Anyone interested in a nice USA made 5er (not Tbird) with the Dicola PUPs (no affiliation, just thought someone here might like it)?
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Thunderbird Club
- Thread starter TBird1958
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- club thunderbird
You need one soon.
I think the covered hopper needs Spellcheck.
Thank you so much for the information! I really do appreciate it. I've heard that Bartolini aspect somewhere on TB. Makes some sense in that the tone of the modern PUs seem to be in the flavor of Barts.
No wonder Thunderbirds sound huge. Compared to a train they evidence their massive nature!
I enjoy your model work. Impressive! A friend of mine is quite involved with that and trains in the area. He also built a replica of an aircraft carrier he was stationed on years ago. I'm always impressed with the amazing ability to replicate detail.
Even better, there's probably a setting in eBay to not email you.
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More or less since I bought it, my Jack Casady has been my 'around the house' unplugged bass (like I'm going anywhere soon...), at first because of the thrill of the new and unfamiliar and then because it's louder than solid body Thunderbirds.
Picked up a Thunderbird the other day and the left hand said 'ow!' Obviously the Birds need more playing time. I've largely been back on the JAEbird, which solved a problem I was having and proves there really are better tools for some jobs. Specifically, fast fingering (don't start with your 'ahems') is much easier or more comfortable or something on the Bird.
Regarding where I play, it's between over the neck pickup and the end of the neck. If I try to move closer to the bridge, my right hand just drifts back to the usual spot. That's where the string tension is just right. Mainly play with a pick but when playing fingerstyle, tend to anchor on the pickup or even the end of the neck if going for something a bit more subtle.
Picked up a Thunderbird the other day and the left hand said 'ow!' Obviously the Birds need more playing time. I've largely been back on the JAEbird, which solved a problem I was having and proves there really are better tools for some jobs. Specifically, fast fingering (don't start with your 'ahems') is much easier or more comfortable or something on the Bird.
Regarding where I play, it's between over the neck pickup and the end of the neck. If I try to move closer to the bridge, my right hand just drifts back to the usual spot. That's where the string tension is just right. Mainly play with a pick but when playing fingerstyle, tend to anchor on the pickup or even the end of the neck if going for something a bit more subtle.
If it works, it works. For years, there was no such thing as "floating hand". I called it "jumping spider" or "dancing spider". I knew a bunch of people who just called it wrong. But they were.
Haha. I know what you meant. I was just being a smartass. I always play with my fingers with my thumb anchored off the bridge pickup. Always. I love the tension down close to the bridge.
Normal-thumb on "handrest", little finger on bridge cover, fingers over superfluous pup:
Mellower sound(w/o changing amp settings)-thumb on neck heel, little finger on handrest:
[took awhile to get these pics with my furshlugginer flip phone]
Mellower sound(w/o changing amp settings)-thumb on neck heel, little finger on handrest:
[took awhile to get these pics with my furshlugginer flip phone]
I know. But it reminded me I need to think more carefully when I type.
Appreciate your fershlugginer effort!
Oh, now we're required to think??
I always refer it to striking and fretting hands. My bass teacher wrote the bass Dummies books and because of me started changing the terminology for that. This world can be pretty frustrating for left-handed people.
Lately I feel like my fretting hand is 'on strike'.[the other hand ain't doin' much better]
I'm self-taught on everything but trombone, which I haven't touched in years except to make cow sounds or obnoxious noise.
I'd been trying to rest my thumb on the neck p/u because someone told me that's how you do it. As I've been trying to get better, I realized how limiting that is for me. So I'm trying to find what works best. There may not be one thing that works best for me, but I need something to focus on, and was just curious what some of my favorite bassists (that would be y'all) do.
Right now when playing finger-style (I played exclusively with a pick the first few years), I tend to rest my thumb on the p/u when playing the E, on the E for the A, and the A for the other two. It's kind of half way between anchor and muting- and yes, it sometimes jumps off the p/u to mute the E even if I'm playing the E. (eyeroll)
But other times I have my forearm resting on the guitar like Veronica- sometimes reverting to jumping spider. That doesn't always end well, though I would love to be able to do that consistently well.
I'd been trying to rest my thumb on the neck p/u because someone told me that's how you do it. As I've been trying to get better, I realized how limiting that is for me. So I'm trying to find what works best. There may not be one thing that works best for me, but I need something to focus on, and was just curious what some of my favorite bassists (that would be y'all) do.
Right now when playing finger-style (I played exclusively with a pick the first few years), I tend to rest my thumb on the p/u when playing the E, on the E for the A, and the A for the other two. It's kind of half way between anchor and muting- and yes, it sometimes jumps off the p/u to mute the E even if I'm playing the E. (eyeroll)
But other times I have my forearm resting on the guitar like Veronica- sometimes reverting to jumping spider. That doesn't always end well, though I would love to be able to do that consistently well.
