Thunderbird Club

[JIO]

Him and Coltrane..

Yes, needless to say - actually a lot of jazz artists.

 

[GonePlaid]

I believe it..

Yeah, full and warm and rich and surprisingly 'ballsy'. After the Prize Patrol comes by, I just might hafta try to find a coupla those. And dig out my refrigerator dolly.(Yes, I have one; it's "Ryder" yellow )

 

[KaraQ]

Since everyone seems to be posting their first/early amps, figured I'd give staying on topic a go

This is not mine, but my fist bass amp for years was just like it (until I bought an actual "practice amp" in '98-ish). Technically, I was just borrowing from my uncle, and he eventually wanted it back for his band.....

Possibly why I still love the sound of over-powered 15s

1971 Kustom K250-4 w/ 2x15 cab
([Invalid or Expired Link Removed])

 

[JIO]

While we're on the subject of Jaco, it occurred to me just now that his tone seems to have influenced bassists and, perhaps more importantly, producers that that is the sound they want. I've heard that(type of)tone used on songs that-to me, anyway-it didn't fit. I know I'm terminally weird, but I like a bass to sound like...[Fanfare]Here we go, folks!...A BASS. Just me, I s'pose, and my(notso)humble opinion.

There was a shift from 'more felt than heard' bass to 'articulation bass' as modern (pop/rock) music evolved. From the beginning, (acoustic) Jazz always favored a "feel" bass sound. The inception of the electric bass in '51 started the revolution toward articulation. ("Precision" bass) R&B/Rock & Roll/pop in the early days still favored 'bassy' bass. There were many bass designs then where the neck pu was at the neck - producing the most "bass" tone. Amps favored boomy big drivers (15", 18") and players played with their right hand at the neck-heal. In the later '60s - Entwistle, Bruce, Bogert, Cassidy, and Jones started making waves marking the push to a new articulation in amplified bass-sound. Once that door was opened, Chris Squire, Geddy Lee, and in Jazz Jaco, Stanley Clark - and in pop John Taylor (etc etc) walked on in. And that doesn't even account for the slappers - bass in it's many forms and flavors.

 

[JIO]

Since everyone seems to be posting their first/early amps, figured I'd give staying on topic a go

This is not mine, but my fist bass amp for years was just like it (until I bought an actual "practice amp" in '98-ish). Technically, I was just borrowing from my uncle, and he eventually wanted it back for his band.....

Possibly why I still love the sound of over-powered 15s

1971 Kustom K250-4 w/ 2x15 cab
([Invalid or Expired Link Removed])


View attachment 4223521

Before I saw/heard the 360 - I lusted after Kustom amps as a teen. I imagined owning a sparkle white one (like that black one but w/o the PA vent). Imagined was as far as it ever got. I played through a red-sparkle one once but it wasn't mine.

 

[MCF]

I have been busy so I have had trouble keeping up; although I have managed to at least read up on posts each day.

So in response, and in no particular order:

View attachment 4223375

AHEM! (you know who you are and why).

BUY IT!

I have placed an order with my local L&M for a green non-reverse. No expected delivery date yet.

Does L&M show them in their system yet?

 

[GonePlaid]

Before I saw/heard the 360 - I lusted after Kustom amps as a teen. I imagined owning a sparkle white one (like that black one but w/o the PA vent). Imagined was as far as it ever got. I played through a red-sparkle one once but it wasn't mine.

There was a store in Orlando that had R&P Kustom's in about any color or configuration known. He's online only the last I knew.
EDIT: No, I don't remember the name. When he still had a brickandmortar, I bought a black, 67(?) 7ender Bassman offa him. Later I learned about the 6g6b circuit-which it did not have. Just wasn't quite 'right'. Crap.

 

[GonePlaid]

There was a shift from 'more felt than heard' bass to 'articulation bass' as modern (pop/rock) music evolved. From the beginning, (acoustic) Jazz always favored a "feel" bass sound. The inception of the electric bass in '51 started the revolution toward articulation. ("Precision" bass) R&B/Rock & Roll/pop in the early days still favored 'bassy' bass. There were many bass designs then where the neck pu was at the neck - producing the most "bass" tone. Amps favored boomy big drivers (15", 18") and players played with their right hand at the neck-heal. In the later '60s - Entwistle, Bruce, Bogert, Cassidy, and Jones started making waves marking the push to a new articulation in amplified bass-sound. Once that door was opened, Chris Squire, Geddy Lee, and in Jazz Jaco, Stanley Clark - and in pop John Taylor (etc etc) walked on in. And that doesn't even account for the slappers - bass in it's many forms and flavors.

