Thunderbird Club

[Miles_ONeal]

Latest From The CDC:
The first case of COVID-19 has been successfully contained & irraticated by putting a bridge cover on it!!
The wartime act of 1950 has enabled the President to free up a Trillion dollars and ramp up production for bridge covers across the nation under the stipulation that NO MORE BRIDGE COVERS ARE TO BE MADE IN CHINA!!!

this post wins the THUNDERBIRD CLUB GREEN PRALINE AWARD this week!

 

[Miles_ONeal]

Well thanks, my Factorbird is essentially a Gen1 T-bird body with added ergonomic sculpting and headless Kubicki X-Factor neck/tuner-bridge. I took exact measurements off my '64 to create it and slavishly cut it out of 3 pieces (of Koa) with the exact same V joint as the original. What I meant otherwise is using distinctive elements of both T-bird models in a variety of combinations attempting to discover a"pleasing result". That's the stickler - it's not that I couldn't construct (conceptually) a few ok designs based on the two T-bird models, but I didn't discover one that looks really cool - a pleasing result in my eyes. There are many designs someone likes, or could like out there - but it always comes down to a design that nails it in all aesthetic and functional ways. (for me) I'm not throwing in the towel yet - eventually I may stumble on a design I can feel good about based on the mighty Thunderbird.

View attachment 3750992

And you had to add fishing weights on the back of the headstock to get authentic Neckdive-o-Doom!

 

[LetItGrowTone]

What I speculated above about the plain maple core of the Ric, and the need to do something about whole-body resonance, is probably the reason for the 9 or 7 alternating plies of dissimilar woods in the core of the Gibson/Epiphone Tbirds. Just guessing that Tbirds are better with regard to dead spots. Is that true?

I think Ric used to have a single ply of different wood down the center, but not anymore.

 

[GonePlaid]

Latest From The CDC:
The first case of COVID-19 has been successfully contained & irraticated by putting a bridge cover on it!!
The wartime act of 1950 has enabled the President to free up a Trillion dollars and ramp up production for bridge covers across the nation under the stipulation that NO MORE BRIDGE COVERS ARE TO BE MADE IN CHINA!!!

J/K.

 

[JIO]

Here's a cool pic of a white cow eating marshmallows in a snowstorm -

 

[GonePlaid]

Here's a cool pic of a white cow eating marshmallows in a snowstorm -

In front of a white TBird.

 

[JIO]

And you had to add fishing weight on the back of the headstock to get authentic Neckdive-o-Doom!

The only T-bird shaped object that will never, ever neck-dive.

 

[GonePlaid]

I may have put these 2 up b4 separately. (CRS)
If not, here they are. If I did, here they are again.

 

[GBassNorth]

That's understandable because you also admire/play Fenders, at least in the past - and the oddly named non-reverse version is more aligned with a conventional "Fender-esk" design. I hear that. I like both for their independent design - each is a good design for a number of reasons aesthetic and functional. (to lesser or greater degree's) On this specific topic I could go on and on.

I still play Fenders, it's just that I finally figured out about 7 years ago that I'm a Humbucker guy. Hence, not much time on a Jazz lately, but I'm really digging my Starcaster and my Tele modern player. Body shape is purely an aesthetic thing in my mind. Either I like the shape or I don't, and I don't bother buying basses unless they are Humbucker equipped and have a body shape I like.

My experience with neck-through guitars is limited to a sample size of one, a Ric. Solid maple neck-through is an idea that sounds good, but this Ric's dead spots are the worst of the five basses I own. And so, I'm now free of my 40 year old infatuation with that idea.

My working theory (good enough for me but with this admittedly limited experience), is that a bolt-on has a greater discontinuity in the properties of the vibrating object right there, and that reduces the whole-object vibration because that energy isn't conducted as fluidly back and forth through that joint. While one could imagine reasons why that might be bad, I don't like dead spots and I'll take this deal, if it's true.

What about those very expensive neck-through basses (with presumably no dead spots)? Maybe they've learned over time, something about the way the grain lays or something, something that Ric has never noticed or won't incorporate (maybe because the bass would then have to *look* like one of those others).

Yes, and I feel better being free to replace the neck too.

I have very expensive neck through basses with dead spots, expensive set neck basses with dead spots and highly valued bolt on basses with dead spots. About the only thing they all have in common is a 34" scale length. My medium and short scale basses don't seem to suffer the same fate. I've often wondered if it's scale related.

