Still very mucky and undefined (especially with over-driven marshall amps) but definitely tighter than that neck pickup. Jack Bruce preferred the bridge pickup for most of his work using an EB3 with cream. Three-point, full-contact adjustable bridge T-Bird Plus (Neck), Vintage style T-bird mini (Bridge) Gibson 2015 SG Standard Bass Specs: Scale: Gibson 2015 Thunderbird Bass Specs: Scale:Īlnico V bass pickups with two coil tap switchesįull-contact three-point adjustable bridge The Gibson 2015 SG Standard and Thunderbird Basses will come with hardshell cases and carry street prices of $1,679 and $2,599, respectively. The bass comes in Heritage Cherry Sunburst finished in a gloss lacquer. Hardware includes max grip speed knobs, Grover shamrock tuners, and a 3-point adjustable bridge. The bass is loaded with a T-Bird Plus pickup in the neck position and a T-Bird Mini pickup in the bridge position for tonal versatility. The 2015 Thunderbird will come in a Vintage Sunburst finish.įeaturing a 30.5-inch scale, the 2015 SG Standard Bass is built with a mahogany body, mahogany neck, and an unbound rosewood fingerboard. Its 9-piece laminate mahogany and walnut neck is flanked with mahogany body wings, which Gibson says offers increased sustain. The humless set has two coil tap switches to offer up eight distinct sounds. Nickel-plated: Kluson tuners with metal buttons fully adjustable four-saddle bridge stop tailpiece bridge and pickup covers.The 2015 Gibson Thunderbird steps away from the company’s standard T-bird pickups and is fitted with a new set of Alnico V pickups. 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.
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