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Thunderbird Club

Bass vi Tuesday!

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I saw Entwistle in a 100 seat club in 1999 in Worcester, Mass with the John Entwistle Band, we got there early and stood about ten feet in front of him along with every other bass player from central Mass. The stage was only about 2 feet high, I had played there myself many times. He would alternate between his fingers and a pick and flick the pick out into the audience when he was done with it. My brother was standing right next to me with his hand folded with his palms up. One of the picks hit him in the forehead and fell into his open palms during the song. He said "look!" and was quite pleased. :laugh: His sound was amazing and he played VERY lightly, when he did his triplets it was almost like a butterfly touching the strings with its wings.
I got some picks from Gary Rossington, Barry Lee Harwood and/or/maybe Leon from the Rossington Collins Band days. Found several on the floor after it was over and picked them up. Must have been too stupid or slow to catch them with my hand after banking them off my head!
 
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I got some pick from Gary Rossington, Barry Lee Harwood and/or/maybe Leon from the Rossington Collins Band days. Found several on the floor after it was over and picked them up. Must have been to stupid or slow to catch them with my hand after banking them off my head!
I got one from Roger Glover at the long gone Hollywood Sportatorium (FL not CA) during the “Perfect Strangers” tour…
 
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thx JIO, you are my source of luthier guruness….please bear with me on this one…trying to understand this; are you saying that Gibson used both dark tobacco and black on the back of the headstocks on burst models? does it have to do with specific years? was it just done randomly? does this imply that there are sunburst birds with headstock repairs hidden under black paint cause some were painted black at the factory? how can one tell if this the case?
If a headstock snapped and the repair is undetectable, did it really happen?:laugh:
Seriously I wonder if you could see it with an X-ray?
 
I saw Entwistle in a 100 seat club in 1999 in Worcester, Mass with the John Entwistle Band, we got there early and stood about ten feet in front of him along with every other bass player from central Mass. The stage was only about 2 feet high, I had played there myself many times. He would alternate between his fingers and a pick and flick the pick out into the audience when he was done with it. My brother was standing right next to me with his hand folded with his palms up. One of the picks hit him in the forehead and fell into his open palms during the song. He said "look!" and was quite pleased. :laugh: His sound was amazing and he played VERY lightly, when he did his triplets it was almost like a butterfly touching the strings with its wings.
I can imagine that tour would have had 80-90% bass players in the audience;).
If you watch Geddy’s right hand, he also has a very light touch.
 
I’d love to find another MIJ 4001/3 copy to string with flats. (I have RS66s on mine) Every time I try a real one in a store, the neck is way too chunky for me.
I can adjust to about anything, but when I had a Ric it just felt less odd the longer I had it never normal. Traded it for my Regenerate '55 Pbass Heritage Plus and got some cash as well. One of the best trades I ever made.
 
thx JIO, you are my source of luthier guruness….please bear with me on this one…trying to understand this; are you saying that Gibson used both dark tobacco and black on the back of the headstocks on burst models? does it have to do with specific years? was it just done randomly? does this imply that there are sunburst birds with headstock repairs hidden under black paint cause some were painted black at the factory? how can one tell if this the case?

The gen1 T-birds only used black on the center 'island' on the hs face. The 'bursts' were translucent tobacco - a dark brown. It would appear that the gen2 NR T-birds might have used black on the whole hs front & back or a much more concentrated tobacco. (more opaque) Some tobacco looks black but in bright sunlight you'll see it is very dark brown, and it can be applied less concentrated (lighter transparency) or more densely. (very dark nearly black looking) Just depends on how it's cut. (amount of pigment to clear) No idea on dating approaches - the more recent SE IV I posted was finished unlike a gen1 so they just decided to do it like that.

This is the back of that SE I posted - looks black to me (not dark tobacco)
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Sprayers at guitar factory do interject an originality/personal touch in their finishes. For Fender, there are many varieties of a 3TSB, depending on the sprayer. They are all shooting the same three colours, but how the last tobacco burst is shot "strays" a bit from being exactly the same by each individual sprayer. (within reason of course)

I seriously don't think they would have sent out a bass with a repaired hs from the factory. If it was cracked or broken, they would have 86'd it. But along the line somewhere, a finisher at the factory might have sprayed the neck-joint as an aesthetic detail. Necks over the years have been sprayed in a variety of interesting ways.

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Compare the burst on this one compared tp the first pic (two different basses-same finish)
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We are avoiding potential snow thus far. It was a possibility, but hopefully will stay away. You will notice the Thunderbird storage unit to the right. If they break into the house they won't think to look there and likely won't have a ladder. It is tricky getting more than two in there. Detachable headstocks greatly ease the process.
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I'd never think of looking there. :laugh:
 
We are avoiding potential snow thus far. It was a possibility, but hopefully will stay away. You will notice the Thunderbird storage unit to the right. If they break into the house they won't think to look there and likely won't have a ladder. It is tricky getting more than two in there. Detachable headstocks greatly ease the process.
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... They... :cautious: :nailbiting:
 
I always wonder about the row of picks you see taped on mic stands. How many picks do some guys drop?

...or taped to their guitar. It just depends on ones technique I guess. I hold it very loosely and occasionally shift it around while playing depending on the passage. (the pointy end mostly for articulation but sometimes the rounder corners) I guess if you are aggressively strumming a guitar hard you could break a pick.

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