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Thunderbird Club

#138,943
Klondike said:
View attachment 3659781 View attachment 3659781

Hi guys, checking in. Yes this is the "forever build" right before I drilled the neck I decided it kight be smart to scrutinize the neck pocket for break angle, level etc. good thing I did! I dont understand how Epi gets away with such horrible QC! This thing was twisted up like a roller coaster. So I am either going to have something that works good or not at all. This is a good school boy lesson giver for sure. This is my first ever neck pocket and lots, I am learning.
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I found similar surprises when removing the neck from my Goth. I'd swear the Epiphone facility that makes the Goth must shop out their neck mounting process to the local school for the blind. But hey, at a $300 price point I guess perfection is a lofty goal.
 
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#138,949
GBassNorth said:
I found similar surprises when removing the neck from my Goth. I'd swear the Epiphone facility that makes the Goth must shop out their neck mounting process to the local school for the blind. But hey, at a $300 price point I guess perfection is a lofty goal.
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Just cutting financial corners pulling it off the CNC quicker, I suspect.
The blind people I know would do an excellent job.
 
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#138,950
Miles_ONeal said:
A band has to be pretty bad or pretty obnoxious, for me not to tip. And if you tip, that usually gets some others tipping. Seed money and ringers help.
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Yeah, the wise-assery was slightly mis-directed. Tip jars are generally a pretty good proportion of whatever we get paid sometimes. It was making more of a comment about the fact that musicians often don't get paid, and nearly never get paid what they are worth.
 
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#138,951
Gaolee said:
Yeah, the wise-assery was slightly mis-directed. Tip jars are generally a pretty good proportion of whatever we get paid sometimes. It was making more of a comment about the fact that musicians often don't get paid, and nearly never get paid what they are worth.
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Don't worry, I got it. I was just commenting on tipping.
 
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#138,952
Just completed this project and have posted it in the Luthier Corner but thought fellow T-birders may be interested in checking it out. A few of you have already seen it. It's a late '60s ('66-'68) Silvertone 1443 Hornet full-scale bass, made by Danelectro. Here's the project thread: "How bad is it?" Silvertone Hornet resurrection Yes, it has tort...
[note: it is not for sale and is now one of my personal basses]

fullsizeoutput_162d.jpeg
 
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#138,953
GBassNorth said:
I found similar surprises when removing the neck from my Goth. I'd swear the Epiphone facility that makes the Goth must shop out their neck mounting process to the local school for the blind. But hey, at a $300 price point I guess perfection is a lofty goal.
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The Goth Epi has been produced at at least a few different factories over the years. When compared, there are subtle and not so subtle difference in the neck/hs mostly. The bodies seen fairly consistent.
 
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#138,954
Gaolee said:
Yeah, the wise-assery was slightly mis-directed. Tip jars are generally a pretty good proportion of whatever we get paid sometimes. It was making more of a comment about the fact that musicians often don't get paid, and nearly never get paid what they are worth.
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The point is an intriguing one.

What is a musician "worth"? There are several methods of answering that could be applied that would result in figures ranging from $0 (or possibly negative) to $100,000 per show. Perhaps the biggest difficulty is that "musicians" are not a commodity - they can't be easy interchanged with no meaningful change in operation. The next greatest problem is "to whom"; that is if we look for a market clearing price for "musician" that relies upon each consumer valuing "musicians" the same. Whereas I may value Geddy at $100,000 per show, others would value him at $0 per show.

In the end, there is no one right answer for the worth of any particular "musician". I am pretty sure that the value of my playing music to me is very high. And to others it is probably very low (and could be negative).
 
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#138,955
JIO said:
Just completed this project and have posted it in the Luthier Corner but thought fellow T-birders may be interested in checking it out. A few of you have already seen it. It's a late '60s ('66-'68) Silvertone 1443 Hornet full-scale bass, made by Danelectro. Here's the project thread: "How bad is it?" Silvertone Hornet resurrection Yes, it has tort...
[note: it is not for sale and is now one of my personal basses]

View attachment 3660039
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That is rather cool.
 
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#138,957
Gaolee said:
I have hands and feet like a gorilla, according to a junior-high biology teacher. My hands get along just fine with baseball bat necks as well as noodle necks like Thunderbird necks. It took a bit for my hands to get used to the smaller size. It's an amazingly easy neck to play now. What's most difficult for me is a neck with a flat back like a road-kill 7ender neck. My Precision has a neck like that, and although it is a keeper, it would get more exercise if the neck was a bit deeper. The width is 1-3/4" but isn't a problem.

For the record, hand size is independent of anything else, so far as I know.
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When I started back playing in earnest about six years ago, my small hands only wanted to work on thin necks. After getting and playing wider necks they've adapted. Really don't think about it anymore. But the '15 Gibby 1.5 neck is the fastest neck I own, and my favorite.
 
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#138,958
PillO said:
The point is an intriguing one.

What is a musician "worth"? There are several methods of answering that could be applied that would result in figures ranging from $0 (or possibly negative) to $100,000 per show. Perhaps the biggest difficulty is that "musicians" are not a commodity - they can't be easy interchanged with no meaningful change in operation. The next greatest problem is "to whom"; that is if we look for a market clearing price for "musician" that relies upon each consumer valuing "musicians" the same. Whereas I may value Geddy at $100,000 per show, others would value him at $0 per show.

In the end, there is no one right answer for the worth of any particular "musician". I am pretty sure that the value of my playing music to me is very high. And to others it is probably very low (and could be negative).
Click to expand...

Good points - to start with a more relative example; your band playing at an area bar/club. If the band draws a big (drinking) crowd on a Friday/Saturday night - the establishment makes money. A big part of why they made money that night is owed to the bands draw. Using that specific example, the musicians should receive a decent compensation for their part in the equation. What exactly that is is usually part of the establishments policy which said band agrees to before playing. Low end is nothing, next is "gas money" and a couple free drinks per band member, and from there it varies on draw, time-length of performance, and how much people drink. Having a full house of alcoholics anonymous members wouldn't be ideal for the establishment.
 
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#138,960
JIO said:
Just completed this project and have posted it in the Luthier Corner but thought fellow T-birders may be interested in checking it out. A few of you have already seen it. It's a late '60s ('66-'68) Silvertone 1443 Hornet full-scale bass, made by Danelectro. Here's the project thread: "How bad is it?" Silvertone Hornet resurrection Yes, it has tort...
[note: it is not for sale and is now one of my personal basses]

View attachment 3660039
Click to expand...
That turned out great! I followed your progress and man, you do great work.
 
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