retroman

Problem is they're a bit of an under rated niche market kinda bass.... As far as trade value goes, I would have thought you want to be looking at least £700 minimum, but if I was selling mine, I would want at least £1000. Might be better off trying a private sale first. Got any pictures to share? I have a 1991 Flat top Les Paul bass, with the Barts, etc, although they didn't officially come out until 1992

I've always used Autoglym Super Resin Polish on both nitro cellulose, and poly finishes with excellent results. Have been using it my basses for at least 15 years with no problems. If I have any fine scratches to polish out, I use 3M Finesse It, which is a very fine cutting compound, and far superior/ kinder than T Cut. T Cut contains amonia, so would give a wide bearth. For rose wood fret boards, I've been using Dunlop Lemon Oil for a while, with good results

Defo can't do the 20th, as I am booked on a training course to become a dog trainer for the whole weekend

I have an Indonesian made Squier Affinity Jazz bass. Very well put together, and sounded pretty good straight out the box. Even came well set up. The fit and finish of everything well above par for a bass of that price, and in fact, is better put together than a USA Jazz I have seen recently! I have modded mine a little, and fitted a better bridge, and also fitted an EMG J Set of pickups. It can hold it's own against far more expensive basses. As far as I know, the body wood on mine is Agathis/ Basswood, and the neck is Maple.

As far as people walking in when I am practicing, I've kinda got used to it, as I practice in the living room at home. After a while, you just tend to not notice any more when someone walks in. As a nipper, I used to play piano, under mothers watchful eye, so maybe that helped a little. Sometimes it can help to have someone on the same playing level as you to jam with. Not so much pressure, and you can help each other to learn and improve. For taking to the stage, I tend to spend a little time beforehand mentally preparing. I'm naturally quite a shy, retiring sort of chap, so my way of coping is to imagine I am a different person, who is very confident. works for me anyway

[quote name='cheddatom' post='996705' date='Oct 22 2010, 09:18 AM']The only time someone told me I couldn't use my own rig was in a battle of the bands, where apparently being able to hear myself would have been an unfair advantage.[/quote] That made me smile We won a band of the year event last year, and to my horror, the bass amp that was supplied all the way through was this tiny little Trace Elliot 2X10 combo thing! It was a big venue, with a large stage as well

Cheers for the PM I have voted on the above, but I know I definately can't do the weekend of 20/21st November. As far as a venue goes, would prefer it if it was a venue with plenty of parking, and no stairs to carry gear up. How about the place Shep suggested?? Sounds ideal.

[quote name='Born 2B Mild' post='997222' date='Oct 22 2010, 03:55 PM']I loved hearing Mrs Retroman's comment concerning Alembics![/quote] She's a real character I managed to get her to have a go on my Alembic a couple of weeks ago, and I think her closing thought was something like "yeah, it's ok I suppose, but it's not an old Fender"! Mrs R was very taken with the fretless, to the point of GAS!

That'll teach me for not reading your post properly!! We should have made up some little "Basschat" name tags so we could spot each other

That was her . She dabbles a little on bass from time to time, but I think that was the first time she had picked a bass up in best side of a year. She did actually get quite good at one point, but other interests have taken over really. Basschat shootout? Would have been good, but for some reason my mind always goes blank for what to play at these kind of events! I was amazed by how nice the Sonus 5 was to play, on the brief go I had with it.

[quote name='BottomEndian' post='997210' date='Oct 22 2010, 03:43 PM']Whereabouts were you sitting?[/quote] Fairly near the front, on the right hand side. I was all in black, and the Mrs had a blue scarf in her hair

An amazing evening, even the Mrs enjoyed it very much It was great to see MM playing. A truly great player. All those Zon's have done my GAS no good at all! Really want a Sonus 5 now Congratulations on a great evening Phil. Really enjoyed it, and well worth the journey

Looking forward to it, and hope to put some names to faces

Thanks for the info Sounds like their probably isn't a lot of difference then. The Jazz 77's are way too high tension for my liking, so I think I'll give them a miss

I know what you mean...... I had been after a Bicentennial 'Bird for eons, and finally got one. I really want to gig it, but I can't help feeling scared to do so. Main things that bother me are cracking the headstock one by accident, or worse still, someone stealing it...... They definately are one of the iconic rock basses. Pete Way of UFO used one to great effect, and even Lemmy has been seen with one, identical to yours. Probably closest thing out there that Gibson made to doing the Thunderbird thing, but being far more practical, was the Les Paul bass. The current style of Thunderbird is easier to live with than the 60's, and 70's ones, thanks to its slimmer neck, and much smaller headstock, so the balance issues are far less noticeable. Go on, keep it, and get rockin'

As Mr Foxen suggested, shim the neck to give a bit more neck angle, then raise the bridge saddles, and reset intonation. I went through a similar thing trying to get an old P bass tuned down to low A! Had to shim the neck, move the bridge back a little to get the intonation right, and re file the nut slots to suite the heavier strings. Still managed to have it playing with a medium to low action at the end, but needed a few truss rod tweaks. For strings, Give DR DDT's a try. My Les Paul bass is tuned down to C, on a 115 set, and no issues with flapping, or intonation at all. Even the DDT 105 set will handle low C, although if you play hard, the 105 set can get a little flappy.

