A replica model is currently available from their sister brand Epiphone, and Gibson currently makes the similar SG Bass. The EB-3 was introduced by Gibson in 1963 and discontinued in 1979. Its high-output sound and distinctive design have made it the bass of choice for many rock musicians. The sibling to the Firebird guitar, Gibson introduced the Thunderbird in 1963 and has been manufactured on and off ever since.
Despite its name, the Jazz is used by musicians of all genres, including the following: It has a wider harmonic range due to having 2 pickups (more on some models). Spurred on by the success of the “P-Bass”, Fender introduced the Jazz Bass in 1960. James Jamerson: Appeared on most Motown Records recordings during their classic era.Bruce Dickinson: Iron Maiden (also their chief songwriter).Carol Kaye: Session musician for The Wrecking Crew who has appeared on an astounding 10,000 recordings, including songs by The Beach Boys, Simon & Garfunkel, Frank Zappa, Glen Campbell, and the MISSION: IMPOSSIBLE Theme by Lalo Schifrin.Roger Waters: Pink Floyd (was also their primary songwriter).This has been the go-to bass for many of the most renowned bassists, so this is a relatively tiny list of players: Most models have a single split-coil pickup and a tone switch. Developed in 1950 by Leo Fender, this was the first successful mass-produced bass guitar. The Fender Precision Bass Fender Precision bass Here, we will review some of the best-known basses and the musicians who use (or have used) them.
#Gibson thunderbird bass players professional#
It may be surprising to you, but the vast majority of these well-known professional bassists use one of only a handful of models. It simply wouldn’t be as good.Īlthough there are many good bassists, some stand above the crowd and have become true bass masters. Think of your favorite song, and then imagine it without the bass line holding it all together. But the bass serves a crucial function as the link between the melody and the rhythm of a song. Nickel-plated: Kluson tuners with metal buttons fully adjustable four-saddle bridge stop tailpiece bridge and pickup covers.To the uninformed, the bass guitar may not seem as important as the other instruments in the band. Gold Gibson logo on black truss rod cover three-ply (w/b/w) pickguard with bevelled edge and Firebird emblem two metal cap/reflector knobs labelled Volume and Tone 1964 Gibson Thunderbird IIĪsymmetrical reverse design tuners on bass side raised middle section black/ natural finish Exotic-sounding enough, but the regular, less expensive sunburst finish proved to be the most popular choice by far.Īlas, the Thunderbirds were not deemed popular enough to remain in production beyond the 60s, and with sales dropping off towards the end of the decade manufacturing ceased in 1969. Taking inspiration from Fender, the finishes included Ember Red, Frost Blue, Polaris White, Cardinal Red, Heather, Pelham Blue, Golden Mist, Kerry Green, Silver Mist and Inverness Green. Pictured at Guitars: The Museum in Umeå, Sweden, this custom colour 1967 Gibson Thunderbird II is of the later non-reverse variety.
As before, the II and IV were structurally identical – the main difference being pickups and electronics (the IV sported an extra volume knob as per its second pickup).įrom its inception back in ’63, one of the range’s main selling-points was Gibson’s all-new custom color chart, and these options extended into the latter half of the 60s. Regardless, the revamped Thunderbirds arrived that year featuring glued-in necks. It seems reasonable to presume that the Fullerton firm was distracted enough by its CBS takeover during 1965 not to interfere. Interestingly, however, the ‘non-reverse’ design that followed – a virtual mirror image of the reverse counterpart – appears much closer to the Fender offset with respect to body and headstock profile. What better way to return to the drawing board than with a bona fide automotive designer? Well, that was the thinking when Gibson hired Raymond Dietrich And with Fender claiming a patent infringement of its Jazzmaster body styling, Gibson was further prompted to overhaul the entire range. The reverse Thunderbirds, it seems, were doomed from the start. And while a laminated neck-through-body construction provides great stability and tone, reverse Thunderbirds are especially prone to headstock breaks (aka Firebird disease) – a problem exacerbated by the instruments’ heavy Kluson tuners. Indeed, Gibson still maintains the reverse ’Bird is one of the trickiest to produce.
0 kommentar(er)
