Brave wouldn't have been what I called him....What’s the old proverb?
“Twas a brave man indeed,
That first ate an oyster”

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Brave wouldn't have been what I called him....What’s the old proverb?
“Twas a brave man indeed,
That first ate an oyster”

I was kind of with you on avoiding them. Played a few. They were so light that they felt really odd to me.I'll admit to despising the Steinberger L-series as a judgmental 20 year old when they first appeared in popular media in the early-80's based on their looks and the fact that they were apparently a fad at the time. I mean there were pop bands on Solid Gold featuring them. Even David Bowie played one of the guitars at one time. I liked more traditional styles. But then in the mid-2000's I saw a Youtube demo of an XL-2 and was quite impressed at how good it sounded. So I figured that I might purchase one someday, but half-jokingly told a luthier friend that only if it were an unlined fretless five. What are the odds? Six months later, and the rest as they say is history ...
I find that the type of flux matters. Darker flux has a more golden the tone. Maybe I'm imaging things.Harness?!? What harness? PTP, baby! (But yeah, wire & soldering matter, though they don’t usually impact tone, just noise type & levels).
Does the Hand Sanitizer on the table help?Shuck them if you got em’
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I didn't make it past the talking.Ugh. Talk about dreadful. The things some guys lower themselves to in search of fame and fortune. One of the worst bands in history.
Having two is just wrong somewhere in the universe when some of us have none. Never thought I would use the illogical term, but I'm for bass equity here. Those are stunning x2. If I could find one beat up or any NR, I would be torn between refinishing it in black or ivory like Chuck's. Likely black. Just amazing. But would not look forward to painting a set neck bass.I’m blessed.
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I like the color. Gibson must have less access to various paint colors.
That’s a new meaning of wiring harness, one that muddies the waters.Harness = electronics done correctly. (active or passive) Not to be understated.
Starving? Hallucinating? Insane?Brave wouldn't have been what I called him....![]()
What did you find interesting? Other than “80% of frets remain? Like they caught Willy in their music room, gleefully assaulting their bass.
Yikes! Good thing it's on the pickguard side!So, just out of curiousity...
...anyone know if there is a world record for longest single full-thickness drop fill repair?
The previous record, I mean?
Found a bubble under the gold, pretty much the full length of the front lower "wing step."
Found it by it collapsing when the corner of the sanding block poked thru it.
Crunch.
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Crunch, crunch, crunch...
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Trying to fix it.
Cleaned it out. Dropping clear as a seal/base. Then will try to brush gold...
Just in the crease.
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Then more clear.
Luckily, the pickguard will cover 2/3 of it...
... and the other 3 creases are fine.
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I've not seen that colour on a VP before... must be a Japan only optionWhat did you find interesting? Other than “80% of frets remain? Like they caught Willy in their music room, gleefully assaulting their bass.
It's not very often I'm watching a documentary and I see a person described as a bass detectiveI gotta watch it!
That is a beautiful guitar!Talking about colour - this is a guitar ('66 Firebird) but the aged finish is spectacular -
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1966 Gibson Firebird III Sparkling Burgundy Metallic Non-Reverse | Reverb
I hear you thinking: "Ah right, a Sparkling Burgundy Metallic Gibson Firebird. Thats cool!"But no, no, no, my friends, don't you think Sparkling Burgundy is a standard Gibson custom color for Firebirds. While the metallic shade resembles the Candy Apple Red found on Fender instruments, it was not...reverb.com
It's funny you should say that...That makes it more like an authentic Gibson.
It’s hard to keep track. Currently in stock at SW. And for much less than it will cost to import that one from Japan. I do like the color.I've not seen that colour on a VP before... must be a Japan only option
GPers look at that, bash Gibson QC, and complain about finish flaws. Doesn’t bother me in the least.It's funny you should say that...
Exact same spot on my 2018: less pronounced but definitely 'rough.'
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And I remember the RH Epi I had but sold had a similar issue.
Not a flaw, then.
Just me faithfully replicating wing to body glue seams I don't actually have.
Improving: base clear and color down. More clear later after it sets, then feather.
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At least color match is perfect because I decanted leftovers from the rattlecan and kept for touchups.
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I think most ceramic magnet pickups are built that way with the magnets under the pickup and steel pole pieces or blades. Alnico will have magnetic blades or cylinders that are the pole pieces.Had a chance to test out my new to me, Gibson TB+ pickups, lots of hogging out a piece of ply i had installed in the original epi neck pickup cavity. & the size difference it's something between pickups.
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Where i do assume the alnico 5 bar magnets are the blades for the 60's pickup on the right, the modern's ceramic magnet sits beneath the coils (which are less in width than the shell). Nonetheless, the modern cover is also a lil wide/long to accept the rings i had around the 60s. So out with the 60's/70's look, & back to the post 87-88 birds. Sound wise, the Modern TB+ are still clear enough for pick attack & grind, but they have more growl, where i'd categorize the 60's versions as piano like, with a grind/bite. My 60's RI pickups are 8.3-8.5k range, where the Modern TB + are 9.6-9.7k. Both have a very stark contrast to the former Epiphone Deep sixx pickups which were 12 & 17k (super dark, overall).
Anyway, while i'm happy with the modern TB+, & my Epi bird will have a new 3pc hard maple body built for it (with some slight tweaks), i'll test both sets, & decide when its built which, will reside in it for good. & with that, also means another Thunderbird build for me to use the other set. I'm 90% sure the new maple body build will sport the modern TB+, which leave the 60's RI to use in the full ground build.
You need both Vintage & Modern Thunderbirds under one roof, however my vintage build would perhaps bridge elements from both the 60's & 70's Birds. I'm sticking to the reverse shape overall on both, the vintage build will look more like the 70's versions & the pickups wired in series as they were in the 70's.
& i won't lie, once the moderns were in my bird, in my head that's the thunderbird tone i know most. The 60's sound great too, just different, & until i ever play a real vintage 60's bird, i'll be content with the vintage build i'll have overall to fill that void xD.