Gibson Thunderbird Bass

1964 Thunderbird II - most definitely made in the USA - 20 frets / 4 strings / solid laminated mahogany w/rosewood fingerboard. One humbucking pick-up / 2 controls (tone/volume) / brass string-mute w/felt pads / bridge and pu ashtray covers / gloss lacquer clear-coat over black-burst tobacco stain/ white plastic 3 ply (w/b/w) pickguard with a rosewood 2 screw thumb-rest/ original 3 piece "reverse" body style / long and thin at the nut neck-thru / long stemmed cloverleaf tuners / huge headstock. Original case.

Bought my beloved T-bird II in 1978 for $700 from a vintage guitar shop after my 63' II (the rarest of rare T-birds) was stolen. (bought that one from a pawn shop in 73' for $150!) It's probably still out there somewhere. (it's the same more common tobacco black-burst but with a custom ebony pickguard if you see it - please let me know!) Anyway, the T-bird is really a very distinctive instrument from start to go. Regardless of the "reverse" designation, it looked like no other bass or guitar of it's era. Really unique. Gibson remember did the Explorer and Flying V in the 50's and the T-birds both reverse and non-reverse were pretty out there! Big in looks and sound. It's no wonder T-birds old and new are still a rock standard. In 63'-65' they came in a few finishes/colours but the tobacco natural black-burst is the most common. They were "2nd fiddle" to a Fender in the bass department when new, but their users were no less famous. Who?...John Entwistle for one. The 76' Bicentennial bird was the closest to being a re-issue other than it's additions of a beefier (better) bridge and slightly different pu covers. The new T-birds (all IV's) are ok, but no comparison to the real deal. The original 60's T-bird II's are definitely the most sought after. Their sound is loud, dark and thick. Mostly a rock/blues beast, and I saw Bill Laswell do a mean reggae dub sound with a newer T-bird IV. I love the bass because of its feel (neck/fingerboard) and looks. Who would have thought they would become so valuable! Oh, and I bought a newer Gibson hardshell T-bird case which is way more protective and very well made. (cheap too!) The original is functionally a POC.

The original birds' bridge is basic and limited as far as intonation adjustment. Most people took off the brass & felt string mute (riveted to the bridge underside) and the pick-up and bridge covers. Action can be successfully set very low and fast, and the truss-rod works well accessed at the headstock. It's fatal flaw was a very long neck which was very thin at the nut with a very large headstock. Wonderful to play, but a disaster waiting to happen if you turned suddenly and there happened to be a wall in it's path. Many 63'-65' T-birds have had neck surgery, were scrapped or were turned into Fender-birds. The newer T-birds are probably all pretty decent with a little set-up/adjustment.

Will it withstand live playing? ah.., no. But I still play it and have played live occasionally with it. (with care) In the newer Gibson case it's possible to travel with it, but unlike a similarly vintage Jazz or P-bass, it was always more of a thoroughbred than a war-horse. But just for the record, I'm a player and I play it - I'm not a collector/investor.

As someone else said in their review, "I've never called them, and they've never called me - go figure" However, I have called GHS (strings) and they rock! Great strings for a good price and an excellent pr interface.

Playing since mid sixties. Own a few basses, all 4 string, SWR and Polytone amps. I recall that I could have bought a 64' T-bird IV for $50 more when I bought my II and I couldn't justify the extra expense! How things have changed. If it leaves ever my possession, it would be a very sad day. If push comes to shove, it would be hard to sell it because some collector ****** would probably buy it for "investment sake". Instruments this special need to be owned by players.

1976 Bicentenial. 100% original. Natural magoganay. I bought it new in about 1978 but to be honest I've hardly ever played it. Its perfecr, just as it was when it left the factory except that I threw away the tags (how was I to know they'd be valuable one day?) and changed the strings. It's in a black case with pink velvet lining.

It's a thing of beauty, a work of art. I enjoy watching people's reactions when they see it for the first time. It's been described as "breathtaking".

