too :)
I know each of our gigging situations is unique, but our band hasn't had FOH or a sound man-'cept us-since 2015.
The only thing in the PA is vocals-no instruments. We could run instruments through my PA, but there's no need in the rooms we play in. We can't run instruments through the one guitarist's PA.(We alternate systems)
I always take a backup bass*, especially if I'm using/abusing the 67NR-in case the h.s. separates...again.
*Either the Embassy or the EB-0.
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BTW, I thought headstocks were for hitting drummers.:smug:
 
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Of course... totally understandable! :) And thanks for your insightful explanation, I really appreciate hearing how we (bass-players/fellow musicians) do related things. I totally get how some basses work best in specific situations. I'm always testing whatever bass in a live situation - usually my band's rehearsal (TSC) or jam-session. As in, not at a live gig for the first time. Some fit, some not so much regardless of their sonic worth otherwise. Oh, and as much as I have brought more than one bass to a live gig... not usually, and after (how many years?) have never, ever had an issue other than an amp failing mid-set.

Related story... TSC has a gig coming up in a few weeks, and (for whatever reason) I told our drummer he can pick which bass I play that night. Without hesitation he said "the Thunderbird"...:bassist:
Smart drummer.:thumbsup:
 
This really is a special place.
Indeed. I am completely confident no one would laugh at my playing if I were hopefully able to make it one day. We all know we are at different places and had more or less opportunity and experience to be/get better. But the love shared is playing bass (Thunderbirds in particular), and not having to play them well. Not to say I wouldn't feel self-conscious. I have never liked playing in front of people I know. Like playing at church. The know me and will see me many times again. Nameless faces in a crowd I will likely never see much less know creates less anxiety for me.
 
Hi all,
Just wanted to share my Epi 60's. I got it last September, but had not played it much till I took to a rehearsal two weeks ago. It killed! Strung with DR Hi Beams it's crunchy low tone is fantastic. Thinking about getting another one.
Do it! Two is better than one. Both of mine are fantastic. The white one even has GHS Flats and sounds great. Those Epis are some the best basses I've even bought.
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I've since gotten burned out on the analyses, but perhaps they were not-

I'm thinking now that a 20 foot Pro Co Evolution series cable with oxygen-free conductor and gold-plated Neutrik connectors available for 39.99 with free shipping from Amazon is probably the better deal if one is looking for a higher end cable.

Came to find that my 21 foot Monster Cable I bought a long time ago now costs around 75 dollars- probably won't reprise that purchase even though it has survived my tripping over it a couple of times, and bending the jack-
I haven't been able to read every word of this line of thought, but Bruce at Bayou Audio Cables is great. If I'm off base, please ignore as usual.

He's a TB member. Can likely make anything you want and is (was) very reasonable. He made a number of cables for me likely close to 15 years ago and they all work perfectly and are used once or twice a week.
 
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