I’m game. So long as it isn’t 07/31 to 08/02. 50th reunion weekend for me.
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Thunderbird Club
- Thread starter TBird1958
- Start date
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- club thunderbird
I look forward to seeing what you do to balance the mudbucker with a G3 pickup - and the rest of the build of course!
It’ll be a challenge. I have a 1960 EB bass pickup in my parts bin. I could just go out and buy a used newer cheap G3 (Epiphone?) and drop the EB and controls in that as a test mule. Kinda hate to carve up that nice reverse Tbird body only to find out that it’s all just a mismatch that won’t work well together. We’ll see.
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Ynmv - your normalization may vary?
We need to start thinking about when.
Solely? Is he trying to keep us away from other stores?
So long as Bekah is there!
And so long as he’s not expecting me to bring my checkbook. I will resist.Solely? Is he trying to keep us away from other stores?
So long as Bekah is there!
- Jun 30, 2010
- 49,588
- 221,967
- Disclosures
- musician/artist/owner - Gildaxe
I'm in. I know a good drummer in SC who would sit in.
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- Jun 30, 2010
- 49,588
- 221,967
- Disclosures
- musician/artist/owner - Gildaxe
And that's what keeps the world spinning round - everyone has their own take.
Personally recording as cheating would never occur/register with me. That would be like saying rehearsing is kinda cheating...
Note Zildjian t-shirt on bassist.
really? interesting, definitely not for me since it's with a view to performing live where you still get only one chance to get it right.....And that's what keeps the world spinning round - everyone has their own take.
" There are no wrong notes-only the expression on yer face"-anon.
- Jun 30, 2010
- 49,588
- 221,967
- Disclosures
- musician/artist/owner - Gildaxe
We talked with him after his show (in Chicago) - he was very friendly & signed my LP (Live at the Lighthouse) for me.
Since we're doing jazzy drum solos here's one I love, but is best heard with cans or buds so you can better hear what both drummers are doing and how they intertwine, separate and play off each other which is the really cool part.
Bonus--Barry's bass solo when Jaimoe and Butch finish.
Drums begin at ~13:00
Bonus--Barry's bass solo when Jaimoe and Butch finish.
Drums begin at ~13:00
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- Jun 30, 2010
- 49,588
- 221,967
- Disclosures
- musician/artist/owner - Gildaxe
Don't get me wrong - for me playing with my improv friends is the ultimate 'in the moment' playing. I love it - getting it right there means we collectively create on the fly. But being improv, there's a lot of not getting it right which is part of the process. In my bands, after rehearsing/honing our songs in rehearsals every week - playing them live proudly presents the efforts of our hard work. Completing a successful set is very rewarding.
Recording creates a document, something that stakes our flag on top off the mountain we climbed. There will be a day my bands end - the recordings will tell the story years afterward. TSC recorded our instrumental part (together) on Wichita Lineman that we 'got right' in the first take. We did two other takes just for good measure but the first was the best.
What if Jimi Hendrix never recorded - only those who were lucky enough to see him live would know how good he was.
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- Mar 13, 2008
- 18,897
- 142,236
- Disclosures
- Endorsing Artist Mike Lull T Bass pickups, The Bass Shop, Seattle WA.
All,
I'll put together an internal thread for a possible GTG, just want to chat with Chuck first.
Hold tight and Thunderbird on!
Experiment with Plasti-Dip plus the 'Glossifier' protective clear coat...
glossier, but also a lot higher 'grippiness', non-slip to a fault. Not ideal for thumb float.
And it loses some blackness.
Trying to use automotive vinyl wrap on something this small is really frustrating, too. It doesnt do boxes well.
So operative plan is matte black Plasti-Dip over its specified primer, likely 4 coats.
If it doesn't wear well with time and playing, will circle back to the vinyl concept and practice corners in future. Cutting and layering the corners gets close, but "radiused roundness to flat sides" is ugh. Actual sharp corners would be easier.
glossier, but also a lot higher 'grippiness', non-slip to a fault. Not ideal for thumb float.
And it loses some blackness.
Trying to use automotive vinyl wrap on something this small is really frustrating, too. It doesnt do boxes well.
So operative plan is matte black Plasti-Dip over its specified primer, likely 4 coats.
If it doesn't wear well with time and playing, will circle back to the vinyl concept and practice corners in future. Cutting and layering the corners gets close, but "radiused roundness to flat sides" is ugh. Actual sharp corners would be easier.
Being able to play like it's fresh and spontaneous when recording is a skill on its own.
IMO some of the best recordings are played live in the studio (at least drums and bass) with overdubs to fix small mistakes and add to the sound. It's kind of like painting.
Consider how Led Zeppelin 2 was recorded. From the Bob Spitz book:
“It was quite insane, really,” he (Jimmy) recalled. “We had no time, and we had to write numbers in hotel rooms. We’d put down a rhythm track in London, add the voice in New York, overdub harmonica in Vancouver, and then [go] back to New York to do the mixing.”
The recording itinerary was indeed astoundingly peripatetic. At tiny Morgan Studios in North London, with Glyn Johns’s brother, Andy, at the board, they’d laid down the tracks for “Thank You,” “Livin’ Lovin’ Maid (She’s a Woman),” and “Sugar Mama,” the latter of which was eventually abandoned. “Heartbreaker” was recorded in New York, with the rhythm track taped at A&R Studios. Jimmy’s solo, however, “was an afterthought,” he said. “That whole section was recorded in a different studio”—farther uptown at Atlantic—“and was sort of slotted in the middle.” While at Atlantic, he put the finishing touches on “Bring It On Home,” which had initially been cut at funky R&D Studios in Vancouver. “Moby Dick” finally came together at Mirror Sound in LA, then back to New York for “Ramble On” at Juggy Sound before heading back to Olympic in London for a session that produced “What Is and What Should Never Be.”
“We recorded and overdubbed our way from West Coast to East Coast,” Jimmy said, gratified that they were able to pull it off. Miraculously, consistency wasn’t a problem, nor was what he called “the attack”—the way they bit into those songs “to get excitement onto a piece of plastic.” It was essential to match what was happening onstage—the dynamics, of course, but also the spontaneity and the experience. “Part of the excitement of the album is due to the fact that we were completely energized from the live shows and the touring.”