I really don't care what it sounds like, I'm not a musician but I love it anyway. ....... I'm wondering if you think it's wasted on me or if, maybe, you think that owning it for its visual qualities is just a valid as owning it to make music.

American made Gibson Thunderbird, Four string, two passive black soapbar type pickups, two volume and one tone pot, Grover tuning pegs. 20 frets on a very thin neck.
Ebony stain finish with black chrome fittings,Mahogany reverse style body with a through neck.
Came with a Brown/pink lined Gibson case.

When plugged into my Marshall VBA 400 it growls like nothing else i've played with, from now this will be my only stage guitar.
I'm a geat fan of The Who, and love the John Entwistle sound (64-82 period).

It needs a good set up, but i got it second hand
I'm gutted that i'll have to pay more to get a "pro" set up.
Finnish is not the best as it's secondhand, i can imagine new it would have been pretty much spot on.
My rating is 6 for the action, not the fininsh

I think it will withstand all thing you throw at it playing live, but don't throw it at anything as the neck would snap. (watch out for low ceilings)....
The strap buttons are the locking type and seem very reliable for my style of playing. (i move about alot).

Never needed to deal with the customer service side of things.

I've been playing for 8 years now, i've owned Fender, Rickenbacker plus many more makes, though Gibson was the one i never tried out, till a month ago. I now have my Thunderbird and a Rickenbacker 4003, two great quailty guitars, if they were stolen, i'd buy them again, if i had the money.
I'm very happy with my thunderbird, needless to say i sold my USA Fender precision deluxe to buy this baby.
I've been waiting to find "the one" for many years, and now i feel that i've found it. The Thunderbird is "the one"

I purchased a 1990 Gibson Thunderbird Bass which is a 60's reissue...It has 2 nice humbuckers I believe are EMG's, @ volume to make for a nice blend and 1 Tone....Did I say Deep sound.Deep Sound!!!Oh yeah has great sustain and Deep sound...I feel the thru body design of the neck makes this bass sound as good as it does..

It also came with the orginal Gibso case witha cloth attached inside that goes the length of the case and is put on top of the bass..I they even attached it to the case so you dont loose it.....

Woops!! Said alot of the sound befor but deep and clear..There is nothing I have found negative about the bass

Did not get from the factory as its a 1990..The action is a little High but will bring to my local Luthier ( I call him the Bass God)
and it will bew perfect when I get it back...

as a 14 year old base it shows some wear but it all adds to the bass....

I am sure this bass can withstand live playing..It sure looks like it has been played.....It has solid locking strap buttons and a nice Music Man locking leather strap!!!

I intend to only use live,,,and with my pedals I am sure I will get the best sound. www.tonguetramps.com

Dont expect to have to deal with Gibson but the info I have found on thier site has been very helpful..

Been playing for over 35 years and always searching for the perfect sound..Just when you think you have it you find another bass that has a different sound.
If it was stolen I woul find another..Not at the good price I got this for ..

I can tell you I started buying newer active bases to get the sound I thought I wanted...The Bird blew away anything I was usuing....Well off to ebay to sell off the ones I dont need...

Mine is a standard 1991 model with all standard features. I really like the overall appearance, but dislike the strap button placement. This bass can get difficult to balance, (depending on how you are built!). I paid 675.00 used, and thought it was a great deal at that price.

The sound is pleasantly full and rich. I play out almost every weekend, and use a 1960 stock Fender Jazz. I gravitated to this bass because of the thinner neck profile. I was not dissapointed. It is a real pleasure to play this bass, as the neck actually has a more "rounded" feel than my old Jazz. It is much easier to get harmonics, and this thing runs circles around my Jazz in the sustain department. This is a great bass for Rock or Motown style, and I am patiently waiting for the roundwound strings on it to croak, so I can experiment with a set of Labella flats. It should have some interesting tones.

