Thunderbird Club

[Engle]

Just buy a Lull P with Tbird pickups.

Well, Donnie could build one for a lot less.

 

[Engle]

I know, but $$$$$. I do love the Gen 2 Pbass bodies.

I like what these guys do not far from here. Still over 3k. They use Lollars. For my purposes I can likely do one for maybe 1/3 of that. I still have some tuning keys J.T. gave me. Thought about flipping the headstock. Looks cool, but seems like a practical pain.
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I like those except for the separate control plate. Design-wise why not just continue the pickguard? Or route from the back?

 

[Engle]

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...

I guess I'm cheating when I sit there and do take after take until I get my solo just the way I want it
But it still feels creative.

 

[MCF]

Well, Donnie could build one for a lot less.

But then he would have a set of Lull’s. I love spending other people’s money.

 

[Engle]

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.

I have a late 60s Mudbucker and a Decola Tbird pu in my EB build. I can balance them with the volume controls, but the Mudbucker is much louder. I can imagine blowing a speaker by fumbling with the controls when playing live.
It would probably benefit from a buffer/preamp that allows for separate gains for each pickup.

 

[dagrev]

Looks like a Bluesman Vintage to me

You may have nailed it.

 

[dagrev]

The Thunderbird was ripping last night! I used a P bass for one set, and the whole time I was wishing it was my NR.

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Cool!

 

[dagrev]

I'm guessing they wanted to keep the vintage look going. Having had a '55 for 40ys the control plate looks normal to me, but I think no plate or pickguard there or maybe anywhere would look great. Really nice with a good looking top. Preference I know, but don't think I would want the pickguard going down that far.

 

[dagrev]

Well, Donnie could build one for a lot less.

And have some fun doing it and admiring it later. Assuming it turned out OK!

 

[dagrev]

But then he would have a set of Lull’s. I love spending other people’s money.

We're all well aware of this.
The first step is always admitting to oneself that we have a problem. But I don't think you're quite there yet. I think you thoroughly enjoy the whole enabling thing way too much to give it up!

 

[dagrev]

But then he would have a set of Lull’s. I love spending other people’s money.

I would like some of those pickups. No doubt about it.

 

[MCF]

Count me in!

Excellent!

 

[MCF]

 

[Chucky Stiletti]

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.”

totally, don't disagree at all, I like the studio environment and spent quite a bit of time in it both as a musician and as a technician testing recording gear manufactured by whoever I was working for at the time.....point being, you can "fix" it and consciously or not, one plays with a different mentality....mistakes hurt more in front of an audience imho.....

 

[Chucky Stiletti]

Tonight...

Call Me The Breeze
Born on the Bayou
Burning Love
Squeeze Box
Saturdays Bad Case of Loving You
Come To Poppa
Good Love
Saturdays All Right For Fighting
Brandy
Shambala
Gotta Get Better In A Little While
Evil Ways
Foxey Lady
Fly Like An Eagle
Ballad of John n Yoko
Mary Had A Little Lamb
Runnin Down A Dream
Back Door Man
Born To Be Wild
Take Me To The River
Feel Like Makin Love
You Wreck Me
Tush
Folsom Prison
Pride n Joy
Green River
Suzie Q
Roadhouse Blues
Jumping Jack Flash
The Seeker
Bad Case of Loving You
Come To Poppa
Good Love

Here, fun spot...

 

[dagrev]

View attachment 7467289

Good Dog!

Anyone want to guess who bought the toy...

 

[Miles_ONeal]

Good Dog!

Anyone want to guess who bought the toy...

@MCF , of course

 

[TBird1958]

Tonight...

Call Me The Breeze
Born on the Bayou
Burning Love
Squeeze Box
Saturdays Bad Case of Loving You
Come To Poppa
Good Love
Saturdays All Right For Fighting
Brandy
Shambala
Gotta Get Better In A Little While
Evil Ways
Foxey Lady
Fly Like An Eagle
Ballad of John n Yoko
Mary Had A Little Lamb
Runnin Down A Dream
Back Door Man
Born To Be Wild
Take Me To The River
Feel Like Makin Love
You Wreck Me
Tush
Folsom Prison
Pride n Joy
Green River
Suzie Q
Roadhouse Blues
Jumping Jack Flash
The Seeker
Bad Case of Loving You
Come To Poppa
Good Love

Here, fun spot...
View attachment 7467314

Have a great show, Chuck! I see "Come to Poppa" twice on the set list

 

[Stealth57]

I’m game. So long as it isn’t 07/31 to 08/02. 50th reunion weekend for me.

First 3 weeks of June, second half of July, first half of August are safe for me.

 

[JJR58]

All,

I'll put together an internal thread for a possible GTG, just want to chat with Chuck first.

Hold tight and Thunderbird on!

Not sure I can commit to this GTG.
But at least I attended the first 3.