Loving the Thunderbird The colour of yours is more unusual than the 'burst finish. It is a '76 Thunderbird IV Bicentennial, which were made in fairly limited numbers. Just to add a little confusion, some '76 Bicentennial's were made in 1977. The serial numbers are easy enough to decode. My '76 is one of the ones that was built in '77. Later 70's models still had the red and blue bird on the scratch plate, but didn't have the '76 logo on the bottom of the bird. The bass does look good, but for the most part, looks like it would benefit from a good polish. The nitro cellulose finish on these should shine like a toffee apple, and the chrome shines up really nice too. I use Auto Glym Super Resin car polish on mine, with fantastic results. Assuming it is all original, with no headstock repairs, original case, original ash trays, and not been refinished, I would say you should be looking at least £2500 for the Thunderbird. Although Thunderbird's don't attract the same following as early Fenders, a good early Thunderbird has good investor/ collector potential. I seem to remember that there is some good info on the Fly Guitars website. Hope this helps

Yeah, cheers mate I would be interested to find out. I have wondered if they are the same strings, in a different packet, and a couple of quid more to be honest If they're much lower tension that the standard 77's, I would be interested in trying some out.

[quote name='bartelby' post='988783' date='Oct 15 2010, 06:58 AM']The Steve Harris Rotos are fantastic strings, I use them on my 80s Squire P and, of course, on my Steve Harris Sig. P. They're really easy to play, even close to the bridge. I've perviously asked about the difference between the SH77s and the Jazz 77 and no-one has ever answered (or I haven't noticed they've answered). I have a feeling it's just the silk winding colour.[/quote] I've often wondered the same. If they are the same string as the Jazz 77, then he must have huge hand strength!

I have a 1991 Les Paul Deluxe bass with the Bartolini pickups, and preamp. I find it very comfy to play, as it has the flat top body shape, and Schaller bridge. I really like the neck profile too. Not as skinny as a Thunderbird. Sound wise, it has a very rich sound, with loads of low end on offer, and a bit of sizzle on the top can be found thanks to the Barts. Seems to sit very well in a Rock band situation, and is also very good at supplying subtle warm tones under acoustic guitar tracks, when played gently up near the neck. Then dig in with a pick for some serious rock. Only slight niggle is sometimes the low-mids can get a bit over powering, and boomy. Definately a keeper, and makes a very good alternative to the venerable old P bass

[quote name='gary mac' post='986130' date='Oct 12 2010, 07:48 PM']I think if the issues you have detailed are enough to spoil your enjoyment of the bass, then it should go back. I don't see why any of us should accept shoddy workmanship. I know sometimes it doesn't seem worth all the hassle of returning stuff but this is exactly why dodgy quality control exists. If Fender or any other manufacturer couldn't shift their less than perfect instruments, then I'm sure they would soon stop being made, quality control would suddenly improve dramatically and there would be a whole lot of very much happier musicians. Oh for an ideal world. Anyway hope you get it resolved to your satisfaction.[/quote] Big +1

Have to admit, I am starting to find this a bit of a catch 22.............. One of the bands I am in, after taking a bit of time out for recording, and writing new material, is ready to get back out there on the gig circuit. All three of us have been working hard trying to get a gig, and finally I got a gig offer..... 4-5 band bill, us to headline.....but we have to provide backline, especially the drum kit, other bands to provide amps and breakables. Problem is, our drummers DW kit cost an obscene amount of money, and he definately, and quite rightly won't let anyone else use it. I emailed the chap to ask if there is any way around the drum kit, and the trail has gone dry......... Although, at a push, I don't mind lending my cab out, I still feel nervous of that idea. At the end of the day, it's an Ampeg 610, and if some knob manages to blow all the speakers in it, that's a fair amount of money. So, all in all, looks like either lend others your kit, or don't get gigs I'm not a complete git over my gear. One gig springs to mind where the promoter told the band on before us that they could use our amps, without asking us first! The bass player came over, appologised, and asked nicely. Seemed like a nice kid, so I said yes, but warned him that I would be keeping an eye on him......Came his time to play, and no sound! Battery in his bass was flat, so I wound up lending him my back up bass as well Any advice on how to get gigs, without keep running into this problem greatly recieved chaps

I wouldn't accept that bass to be honest. You have paid a lot of money for a premuim product, and the bass you have recieved has had poor QC. My main concern would be the hole for the truss rod. Biggest worry, is the truss rod in the wrong place inside the neck? Scratch plate is probably just a wire trapped under the edge, or perhaps the bottom of one of the pots is sat on some wiring, pushing it upwards?

If I was only able to keep one of my basses, it would have to be this one. I wanted one for so many years......

If it's any help, the 1/4 pounders I have in a P bass are passive, with massive pole pieces