Gorgeous!

Thx!

What I speculated above about the plain maple core of the Ric, and the need to do something about whole-body resonance, is probably the reason for the 9 or 7 alternating plies of dissimilar woods in the core of the Gibson/Epiphone Tbirds. Just guessing that Tbirds are better with regard to dead spots. Is that true?

I think Ric used to have a single ply of different wood down the center, but not anymore.

IDK - my 2015 TBird has a pretty pronounced dead spot on the G string, but it might be more of a pickup magnet thing.

 

[Larry V]

I had my shoulder repaired at the beginning of February. The history is many shoulder injuries over a life time, two years ago, a skiing accident was the straw the brake the camel's back (the camel being a rotator cuff ligament and the labrum at the insertion of the long head of the bicep tendon). 3 repairs for a total of 6 weeks in a sling and rehab period of 6 months to regain full strength and range of motion. Next up will be the other shoulder (a simpler repair)

Best wishes for a full and speedy recovery! The Thunderbirds await!

 

[MCF]

100% improvement

I wish I could find out. Doesn’t sit properly over the inserts; they’re too close together. The three point on it was a snug fit. So I’m somewhat disappointed.

I put the three point back on, strung it up, tuned it to pitch and said a prayer. I’ll see in awhile if the insert pops up again after my last glue job. If it does, I’ll take it to Carruthers in Camarillo and see if he can install the new bridge which will require repositioning the inserts some.

If it holds this time I may return the Supertone and exchange it for a black one to use on a different Bird. Or I may offer it up at a discounted price to someone here. We’ll see what happens over the next few days.

 

[dagrev]

I was s'posed to go see him perform in Charleston, SC, back in 67/68. I was told it wasn't a good idea for 'white' me to go to that section of town. Different times.

Ha! Reminds me of when a friend of mine (fantastic banjo player who now lives in Nash) went to see BB King. It was the first time at any of his concerts. Picture two young white guys showing up in typical concert fashion--jeans and some kind of T-shirt. Our observations: First, we, and I think some of the concession stand workers were the only white people there. Second, in the black community a concert was a formal occasion (in those days). Everyone but was us was dressed like they were going to church. We looked out of place for a lot of reasons--but blended in just fine. Everyone was there to see the King! No Thunderbirds were used. Would have sounded better had that have happened.

It was about this time I bought my first Thunderbird.

My second King concert a couple years later I asked one of my bosses who loved music if he wanted to go. He was a and from out of town and we hit it off as friends after work. He had no family around here so I started asking him to go do some things so he would feel so isolated. We shared love of beer, conversation and music. He got me listening to Earl Klugh and a few others from Jazz that I still like today. Anyway, He and I went and there were more white people like myself. (He was black, but that had nothing to do with us going to the concert.) While there I sat next to a little old black lady who looked liked she was a wonderful grandmother. At some point she pulled out a bottle and took a swig. Touched my arm and asked if I would like a drink! I smiled and told her we came pre-lubricated. Several times when she would pull her bottle out she would check to make sure I was hydrated. Ahhh, the power of music--even without Thunderbirds. But wold have been better with Thunderbirds. Don't think I recall a Blues band with a Thunderbird. I'm sure there has been, but don't recall.

 

[GonePlaid]

I still play Fenders, it's just that I finally figured out about 7 years ago that I'm a Humbucker guy. Hence, not much time on a Jazz lately, but I'm really digging my Starcaster and my Tele modern player. Body shape is purely an aesthetic thing in my mind. Either I like the shape or I don't, and I don't bother buying basses unless they are Humbucker equipped and have a body shape I like.


I have very expensive neck through basses with dead spots, expensive set neck basses with dead spots and highly valued bolt on basses with dead spots. About the only thing they all have in common is a 34" scale length. My medium and short scale basses don't seem to suffer the same fate. I've often wondered if it's scale related.


Thx!


IDK - my 2015 TBird has a pretty pronounced dead spot on the G string, but it might be more of a pickup magnet thing.

You all(not "y'all")seem to have missed the obvious. 34" strings have dead spots.

 

[dagrev]

Always liked taupe.

Sahara Taupe - Fender International Series - early '80s

View attachment 3751005

Personally never a fan of that color. I think I prefer even Sunburst or Antigua. But I'm not much of a brown family color person, so I know it's just me. Do love the natural brown on your Kubicki-bird. Brown wood I like, just not brownish paints.

