neepheid

No, it's a fixed bridge which is adjusted at each end. The saddles are fixed in their following of the fingerboard radius. No, I didn't find it an issue.

You show me a band who enjoys loading in, setting up, breaking down and loading out, and I'll show you a bunch of liars The reason I say this is that it's never factored in - all people see is the performance. I've been asked before when complaining about lack of pay, "don't you enjoy playing music?" and had to be held back by band members from having a right go at the condescending biatch.

Well, I wouldn't be so crass as to complain in person to you about it. We're all musicians at the end of the day, you do it your way and I'll do it mine. Anyway, if I was ever to attend one of your gigs, it would be check you out (musically speaking, not in a pervy way, lol), and the rest of it would be of secondary concern to me.

People can do what they want and I'm not dissing them for it, but my take is that save for intros to songs, I don't really like hearing things I can't equate to someone doing something on stage. Bigger shows that's maybe harder to prove, but down the Dog and Duck it's glaringly obvious and I don't care for it.

I'll meet up through the week for a steak dinner! Where do I sign?

I'm sorry, the what now? Maybe? Please take it, I've always wanted a shottie of one of those!

Whoops, forgot to add myself to the master list... 1. Rich - Trace Elliot TE-1200 amp, Barefaced Super 12T cab, earplugs , Shuker custom 5, Tanglewood acoustic bass gtr. 2. Woody - Rickenbacker 4004-L5, maybe Sei Flamboyant, Same old basschat 12" with some amp, other stuff TBC 3. Pinball (tbc) - some interesting basses 4. Stubsy - Joyo BadASS, GRBASS AT212 slim - only 50W but that should give 120dB at one metre 😇. (or I bring my TE 1110 combo). Some fun pedals. Perhaps the AVII 1960 precision, the Sire P10 and maybe the Fender Performer and something unexpected... 5. Sean - Mesa 400+, Laney Nexus Tube 400 [oh jeez], MJW Taranis 200 (Filthbox Matamp clone with extra channel and EQ), GK MBF500, GK Fusion 550, 2 x BF TWO10S, Spectors TBD, Valenti #005 Super P, Yamaha BB2024x, Yamaha BB1300, plus a mini walk-in bass surgery if interested 6. Rosie - likely I'll bring my upright, set up for bluegrass/folk/jazz if anyone's not played upright before and fancies a go 7. Phil - BassChat cabs, maybe some sort of shootout? 8. MikeD - Laney Digbeth, Zilla 212, Dingwall Combusion, Revelation PJ, pedals, try to finish home made bass🤞🤞🤞🤞 9. neepheid - G&L CLF L-1000, Yamaha BB1200, Sire D5, Sire Z7, Greco LGB-700, Reverend Triad, Epiphone Les Paul (not so) Standard, Epiphone Thunderbird '64, Squier Jaguar H (with Ibanez CAP double humbucker from ATK200/800 etc), Gear4Music rat bass (with Lace Aluma-P), £150 giggable bass challenge, 1 or 2 amps depending upon space...

Ooh, that's a BB oddbod I'd be keen to have a shottie of!

Well, I couldn't help myself... Freeway 6 way switch installed. Now it's switch, volume, tone. Now I can do my fade ins/volume swells with whichever pickup combination I want.

They're like buses! https://www.facebook.com/marketplace/item/665266202652180/

Hey, I don't kink shame, you do you

Well, I had a hearty chuckle at that one. Welcome aboard - if this is representative of your sense of humour, you're going to fit right in

There is an alternative wiring scheme which changes position 6 into all three pickups in series, but I opted for this one.

I fitted a 10 way Freeway switch to my Triad. Not only does that give you the outer pickups, but it also gives series and parallel options, but it fits like a glove, is practically invisible if you look at it, leaves the original "strat" options on one side of the blade and all the fancy stuff on the other blade (it works by tilting the switch up/down). As for favourite settings, mine are neck only, neck and middle (series), middle and bridge (series).

