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Thunderbird Club

So this is the GK I mentioned the other day. Sounds good at bedroom volumes. I have the tweeter permanently turned off.
Oh and I had to buy one of those “fancy pants” cables for it.

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One of my favorite scenes from Harringon's View- at the hologram bar though Caleb doesn't know it-

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"Girl trouble? Rick asked. "Dame like that, you should be running to her not, not away."

"You don't know Anna Harrington."

"What did you do to set her off?"

"I have no idea."

He throws his head back and laughs. "Well that's par for the course, but in the meantime would you like another bourbon?"

"I'm not even supposed to be drinking this stuff."

"Well, in that case, let me offer you another glass of unauthorized consolation."
 
Ted Nugent busted- once said the hated keyboards but there's a lovely piano track here. Great vocal by Meatloaf and some really soulful guitar in there too!

But let's not forget co-writer Rob Grange's cooly-phased Precision-

Clearly my all-time favorite Nuge song, closely followed by "Great White Buffalo"-


Stranglehold may be my favorite. GWB is up there. Some Amboy Dukes will sneak in, too.
 
Starting to feel dirty given this is my latest temptation- I need a good fretted bass that I can leave at my parents house in Florida. Last October I bought a lovely arctic white Fender Mod Shop Jazz bass for that purpose, but somehow it stowed away and I found it in the back seat, along with a Spector Euro LX purchase in January , when I arrived back in Texas February this year.

So this could be the one-

 
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One of my favorite scenes from Harringon's View- at the hologram bar though Caleb doesn't know it-

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"Girl trouble? Rick asked. "Dame like that, you should be running to her not, not away."

"You don't know Anna Harrington."

"What did you do to set her off?"

"I have no idea."

He throws his head back and laughs. "Well that's par for the course, but in the meantime would you like another bourbon?"

"I'm not even supposed to be drinking this stuff."

"Well, in that case, let me offer you another glass of unauthorized consolation."
Some context from the novel- Caleb was supposed to attend a play called "The Snow Queen', the titular role played by a young girl at the psychiatric facility by the name of Jenny who adored him. But he had a lapse in memory due to his damaged faculties -

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"You'll be there won't you?

"I'll be on the front row."

But sadly. he wasn't-


Here's the actual narrative for the scene where Möbius appears as a bar patron-

And so, the friendship between Caleb and Jenny developed.

It started with shared mealtimes, conversations, book readings, board games, and impromptu fun such as tag and hide and seek. Later came supervised trips to the waterpark among other locations throughout Harrington’s View.

One night Jenny was to portray the lead role in The Snow Queen for a special evening presentation at the children’s ward.

“You’ll come, won’t you?” she had asked.

“I’ll be on the front row,” he had assured her before heading to MainView for an early dinner at The Onyx.

He enjoyed his filet of sole, all the while checking his NavCom to make sure he made it back in time for the play.

But on the way back, the pulsing beat of a live rock show drew him to the theater. Recognizing him, the band invited him onstage.

“Pick your poison,” one of the guitarists said, indicating a rack of guitars. “You lead and we’ll follow.”

Selecting a white Stratocaster, he played the opening chords of “All Along the Watchtower”, eliciting applause from both band and audience.

And thus, it continued with each song a crowd pleaser, and Caleb having the time of his life until they were halfway through Dokken’s “Into the Fire”.

Feeling the energy of the crowd, he headed for the edge of the stage and leaned toward a member in the front row. It was then that he found himself staring into the blazing eyes of Anna Harrington. He recoiled in surprise, then backed away as she motioned for him to come hither.

To his horror, she began climbing onto the stage.

Caleb beat a hasty retreat, handing the guitar to the lead singer before running backstage.

Unbeknownst to him, Anna had reversed course and was headed down the aisle to cut him off.

Searching for a way out, he felt a tug on his arm.

“This way,” a voice said.

From there he was ushered into a hidden passageway.

“Girl trouble?” his shadowy companion asked as Caleb looked backward in apprehension.

“You could say that,” he replied, sighing with relief as a door closed behind them.

“My first thought was, beautiful dame like that? You should be running to her, not away from her.

“You don’t know Anna Harrington.”

“So, what did you do to set her off?

“I have no idea.”

His companion threw his head back and laughed. “That’s about par for the course.”

“It’s one of my many talents.”

His companion grinned and extended a hand. “Name’s Rick.”