 

[RexxRokket]

Thunderbird pickups are the sht, period.

 

[Thumper]

OCD runs in the family manifested in a few different ways. It finally dawned on me I have a mild version. First, I won't keep a bass with an obvious dead spot, barely perceptible but hard to detect is ok. I've sold some VERY NICE basses for this reason.

I've also realized this is why I have to learn songs perfectly (at least to my brain anyway). If I'm missing so much as 1 note somewhere, I'm never comfortable playing a song. The Amazing Slowdowner has done wonders for me in this regard. Only after its 100% do I feel the freedom to add to or modify a bassline. I can't tell you how many hundreds, maybe thousands of hours this has caused me over the years. Not to mention annoyed bandmates along the way.

Happily, neither my T5 or 2 Embassy's appear to have noticeable dead spots.

 

[GonePlaid]

OCD runs in the family manifested in a few different ways. It finally dawned on me I have a mild version. First, I won't keep a bass with an obvious dead spot, barely perceptible but hard to detect is ok. I've sold some VERY NICE basses for this reason.

I've also realized this is why I have to learn songs perfectly (at least to my brain anyway). If I'm missing so much as 1 note somewhere, I'm never comfortable playing a song. The Amazing Slowdowner has done wonders for me in this regard. Only after its 100% do I feel the freedom to add to or modify a bassline. I can't tell you how many hundreds, maybe thousands of hours this has caused me over the years. Not to mention annoyed bandmates along the way.

Happily, neither my T5 or 2 Embassy's appear to have noticeable dead spots.

I have a couple of dead spo......oh, we're talkin' basses.

 

[dagrev]

My experience with neck-through guitars is limited to a sample size of one, a Ric. Solid maple neck-through is an idea that sounds good, but this Ric's dead spots are the worst of the five basses I own. And so, I'm now free of my 40 year old infatuation with that idea.

My working theory (good enough for me but with this admittedly limited experience), is that a bolt-on has a greater discontinuity in the properties of the vibrating object right there, and that reduces the whole-object vibration because that energy isn't conducted as fluidly back and forth through that joint. While one could imagine reasons why that might be bad, I don't like dead spots and I'll take this deal, if it's true.

I had a Ric that had them as well. I'm certain neck through provides the aforementioned benefits, it's just something I've never really noticed in simple playing. My 'Birds don't have any noticeable dead spots, but most of my bolt-on's don't either. Do a real test and I don't doubt slightly longer sustain. Most seem to like neck through for sustain, but I hardly ever need a note to ring on that long and can always slightly hit the string if it is needed. In my experience, I've had dead spots on both kinds of construction, but expect sustain would be a little longer on neck-through, but it hasn't proven noticeable for me. Meaning, I've never had a note die out and thought, "If only I would and brought a neck-through bass." So I fully agree with you, but just haven't noticed much in terms of benefits showing up in actual playing. (It would also be impossible to say if a given bass would have fewer dead spots had it been a neck-through, or vise versa.) In theory it definitely should, but my Ric and yours indicates it's not a perfect way to eliminate them. Of course there are plenty other variables to be considered as well.

 

[dagrev]

O-K! So I'm not the only one.

You mean you can't see the poodle and iguana pics?

 

[GonePlaid]

I had a Ric that had them as well. I'm certain neck through provides the aforementioned benefits, it's just something I've never really noticed in simple playing. My 'Birds don't have any noticeable dead spots, but most of my bolt-on's don't either. Do a real test and I don't doubt slightly longer sustain. Most seem to like neck through for sustain, but I hardly ever need a note to ring on that long and can always slightly hit the string if it is needed. In my experience, I've had dead spots on both kinds of construction, but expect sustain would be a little longer on neck-through, but it hasn't proven noticeable for me. Meaning, I've never had a note die out and thought, "If only I would and brought a neck-through bass." So I fully agree with you, but just haven't noticed much in terms of benefits showing up in actual playing. (It would also be impossible to say if a given bass would have fewer dead spots had it been a neck-through, or vise versa.) In theory it definitely should, but my Ric and yours indicates it's not a perfect way to eliminate them. Of course there are plenty other variables to be considered as well.

To be serious for a moment*, IME it's one note on one string. I find another find place to play that note.

*mark down the time/date