S'pose I had better 'fess up to my recent pedal acquisition then... I just upped my pitch shifting game with a TC Electronic Brainwaves. Up until now I had been using a Hotone Harmony, which was a revelation and frankly better than I could have hoped for from such a tiny and inexpensive pedal. So intuitive as well - one knob, numbered in semitones, up/down switch, wet/dry knobs. DONE. I had been looking at posher ones, but they all annoyed me in various ways, like expecting you to know that a minor second is 1 semitone (I don't naturally think that way because I'm not a "proper" musician), or having missing intervals (no minor third, Pitchfork, WTF?), or having overly complicated (to me) controls (I'm mostly looking at you, Intelligent Harmony Machine), or being too big/wrong format for my board (Slammi Plus has all the intervals, but it's a pitch shifter in an expression pedal - do not want/need) I nearly skipped the Brainwaves and went for the IHM (which I would probably have ended up sticking a sticker on to write on it which settings meant which intervals) because on the face of it, the Brainwaves is missing a minor second (1 semitone) interval. TC manual is utter garbage - there's all this complexity under the hood with Toneprints etc. and you're basically left to fend for yourself. Well, I stumbled upon a guide which explained how to get that custom interval on the Voice controls to be 1 semitone. The barrier to acquisition was lifted and in I went! It's really good. Was doing some A/B with the Hotone and it's clear that this is a step up in quality. Both track well with little latency, but there's a warbly/artifact-y nature to the sound coming out of the Hotone (especially when you start plumbing the depths) that isn't there with the Brainwaves. Isolated, it still sounds a little "odd" but that oddness is harder to define. What this opens up for me is more options. Being dual voice, you can do cool stuff like be a fake guitar by adding a 5th AND an octave above (sounds really good with some overdrive) or do some of the Sub n Up thing by having an octave above and below - it's less flexible than a true Sub n Up because there's no third octave (you'd have to choose between 2 of octave above, octave below, two octaves below) and you can't individually control the octave levels, they must be the same relative to the dry signal, but it's good enough for a chancer like me! Also the MASH button is fun - push down on it and it gives you an extra tone bend, like a string bend except you do it with your foot. It's obviously not as controllable as an expression pedal, but with practice one could get good at it. As I followed the instructions to create my custom Toneprint to unlock the single semitone interval, I could see that there's a whole bunch of options to play with, you can make the MASH button do other things, change the curve of how it changes the parameter through its operation, looks like sneaky auto tuning with an option labelled something like "lock to nearest semitone" and a whole heap of other stuff. There are other basic modes of operation that I haven't even looked at yet (V1 > V2, WHAM). There is a detune mode, but I'm going to leave the Hotone on the board for that one, because it's good at it and the Brainwaves can't be both a detuner and a pitch shifter at the same time. Apologies for the shaggy dog story, but TL:DR it's a good pedal and I'm happy with my purchase. I'm a lazy boi at heart, I don't want a 5 string and I can't be bothered retooling/relearning songs when the singist asks to do a song +/- x semitones. The ability to be a fake guitar at times will help fill out the sound (as we only have a single guitarist). MASH is fun. That is all.

Well well, look who showed up to a Thunderbird conversation - the fly in the ointment, Mr. Particular has arrived

I heartily recommend the recently released 5 string Triad when they arrive in stock, the 4 string is fantastic.

Going forward, so you can work it out for yourself in future without the danger of subjecting yourself to snippy comments - adding impedances together in parallel works like this: So in your case: 1/R = 1/8 + 1/4 1/R = 3/8 R = 8/3 = 2.67 ohms

Ch-ch-ch-ch-changes. Decided to up my pitch shifting game (as well as eliminate a single point of failure - I've become utterly dependent upon the pitch shifter for the "can you raise/lower this song by x semitones?" requests), so I got a TC Electronic Brainwaves. I nearly didn't get one, because on the face of it it didn't do a single semitone shift. But with Toneprint trickery, you can assign a single custom interval to each voice. It's a little odd in that the one is right at the sweep of the knob instead of its rightful place between unison and 2, but I can live with it. Hotone Harmony has been relegated to detune ("chorus") duties, but if anything went on the wonk with the Brainwaves then it could be pressed back into service as pitch shifter. So, yet another reorganisation required... I'd like to say "that's it", never say never but but to go much further, I think I'd need a bigger pedalboard.

Epiphone aren't issuing white Thunderbirds at the moment, so you'll have to trawl the second hand market. You have two choices (worth bothering with) Vintage Pro - an attempt to evoke the T-bird of the 60s with chrome pickup covers, two piece bridge etc. Classic Pro - if you must get close to the one pictured it has to be this one - Gibson TB+ pickups with black covers, three point bridge - which you then swap out for a Hipshot, after which you'll pretty much have the one from the video, save for the name on the truss rod cover. Don't waste your time with a bolt on Epiphone "Thunderbird" - that's simply a generic bolt on bass whose body happens to be Thunderbird shaped. Being neck thru is one of the fundamental things that makes a Thunderbird a Thunderbird. Good luck!

Before non-Prime members get excited, that's a Prime only deal

Hasn't been spotted yet is the only reason I can think of.

If your plums are purple, it's probably time to get yourself to A&E...

Bit crowded, innit?

Heh, we call that "the box of death/doom"