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Thunderbird Club

#99,503
JIO said:
Flashbacks are the shadows behind dreams... :)

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Aha, an Aussie movie I hadn’t thought of in a long time.

Richard Chamberlain hey... hmmm. Back in those days (60s-70s) they often had to cast an import in a lead role to get funding, and often to get (or just to hope to get) an overseas release.
I’ll have to watch it again and see if he works in this film.
There was a bit of flack about him being cast in the Thorn Birds from memory.
 
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#99,504
Dadagoboi said:
The first RS 66 were NICKEL, as designed for John Entwistle and what he preferred until he switched to Optima Golds in the late 90s. So they were 'developed' for Precision basses, since he didn't start playing Tbirds until after Live at Leeds. I'd say that's the quintessential Roto Sound, followed by Chris Squire's Rick. They were still ONLY nickel until the late 1970s. As far as being consistent, that's debatable. It's fairly well known RS had problems in the early 2000s, they've even admitted it.

IMO Ken Smith Bass Burners sound like RS 66 nickel, silk on both ends originals. That's Swing Bass 45-105 Roto Sound 1966
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gettyimages-85902508-1024x1024.jpg


:roflmao:
 
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#99,506
Markamb1 said:
Absolutely. Generally though that’s the idea. Choose a better word if you like. I had said that earlier as well. My Epiphone custom is nearly as good as my Gibson studio. There are Gibson’s that no epi will touch..... and whats the most expensive epi? Epi gives you options that Gibson might never care to offer you....

at one point though early 70s epi was made inferior.... it was totally abused, which was my initial question.
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Sorry to flog this dead horse again.

In the early days Epiphone was sold at dealers that did not carry Gibson, and so it became a vehicle to sell Gibbys through a greater number of agents/shops (whatever the correct term is). In the UK there was a greater availability of Epiphone leading to the rash of Rivoli players in the 60s UK bands rather than EB2 players.

My point is possibly the distribution contacts may have expired during the pre 1970 period removing the benefit of having 2 equal brands.
The rise of Japan was just around the corner so that would still have been a relatively cheap location at that time for a brand that perhaps no longer needed to vie with Gibson on prestige.
 
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#99,507
Chucky Stiletti said:
Like them, had a 4 X 10 that really cut through but had great tight bottom. I was using a GK400B with it.
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Sweet, Yeah I use a older Hartke 410 that used to be a combo at one time but I've been using a dare I say it Behringer head through it. The cab is 4ohm and I want to say it's 300w. It worked ok for what we were doing but I had to back off of the bass and use mids and highs to cut through. I couldn't add another cab being that the head could only be used as 1 @4ohm or two @8ohm. I'm not playing out now but still want to be able to use at least 2 cabs if I want. I also have a Ampeg B4R that can do 2,4 or 8 but it needs to be serviced. So I'm looking into getting a new rig.
 
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#99,508
RedVee said:
Sorry to flog this dead horse again.

In the early days Epiphone was sold at dealers that did not carry Gibson, and so it became a vehicle to sell Gibbys through a greater number of agents/shops (whatever the correct term is). In the UK there was a greater availability of Epiphone leading to the rash of Rivoli players in the 60s UK bands rather than EB2 players.

My point is possibly the distribution contacts may have expired during the pre 1970 period removing the benefit of having 2 equal brands.
The rise of Japan was just around the corner so that would still have been a relatively cheap location at that time for a brand that perhaps no longer needed to vie with Gibson on prestige.
Click to expand...

That’s a good point too. Where are you reading this?
 
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#99,510
Gaolee said:
I just looked it up. The post office says the pedal was delivered on December 7. I never saw it, so I assume it was mis-delivered or stolen. That kind of thing has been happening lately. It's an expensive mistake or theft. Oh, well. I still have the fDeck, which works fine, but I like the idea of a low pass as well to tame fret click from my less than stellar technique. If it never turns up, I guess I'll save up and try again in a few months.
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Not cool.:(
 
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#99,511
I was asked to record some tracks for the client of a drummer I played with last week and am curious to see what you dudes and dudettes think of the tone. I faded out the other instruments during the guitar solo section so you can hear the bass by itself.
VP with RS66s direct into Focusrite, Neck PU, tone way down.
The drums are final, guitar and vocal is a scratch track.

Dropbox - thats the way we roll scratchmiw wTB-2.mp3
 
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#99,515
Engle said:
I was asked to record some tracks for the client of a drummer I played with last week and am curious to see what you dudes and dudettes think of the tone. I faded out the other instruments during the guitar solo section so you can hear the bass by itself.
VP with RS66s direct into Focusrite, Neck PU, tone way down.
The drums are final, guitar and vocal is a scratch track.

Dropbox - thats the way we roll scratchmiw wTB-2.mp3
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Nice.
 
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#99,518
ToddOfThunder said:
Sell it and get an Epi Allen Woody Rumblekat! Edit. Or a Jack Casady!
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Interesting pup placement on the Rumblekat. Great price. Nice short scale. Unfortunately I can't get past the hofner type control plate, never liked that look.
The JC on the other hand, in gold top, looks especially interesting. Trying to find one to try out first.
 
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#99,519
GBassNorth said:
Interesting pup placement on the Rumblekat. Great price. Nice short scale. Unfortunately I can't get past the hofner type control plate, never liked that look.
The JC on the other hand, in gold top, looks especially interesting. Trying to find one to try out first.
Click to expand...
I have no experience with either of them but I’m a fan of both artists. I’ve read good things about both basses.
 
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