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Thunderbird Club

#196,641
Engle said:
I need to play.
But I do know naturally talented people that don’t play.
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I don't know if it's so much need to play as much as just play. It's hard not to play, and when I'm traveling, it's a missing part until there's a guitar or bass or something to pick up and mess with a little. Thinking about it that way, it is a need, isn't it.

I also know people who need to play but don't, because they don't know it. Some only find out by accident. Same with other creative pursuits. When they finally find out it's what they do, it's like a dreary cloud being lifted from them.
 
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#196,642
dagrev said:
I know a guy that's an amazing piano player. Can play pretty much whatever you put in front of of him--then add nice parts that make it even better. Never practiced at home. He quit playing a couple of years ago. Said he'd been dong it for 40 years and was retiring from playing. I enjoy playing at my low skill level, I can only imagine it being more interesting and less frustrating to have that kind of skill. I hope and pray I never hang it up like that.
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Maybe lack of talent is a blessing. He didn't have anything left that he wanted to accomplish, so he stopped. I can't imagine that at all, but then I don't have that kind of talent or skill, even after being a bass hack for about the same length of time.
 
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#196,643
Engle said:
Well said Geo! One of the great aspects of music as your vehicle for creative expression is that you don’t need to be at a Professional skill level to create good music and enjoy it.
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Engle said:
I need to play.
But I do know naturally talented people that don’t play.
Click to expand...

I've never felt 'naturally talented' as a bass-player. I have a good ear, good feel and good sense of timing, but I've worked at it from the beginning and still work at playing. It's never come easily, but I like creative challenges. I was lucky to grow up in the '60s when music was tops and playing a guitar or bass or whatever was huge. I just remember wanting to be a part of it all.

dagrev said:
I know a guy that's an amazing piano player. Can play pretty much whatever you put in front of of him--then add nice parts that make it even better. Never practiced at home. He quit playing a couple of years ago. Said he'd been dong it for 40 years and was retiring from playing. I enjoy playing at my low skill level, I can only imagine it being more interesting and less frustrating to have that kind of skill. I hope and pray I never hang it up like that.
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Like your friend, my dear friends Lou & Nancy retired after 40yrs playing in the KC Symphony, 1st & 2nd chairs in the bass section as few years ago. They recently sold all their beautiful basses and Lou doesn't play anymore. Nancy still plays their grand piano. I would never consider them ex-musicians but rather ex-professional players.

I've always felt if someone has an urge to be creative - it should be encouraged at whatever level can be achieved. Creativity is expansive - it makes ones life fuller.
 
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#196,645
robl said:
My New to me 2012
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Sorry everyone that is not the right picture of my Thunderbird - no wonder there is controversy - here is the correct picture of my 2012 Thunderbird
 

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#196,650
PhR75 said:
That is awesome! Just listened to "Presence" the other day. JPJ's tone on "Nobody's Fault But Minr" is my favourite besides his '52 P/Acoustic 361 tone. Pity that he apparently went direct only when he used the 8-string live. Sounds quite screechy on the soundboard bootlegs.
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PhR75 said:
BTW, did Jonesy use the Triple Omega on "Presence" or was it the Hagström? I think the sessions started in late '75 and the album was done very quickly. I've never seen any pics from the sessions itself.
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It's one of the most incredible playing basses I've ever picked up, really amazing craftsmanship. I'm not terribly familiar with later period bootlegs/live recordings, so I'm not sure I've ever heard the soundboards of the BecVar live. My guess is the album is the Hagstrom, as I don't believe he purchased the BecVar until '77 or '78 (sadly, ledzeppelin.org is no longer around, which was a stellar repository on Zep's gear). That said, this BecVar plugged into my Sunn or Hiwatt (haven't had a change to use it through the Acoustic yet) NAILS the sound on the album. It sounds absolutely massive. I've played a couple other 8-strings, both the old and new Hagstroms, and while they sound very good, there is a...Presence...to the BecVar with how defined and cutting it is.
 
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#196,653
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#196,654
WillyW said:
I can't decide if I want to use the sapwood of Brazillian rosewood, or the sapwood of ebony for slot filler.

I have maple but it's not as light as the rosewood, and it has some burl and doesn't cut as neatly as I would like.
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Hey, here’s a novel idea that worked out well for Leo Fender… how’s about filling the slots with jumbo frets and calling it a “Precision” thunderbird?:laugh:
 
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#196,657
D.M.N. said:
It's one of the most incredible playing basses I've ever picked up, really amazing craftsmanship. I'm not terribly familiar with later period bootlegs/live recordings, so I'm not sure I've ever heard the soundboards of the BecVar live. My guess is the album is the Hagstrom, as I don't believe he purchased the BecVar until '77 or '78 (sadly, ledzeppelin.org is no longer around, which was a stellar repository on Zep's gear). That said, this BecVar plugged into my Sunn or Hiwatt (haven't had a change to use it through the Acoustic yet) NAILS the sound on the album. It sounds absolutely massive. I've played a couple other 8-strings, both the old and new Hagstroms, and while they sound very good, there is a...Presence...to the BecVar with how defined and cutting it is.
Click to expand...

One like yours was on Reverb (sold for 10k!) with a vid/demo -

https://reverb.com/item/19710894-be...ic-series-hard-case-1978-i-ii-video-demo-ii-i
 
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#196,658
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