- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
I'm discerning about my tone, but I play both and they sound like a Jazz bass to my ears. YOMV
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Thunderbird Club
- Thread starter TBird1958
- Start date
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- Tags
- club thunderbird
- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
We're all lucky to have so many choices.
- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
For me, both. Honk.
Just fired up the rig to make sure all systems are go for tomorrow’s Canada Day car show gig.
It’s a very loud 100 watts!
It’s a very loud 100 watts!
Excellent. I like it all but the chorus is chef’s kiss.
Theres a difference for sure, how much is negligible too. But i feel 60s spacing is a little round/warmer, where 70s has a little more bark to it (which i prefer).
A really good band. And I love her voice. I missed that she passed. D@@@ it.
Sounds like he earned the banishment.
Now he needs to smash the headstock against concrete to prove it’s rock solid!
Reminds me of primer. I’d likely treat it as such! But congrats, man!
- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
Thanks Miles!
When we first started developing it it sounded very '80s Euro to my ears. Probably because of the accordion-like keys sound and Kirstins' French passages, further cemented by adding a limiter band past filter on those sections. Chorus (omnipresent in the '80s) blended well with that vibe.
Which model Ampeg cab is that sitting on top?
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- Mar 13, 2008
- 18,894
- 142,211
- Disclosures
- Endorsing Artist Mike Lull T Bass pickups, The Bass Shop, Seattle WA.
It was an unplanned purchase - trust me - I only had this sudden urge and the stork brought this to my door- one Charvel MJ San Dimas Style 1 HSS FR E. It was the ebony fretboard and gold hardware that got me, along with her Japanese pedigree- and a great price -
Not that there weren't some birth pains as the previous owner had slapped a set of what I believe are 12's with the intended tuning down to C. But they lost their way and apparently gave up on it and sold it, given the pristine condition it and it's case came in-
The tuning was off so when I tried turning the Allen screw on the back of the low E position, the string came out. So I had one of my guitarist buddies stop by and school on the world of the Floyd Rose style of floating tremolo.
So when I got it, the Gotoh 1996T floating bridge was leaning forward with the heavy gauge strings, and when I installed a set of factory spec 9-42's, it leaned way backward. So we had to ease up the tension on the tremolo springs.
Then when I tuned to Drop D the low E when played open, would ring out, buzz temporarily, and ring out again. So I needed to add relief to the neck which I loosened the trussrod until the adjusting wheel at the base of the neck was spinning free. Still had some buzz, so I kept going counterclockwise until a 25 mm (.010) feeler gauge would slide under without touching. Still had some buzz so I loosened the strings (you're supposed to before raising a floating tremolo to avoid abrading the metal inside) and raised the bridge until I had a little more than 1.75 mm above the 12th fret.
Interesting that my Strat Ultra Plus has a 9-42 set has little less relief where the 25 mm gauge slightly touches the E string and the action is a little less than 1.25 mm at the 17th fret and does not buzz with that set up.
Measurement locations were per manufacturer's instructions.
Perhaps the differences were due to the Charvel having a 12-16 compound radius with 24 jumbo frets as opposed to the Strat Ultra's 9.25 inch radius and 22 medium jumbo frets.
So the decision came when I realized that "Paradigms" would receive a heavier-handed approach with the tremolo than I had previously anticipated, which up to then had only gone as far as a series of gentle whole step dips from a D A D power chord to C G C to fade out from the song's intro into the first vocal verses.
But then I thought about the solo break and bridge that take on an increasingly more strident/angry tone, and then the coda as well-
And I didn't want to subject the standard Fender bridge on my Strat Ultra to that-
Besides the Seymour Duncan JB in the bridge has a tone and attack more apropos to hard rock/melodic metal
So there you have it-
Not that there weren't some birth pains as the previous owner had slapped a set of what I believe are 12's with the intended tuning down to C. But they lost their way and apparently gave up on it and sold it, given the pristine condition it and it's case came in-
The tuning was off so when I tried turning the Allen screw on the back of the low E position, the string came out. So I had one of my guitarist buddies stop by and school on the world of the Floyd Rose style of floating tremolo.
So when I got it, the Gotoh 1996T floating bridge was leaning forward with the heavy gauge strings, and when I installed a set of factory spec 9-42's, it leaned way backward. So we had to ease up the tension on the tremolo springs.
Then when I tuned to Drop D the low E when played open, would ring out, buzz temporarily, and ring out again. So I needed to add relief to the neck which I loosened the trussrod until the adjusting wheel at the base of the neck was spinning free. Still had some buzz, so I kept going counterclockwise until a 25 mm (.010) feeler gauge would slide under without touching. Still had some buzz so I loosened the strings (you're supposed to before raising a floating tremolo to avoid abrading the metal inside) and raised the bridge until I had a little more than 1.75 mm above the 12th fret.
Interesting that my Strat Ultra Plus has a 9-42 set has little less relief where the 25 mm gauge slightly touches the E string and the action is a little less than 1.25 mm at the 17th fret and does not buzz with that set up.
Measurement locations were per manufacturer's instructions.
Perhaps the differences were due to the Charvel having a 12-16 compound radius with 24 jumbo frets as opposed to the Strat Ultra's 9.25 inch radius and 22 medium jumbo frets.
So the decision came when I realized that "Paradigms" would receive a heavier-handed approach with the tremolo than I had previously anticipated, which up to then had only gone as far as a series of gentle whole step dips from a D A D power chord to C G C to fade out from the song's intro into the first vocal verses.
But then I thought about the solo break and bridge that take on an increasingly more strident/angry tone, and then the coda as well-
And I didn't want to subject the standard Fender bridge on my Strat Ultra to that-
Besides the Seymour Duncan JB in the bridge has a tone and attack more apropos to hard rock/melodic metal
So there you have it-
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Had to look that up!
It would be a Grouse here if we had any. Great word grouse.
“Howareyagoin’ mate?” “Grouse”
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- Jun 30, 2010
- 49,588
- 221,963
- Disclosures
- musician/artist/owner - Gildaxe
"The Ripper" and "The Grabber" names were almost as good as "Hard Puncher" (P) and "Jazz Sounds" (J) by similar time period MIJ Tokai
"The Ripper" and "The Grabber" names were almost as good as "Hard Puncher" (P) and "Jazz Sounds" (J) by similar time period MIJ Tokai
I love the Ripper name
Gaolee
Official leathers tester and crash dummy
Wow. I'm happy to be a bass player, not a guitarist! Sounds like way too much messing around. It's good that somebody does all that, but just reading it made my brain hurt. It's probably not so bad when you are doing it, though.
what a killer looking rig......a far cry from the 7ender bass with the 7ender amp with the 7ender strings with the 7ender chord and the 7ender strap and the 7ender picks and don't forget the 7ender t-shirt (bless).... if I stumbled into a venue and saw that I would definitely stay to check out the act/bassist....