Well, I guess I'm greedy. I want it bassy, but I'd like to be able to discern the notes. Given my druthers, I'll take bassy.
EDIT: 'Course my preference for 'Bassy' prolly doesn't "Count".

 

[JIO]

Well, I guess I'm greedy. I want it bassy, but I'd like to be able to discern the notes. Given my druthers, I'll take bassy.

I like 'bassy' as much as the next bass-player (especially if you are "next" bass-player ) but as I grew up on the guys I mentioned (my faves out of them was Jack Bruce & Tim Bogert) I tend to favor an articulate mid-centric tone with a nice fat bottom. (...can I say that Paul?) It's why I installed a bridge pu in my '64 T-bird II - I wanted more cowbell articulation.

 

[Chucky Stiletti]

There was a shift from 'more felt than heard' bass to 'articulation bass' as modern (pop/rock) music evolved. From the beginning, (acoustic) Jazz always favored a "feel" bass sound. The inception of the electric bass in '51 started the revolution toward articulation. ("Precision" bass) R&B/Rock & Roll/pop in the early days still favored 'bassy' bass. There were many bass designs then where the neck pu was at the neck - producing the most "bass" tone. Amps favored boomy big drivers (15", 18") and players played with their right hand at the neck-heal. In the later '60s - Entwistle, Bruce, Bogert, Cassidy, and Jones started making waves marking the push to a new articulation in amplified bass-sound. Once that door was opened, Chris Squire, Geddy Lee, and in Jazz Jaco, Stanley Clark - and in pop John Taylor (etc etc) walked on in. And that doesn't even account for the slappers - bass in it's many forms and flavors.

fascinating subject as many (specially British) players (many of them originally guitarists) would favor the “plectrum” and considered themselves “bass guitarists” as opposed to “bassists” as we saw them over here where many originally played upright but started favoring the electric for practicality, volume etc...

 

[Chucky Stiletti]

my first rig....
1968 Sunn 2000s Amp. Rarest Version! No Bass Boost Switch and Dynaco Block Trans | eBay

 

[GonePlaid]

I like 'bassy' as much as the next bass-player (especially if you are "next" bass-player ) but as I grew up on the guys I mentioned (my faves out of them was Jack Bruce & Tim Bogert) I tend to favor an articulate mid-centric tone with a nice fat bottom. (...can I say that Paul?) It's why I installed a bridge pu in my '64 T-bird II - I wanted more cowbell articulation.

My early days of gigging, I used the previously mentioned 63 Bassman/2x12 rig. I was running a 66 Gibson EB-3, Mudbucker only, into the bass channel with settings[0-10, not o'clock]of volume~5ish, bass-10, treble ~4to5, presence 10. IDK how clear my notes were but I filled the room with bass frequencies.

 

[MCF]

Since everyone seems to be posting their first/early amps, figured I'd give staying on topic a go

This is not mine, but my fist bass amp for years was just like it (until I bought an actual "practice amp" in '98-ish). Technically, I was just borrowing from my uncle, and he eventually wanted it back for his band.....

Possibly why I still love the sound of over-powered 15s

1971 Kustom K250-4 w/ 2x15 cab
([Invalid or Expired Link Removed])


View attachment 4223521

When I was going back and forth to Sacto ‘15 to end of ‘17, there was one of those for $400.00 up in Placerville on CL. Almost took the drive but came to my senses realizing I wouldn’t be able to unload it by myself when I got back.

 

[GonePlaid]

When I was going back and forth to Sacto ‘15 to end of ‘17, there was one of those for $400.00 up in Placerville on CL. Almost took the drive but came to my senses realizing I wouldn’t be able to unload it by myself when I got back.

I did load/unload(twice)the Kasino by myself the last time I gigged it-in 2015, months b4 I got my Rumble 200c. That's why it's my practice amp. It ain't goin' nowhere.

 

[Nocturnal]

I have a quick question for all the Tbird family here! Do you prefer the front strap button on the top edge of your bird or on the back at the neck/body join? I’m having a dilemma of weather or not to move/add one to the back of a recent purchase. All my other birds have it on the back. Just curious if anyone noticed a difference if you’ve moved it to the back from the edge? Thanks!! I know it’s not a true Tbird, but I really like the tone I can get from it. These basses haven’t been liked much, but I’m finding it to be great!

