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Thunderbird Club

But there are no wrong notes in Dead music! (Of course that is not true. Or mostly not true. :smug: )
I would love that, but would have to be around good friends to minimize the self-conscious weight to some extent. It would be so cool (and good experience) to do that kind of thing.
That’s the thing. There is a whole spectrum of wrong to right notes with a lot of room to excel, and more room to screw up or muddle through than a lot of music. But also, you are always creating something new — again on a spectrum, this time of just a bit to a lot. That was true with Skynyrd, too, but I can’t pull that off.

Yet.
 
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That’s the thing. There is a whole spectrum of wrong to right notes with a lot of room to excel, and more room to screw up or muddle through than a lot of music. But also, you are always creating something new — again on a spectrum, this time of just a bit to a lot. That was true with Skynyrd, too, but I can’t pull that off.
Yep. When we played "Freebird" or "Sweet Home" did I play every effing note exactly as Leon played it? No, and neither did he I'd bet. Same with most of our repertoire (over 200 songs). There'd almost always be minor differences in live performances. And unless one of the members of the band whose song we were covering was in the audience, nobody knew. Or GAF.
Of course I s'pose we could've had charts for our entire song list, duplicating every effing note-including 'clams'-on the original recording. But that would mean having books the size of Webster's Unabridged-and industrial strength music stands-on 'stage'(which we also didn't have).
 
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Yep. When we played "Freebird" or "Sweet Home" did I play every effing note exactly as Leon played it? No, and neither did he I'd bet. Same with most of our repertoire (over 200 songs). There'd almost always be minor differences in live performances. And unless one of the members of the band whose song we were covering was in the audience, nobody knew. Or GAF.
Of course I s'pose we could've had charts for our entire song list, duplicating every effing note-including 'clams'-on the original recording. But that would mean having books the size of Webster's Unabridged-and industrial strength music stands-on 'stage'(which we also didn't have).
That’s the thing. There is a whole spectrum of wrong to right notes with a lot of room to excel, and more room to screw up or muddle through than a lot of music. But also, you are always creating something new — again on a spectrum, this time of just a bit to a lot. That was true with Skynyrd, too, but I can’t pull that off.

Yet.
I prefer hearing music with mistakes. There's an interview with Jimmy Page where he says something like "he never worried about getting things perfect, just good enough so the listener would get the idea"
 
Speaking of Skynyrd, they sure rocked live. Wish I could hear the bass a little better, but it's still pretty cool:

The video of Freebird at Oakland, CA, in 77 has very good audio and video. They were tight and loose at the same time. IOW, well rehearsed but free to go nuts on solos. The guitar duets are right on the money. And even the real piano is audible. The sound folks knew what they were doing. :thumbsup:
 
We never required pay for requests. If they wanted to kick in, great, but our job was to keep the patrons happy, thus keeping the managers happy. And us re-booked.
We weren't doing a 'show' or a concert. We got some pretty lame-ass requests over the years, but if we knew it, we'd play it.
In the 70s, when the band I was in booked a wedding/private party, we'd ask if they had any special requests (i.e., first dance, Anniversary Waltz, whatever). We didn't charge 'extra' for that, but our up front fee was enuff compensation so 'stuff' like that was included.
right, but we had contactually honored pay, these kids don't....
 
It's truly beautiful. There. Not here!:smug: I've had enough snow and ice. If I have to shovel or fool with it, it ceases to be pretty for me.
I’m with you, beautiful yes, but I really hate winter and the cold🥶
Just waiting for the day I can launch my boat again.

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The video of Freebird at Oakland, CA, in 77 has very good audio and video. They were tight and loose at the same time. IOW, well rehearsed but free to go nuts on solos. The guitar duets are right on the money. And even the real piano is audible. The sound folks knew what they were doing. :thumbsup:
That and Knebworth are two faves. One always had the impression that if Ronnie didn’t reign Allen in, he’d have kept Freebird going until he dropped from exhaustion.
 
Good morning all! I just had an epiphany- see about lowering the bridge on the Warwick BO 5 to get the action down. It worked on the Corvette.

The reason I believe it has a chance is when I first brought it into Neil, the only comment he had was whomever had previously set it up had gotten the removable bridge saddles mismatched to the strings and that it was a heavy SOB. This was in 2010 when the bass was over five years old and it seems to me that any serious warpage would have happened by then. And he never said anything about a warped neck. But he did say he didn't like Warwicks.

Later when I brought in around 2014 he said the neck looked a little odd to him around the 14th fret but ithat it probably came from the factory that way. He never actually said it was warped.

I never had an issue with an intonation but that the action had gotten high just like about every other bass I've had after sitting disused in storage- even my Rickenbacker 4003 - except for my Corvette fretless 5 whose action had gotten low enough to buzz- in that case I had to loosen the trussrod a bit.

So, I'm going to get the Thumb back out of storage and try lowering the bridge and see if there's leeway to do that- I'm guessing the previous owner or person who got the string saddles wrong may not have known to do that-

I'm hopeful- let's see what happens-
'05 Warwick Thumb BO5 fixed and reporting for duty my fiends!!

Yipeeee!!! I'm so happy!!

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So the bridge was a bit high and there was plenty of adjustment left to bring the bridge saddles down where I get 2.25 mm - 2 mm space at the 24th fret from Low B - G.

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Also if I use Warwick's criteria for checking trussrod relief- capo at first fret and check space between frets 4- 8 while holding down at the 12th fret- it checks out at about .006-.008 mm.

So there you we have it- just need to add a 9V battery that won't leak-- we'll touch on that subject later-
 
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I prefer hearing music with mistakes. There's an interview with Jimmy Page where he says something like "he never worried about getting things perfect, just good enough so the listener would get the idea"
I'm with Jimmy :)