The bass was and is still set-up well. The neck looks as if it will be a little testy in the truss rod department when a string change is in order. The neck is obviously very sensitive to string tension, and will undoubtfully require adjustment at string change. I would recomend anyone who has one of these to change out your strings one at a time to avoid excessive problems. The finish is cool, and ages very well.

This is one great gigging bass. (and that means alot coming from me!!!) This was the first secondary bass I have ever purchased in 15 years of playing that I was not anxious to immediately get rid of. This one is a keeper.

I'm a 15+ year player, and I give this bass the highest honors. Plug this puppy into your old Ampeg B-15 and let her growl! Two thumbs up.

My T-bird is an early 90s model made in the US by Gibson. It's pretty straight forward---20 frets, four strings, two soap bar pickups with two volume and one tone control. The construction is a multi-laminate neck-thru design with a mahogany body. Tuners (small Shaller-style), bridge and pickup covers are finished in black, which doesn't really work with the very nice sunburst finish. Why did Gibson jump on the black hardware bandwagon? Also, who does Gibson still insist on using that awful three-bolt bridge? It isolates the strings from the body and does nothing to improve the tone. The bass came with a very nice Canadian-made hardshell case.

I play the T-bird through a Nemesis NP-112 combo or a blackface Fender Bassman with a 2x12 cab. I use Rotosound roundwounds (.045-.105) and play fingerstyle with no effects usually. The neck pickup has a warm and midrange tone that borders on muddy. The bridge pickup is much more articulate. I usually play with both volumes and the tone wide open. Don't expect sizzling highs or deep bass from this instument, and don't count on a lot of tonal flexibility. However, if you're looking for a really meaty midrange growl, this is your bass.

I bought the bass used, so I can't talk about factory set up. I made minor tweaks to the truss rod and bridge when I bought it in 1998, and haven't had to touch it since. Fit and finish are first-rate. Whatever else people say about Gibson basses, they are very well-made with nice attention to detail.

The T-bird seems to be holding up well. Overall construction is solid, and I'd consider it as a main instrument if the tone were more to my liking. The stock strap buttons are awful---one is mounted on the neck heel and gets in the way of upper register playing (what the heck was Gibson thinking?), and the lower button doesn't help the bass balalnce well when standing. Straplocks arre an absolute must if you ever play standing up.

I bought the bass used and have never taken it in for any kind of work. I have to credit Action Music of Virginia for their customer service when I ordered the instrument online in 1998. It took less than a week for the bass to arrive after I ordered it, and it came well-packed and with a perfect set-up---and I was serving as a peacekeeper with NATO in Bosnia at the time. Thanks, guys!

I've been playing for 24 years, and the T-bird is rubbing elbows with a '62 Jazz Bass reissue, a 70s Precision, a 60s Harmony H-22 hollowbody, a recent Danelectro 6-string bass and a 60s Hagstrom 8-string. Frankly, the T-bird is not the first bass I reach for. It's heavy, doesn't balance well and has limited tonal options. However, it has some very usable sounds in it, and if you like a growly midrange-heavy tone (and a cool look), check it out.

I purchaesd a bicentenial thunderbird bass years ago,very few made,Ive never seen another,has great tone soooo when nikki sixx offred his signature bass,$2700 thruogh musicians friend I bought one...on sale for $700.oo yes $700.00...from gibsons custom shop...WOW what a bass...I hope not many of you missed out on it.Clean thick tones...all black,maltese cross"s on the fretboard instead of dots...no knobs...just a on and off switch...less is better sometimes and this is one of those times.Great sounding pu"s,great craftmanship,black hardware,custom case with custom lettering and a very nice silk like blanket that lays over the gutair.Great ballance,light weight,what a piece. I was the last one to order one,as they were out of stock..I lucked out for once...If Id knowen sooner I would have bought 2 or 3 of them and sat on them...collector pieces...If you can get your hands on one...GUARENTEED NO DISSAPOINTMENTS