I have the same bass and I plan to add a strap button to the neck heel area. I think it helps position the bass more the way I prefer to wear them when using a strap. Maybe its just the way I am used to it, but it feels like I am not stretching as far for the first position when the strap button is at the neck heel.

 

[JIO]

My early days of gigging, I used the previously mentioned 63 Bassman/2x12 rig. I was running a 66 Gibson EB-3, Mudbucker only, into the bass channel with settings[0-10, not o'clock]of volume~5ish, bass-10, treble ~4to5, presence 10. IDK how clear my notes were but I filled the room with bass frequencies.

That describes bass when I heard my first live music in the late '60s. Especially in a big auditorium - echoy, boomy and inarticulate. I love that sound nostalgically, but it was like guys I knew who had an 8-track tape-player in their raked-up Chevy's and Ford Gallaxies with an additional extra-reverb box. Needless to say, it created a very bizarre sonic experience! Think Crimson & Clover with added reverb!

 

[JIO]

fascinating subject as many (specially British) players (many of them originally guitarists) would favor the “plectrum” and considered themselves “bass guitarists” as opposed to “bassists” as we saw them over here where many originally played upright but started favoring the electric for practicality, volume etc...

Very good point Chucky. A pick/plectrum definitely adds articulation and is a specific difference from upright players right from the start. Carol Kaye was primarily a guitarist (playing with a pick) and became successful as a "Fender"* bass-player because of her muted pick-articulated bass sound/tone. (not to mention great ear and talent for inventing killer bass-lines!)

* For anyone who still doesn't know - Fender bass meant electric bass for many years. Carol Kaye is a very big influence for how I've focused my "sound/tone" as a bass player. James Jamerson also without a doubt.., but him with Brian Wilson/Carol Kaye forming the trilogy of classical Pop/Motown music bass players/arrangers/giants I humbly stand on the shoulders of.

 

[JIO]

There was a store in Orlando that had R&P Kustom's in about any color or configuration known. He's online only the last I knew.
EDIT: No, I don't remember the name. When he still had a brickandmortar, I bought a black, 67(?) 7ender Bassman offa him. Later I learned about the 6g6b circuit-which it did not have. Just wasn't quite 'right'. Crap.

Basically I would have "creamed my jeans" (can I say that Paul?) if I were a teen in that shop then.

 

[GBassNorth]

There was a shift from 'more felt than heard' bass to 'articulation bass' as modern (pop/rock) music evolved. From the beginning, (acoustic) Jazz always favored a "feel" bass sound. The inception of the electric bass in '51 started the revolution toward articulation. ("Precision" bass) R&B/Rock & Roll/pop in the early days still favored 'bassy' bass. There were many bass designs then where the neck pu was at the neck - producing the most "bass" tone. Amps favored boomy big drivers (15", 18") and players played with their right hand at the neck-heal. In the later '60s - Entwistle, Bruce, Bogert, Cassidy, and Jones started making waves marking the push to a new articulation in amplified bass-sound. Once that door was opened, Chris Squire, Geddy Lee, and in Jazz Jaco, Stanley Clark - and in pop John Taylor (etc etc) walked on in. And that doesn't even account for the slappers - bass in it's many forms and flavors.

Excellent summary!

 

[D.M.N.]

my first rig....
1968 Sunn 2000s Amp. Rarest Version! No Bass Boost Switch and Dynaco Block Trans | eBay

Bloody Albert. He has his Sunn stuff well into over priced territory. I picked up a 1000s head a few years back (2018? 2019?), with the big Dynaco transformer, some original Genelec KT88s, Reverb, Trem, AND the matching cab with original D15s, in equal condition, for slightly less than $1000 less than what he has that listed for. And then another two 2000s around as well, one of which was $800 for the head, and the other was $700 for the head and matching cab (though the chokes were blown and had to be replaced). The skyrocketing prices of old Sunn gear is damned annoying. Don't get me wrong, they're phenomenal amps, my favorites to play through, but the...idk, cache that has been assigned upon them by the doom community is a real pain. They aren't $2300 heads, $1500 would be reasonable. I know I got mine for good deals, but when you really break it down the heads should sit around $1500. And you can tell the people that use them don't think they're worth it because the ones priced much beyond $1500 sit there for YEARS. And the Model Ts are a whole other story, some of them have sold close to the $4k mark. I'm just glad I bought mine when they were cheaper.