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Thunderbird Club

#336,141
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#336,142
GBassNorth said:
Heck, that’s quite a bit more than I paid for my 1964 Mustang!
View attachment 7421578
In the pic - taking off the steel wheels to replace them with chrome Crager SS and 60 series tires and adding air shocks, had already added cherry bomb glass packs and replaced the FoMoCo 4bbl with a Holley 650 double pumper.

Bought bone stock back in 1976, $1000 for a nice condition low mileage 1964 1/2 Mustang hardtop with a 289 (possibly HiPo engine) auto trans with full console. Sold two years later to pay for my first wife’s wedding ring (two big mistakes - selling the car and marrying the witch). Fast forward 4 years from then and divorced with the witch getting my 1973 AMX in the settlement, I got the consolation prize, a 1981 VW Rabbit. She totaled the AMX several months later.
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Great pic/story, please tell me it wasn't one of these....
IMG_8160.jpeg
 
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#336,143
dagrev said:
This is a well kept secret, but Thunderbirds love flats. Sounds counter intuitive in some ways, but it works great. Benn using flats on (some) of them for well over a decade.
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I'd expect the earliest Thunderbirds were shipped from the factory with flats.
 
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#336,145
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#336,148
Ringhammer said:
Having every song from both bands recorded well is a bonus these days. In the past, the best we could hope for were decent “demo” recordings, and that still cost more then (relatively) than now.

Bad Lemon does all its own recording and mixing (our vocalist Mike is good with Cubase, and has all the gadgets to get us recorded and mixed to our liking), then it goes out for mastering.

Red Sun Ruins has always gone out to record. We used Bart Thurber for most recordings. We did do some songs by having with Mike (BL) record the tracks, and then sent them to Bart for mix/master. Our recording of Ohio was done by someone else completely. Sloth Mountain Studio in La Honda.

RSR’s current four songs are going to be a hybrid. The drums, bass, and initial guitar tracks were recorded with Bart. All double guitar tracks, solos, dual harmony parts, piano, organ or any other atmospheric sounds, and all vocals will be recorded at BL’s studio with Mike, and that will get sent to Bart for mix/master.

It is truly a blessing to be able to have very good recordings of the work we have done, and all for merely a few hundred dollars.
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Right on - we've stuck with Robert Preston (yes, same name as "The Music Man" movie lead character) at Get Reel Productions minutes from my house and after 6yrs he knows what we're after and as a musician himself creates an environment to successfully realize our songs in. The skilled human interface is critical to creativity.
 
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#336,149
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#336,159
I got a TRex Quint Machine after deciding to send the Octamizer back. It tracks better for me, but still doesn’t sound right. Instead of the usual transient of an attack, I get a very brief fundamental, then it switches to the octave down (the only effect I am going for at the moment - the reason I got the pedal. But even then it sounds like a weird synth, not a Thunderbird. I thought maybe it was the Rumble not wanting to go as low as I hoped, but playing up the neck or on higher pitched strings doesn’t help.

So, Quint users, any ideas?

@bylar13 , @ThaCoast , anyone …
 
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#336,160
Miles_ONeal said:
I got a TRex Quint Machine after deciding to send the Octamizer back. It tracks better for me, but still doesn’t sound right. Instead of the usual transient of an attack, I get a very brief fundamental, then it switches to the octave down (the only effect I am going for at the moment - the reason I got the pedal. But even then it sounds like a weird synth, not a Thunderbird. I thought maybe it was the Rumble not wanting to go as low as I hoped, but playing up the neck or on higher pitched strings doesn’t help.

So, Quint users, any ideas?

@bylar13 , @ThaCoast , anyone …
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It's been a while since i sat down with the Quint Machine, but will report back later today. Though my main usage is more octave up & some octave down.
 
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