“Caleb, Caleb Key. Pleased to meet you and thank you for the help.”

“Don’t mention it.”

They continued until the passageway opened into a bar. There they sat at a table against the far wall.

“Welcome to my office away from home,” Rick said.

It wasn’t long before a waitress arrived.

“Two bourbons on ice,” Rick said.

Caleb took in the dark ambience of his surroundings. It was dimly lit in Sam Spade with faux tiffany table lamps, the occasional overhead light, and neon beer signs. Posters of films and stars from Hollywood’s golden era festooned the walls under marquee lights. It was quiet save the clink of glasses and the faint murmur of conversation.

Rick himself appeared as if he were an extra from a 1940’s Bogart film—rugged good looks sporting a three-day shadow crowned with a billed mariner’s cap. A stained chambray shirt, dungarees, and leather work boots rounded out the image.

“What is this place?” Caleb asked.

“It’s a watering hole for us blue-collar joes and the odd educated type. A place to get away and relax with our own kind."

He paused to thank the waitress when she returned with their drinks.

“Cheers,” he said, lifting his glass.

“Cheers,” Caleb answered, pausing to sniff his.

“Drink up, it’ll be good for you,” Rick said, then upended his.

Caleb complied, downing the whole thing.

“I’ll have another,” he said, digging in his pocket for his NavCom.

Rick dismissed his effort with the wave of a hand.

“Your credit’s no good here, but I’d be happy to stake you to a nights’ worth of drink.

He called to the waitress.

“Bring us a bottle, willya? And some ice.”

“What brings you to Harrington’s View?” Caleb asked.

“I’m first mate on the Parthenon, an ore freighter outbound for the Hyraxis system.”

“Delivering provisions in exchange for cerulean ore?”

“That and a team of scientists for an authorized harvest of Hyraxestones and botanicals from Verte.”

“I was at Harrington’s Station recently.”

“For business or pleasure?”

“It was a ride along with a friend, Leia, the other Harrington twin. You’d like her.”

“I know her, good woman. Was it on the Cassandra?”

“Yes, it was.”

“I like her companion AI.”

“I like her too, really interesting.”

“Speaking of interesting women,” Caleb said, turning his gaze on the striking white-haired blonde who just took a seat at the bar.

“She’s new here, only seen her these past few days,”

“Have you …?”

“Talked to her? You bet I have,” he said with a chuckle. “But to no avail, she blew my cover at twenty paces.”

He refilled the glasses.

“But you, on the other hand, just might find success. Chances are a jaded woman like that would appreciate the naïve type.”

“I don’t know about that, besides I’m in enough trouble as it is.”

“Understood.”

“So how long are you here for?”

“We’ll be shipping out as soon as the team of scientists arrives—in a few days.”

“What’s your next destination after the Hyraxis system?”

“From there we’re on to the Antares Commonwealth to deliver the ore, then back to Harrington’s View with the Hyraxestones and botanicals.”

“Wish I could go with you. Say, you couldn’t use an extra hand, could you? I spent time on ships during a hitch in the Terran navy.”

“We’re full up, I’m afraid. Besides, I wouldn’t want to interrupt any unfinished business with the Harringtons.”

“If only you knew,” Caleb said with a dejected laugh as he picked up his glass.

“I’m not even supposed to be touching this stuff,” he said before quickly downing it.

“Then allow me to offer some unauthorized consolation,” Rick said as he poured him another.
 
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My EICH 115 ported cab has an adjustable tweeter that has a half/off/full switch. In my "bass room" - it's off, but I like that it has the other options for other situations.
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My Ampeg Heritage 410 and Fender 115 both have attenuators and my Ampeg 212 has settings like yours. Three I believe. All are off. The 410, if on would be very little.
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212
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I have the tweeter permanently turned off.
Any cabinet that I own that has a tweeter or horn, it is always off. Since I work to avoid fret click/clack when I’m playing solo, I really don’t see a need for it.

However, admittedly, I should see if it helps with getting some more definition when playing with the whole group at volume, where any of that clack could be buried by drums and guitars.
 
Any cabinet that I own that has a tweeter or horn, it is always off. Since I work to avoid fret click/clack when I’m playing solo, I really don’t see a need for it.

However, admittedly, I should see if it helps with getting some more definition when playing with the whole group at volume, where any of that clack could be buried by drums and guitars.
I've been using in-ears lately and I hear more of the clack/clank. The result is I don't play as hard and burn out my right hand.