Mine is a 90 re-issue of a 65 or somewhere thereabouts. It is pretty solid and is, I believe, made out of mahogony. There is a volume for each pick-up, and a shared tone control. The paint job is a cream/off white colour and seems to be pretty thick and hard. Mine has a crack in the paint on the back of the headstock. I don't know if this is due to tension or an impact. The size of the headstock at the end of that skinny neck makes me worry at times, but I think it looks cool at least. Whoever made this thing put the bridge poles a little too close together, and compensated by bending the bridge in a convex shape until it fit between them. The result is that the ramps don't sit properly half the time. If it wasn't for this flaw, I would be much happier. The case is pretty good, maybe better quality than the bass inside!

I find this bass sounds very dark, and reasonably tight. It sounds great through my Chandler stereo digital echo, when I set up a mild modulation setting. I don't know if other thunderbirds are bright, but mine is more subtle. I like the sound overall, but the thing with the bridge kills the sustain. Otherwise it has what I want in a bass.

I find this bass easy to adjust, and it holds my settings as well as can be expected. The finish seems kind of dull as if this thing was clear-coated with epoxy, and its hardness may be responsible for the cracking of paint behind the headstock. The feel of this bass is very plastic-like,(kind of like the sound), but I am used to it. The frets and fretboard are everything I could ask for. They are well seated and feel very comfortable to play on. The neck is very flat and makes it easy to hold barre chords and pedal notes. This thing would truly suck to play slap on, but is excellent for my harmonic style of playing.

I am not a professional player, but if I was, I would think twice before putting this thing through the rigors of live gigging. It is a pleasure to play and own, but would probably need to be treated with more care than most basses. The strap buttons seem kind of small. If I was a pro I would get something better. As it is, I use a seatbelt for a guitar strap and it hasn't let go yet.

I haven't had the occasion to use Gibson for a repair. I am going to take the bridge problem to a local repair shop. I will also get the paint cracks looked at elsewhere. I didn't buy it new, and would imagine that Gibson would grossly overcharge for their services like they do for their overated products.

I have been playing for 10 years, (and I still suck). I dabble with all kinds of instruments, but this bass, and my mini-moog are my favourite two pieces of gear. They both have shortcomings that would frustrate me if I was a pro, but I have grown to love the character of this bass. Gibson seems to have taken a dive in the quality department in the past decade. They seem to be selling crap now on the strength of their past reputation. If this bass were lost I would miss it, but would most likely replace it with an American P-bass. I have owned one in the past and would like to get another one. If you are looking into putting down some bucks on a bass, get one of these if you can get a good deal; otherwise I think Fenders are a much better value.

ok -
I bought an epiphone t-bass as a second bass and rabid stage posing prop but after inverted snobbery by other gibson owning musos - decided to buy the real thing.
I ordered a bog standard brand new one through my nearest dealer in nov 2000 which was a standard 2 pickup vintage sunburst and when it arrived ...well the case was nice. I sent it (the bass) back as quality control had obviously been on the beer the night before, the paint had defects (I do custom paintwork) and if I had done the paint on this bass I wouldn`t have dared look my customer in the eye. The neck had more bow to it than than a dogs d**k and when I attempted to set the action to something befitting a playable bass guitar, found that the truss rod was loose and out of adjustment - if I put any tension onto it buzzville galore folks! I had a #1300 bass that played worse than a cheap electro-acoustic i use.
It went back and I had in its place a nice looking tobacco natural burst bass in its place. This one had no blemishes though the laquer would have been a great source of embarassment to me if I`d done the paintwork - its comprehensively outclassed by much (MUCH)cheaper guitars. The truss rod was ok, and after I set the top nut height and adjusted the bridge it now has the playability of a #79 cheapo bass.

I play classic 60`s - 90`s foot stomping rock from black sabbath and pearl jam to fleetwood mac and the doors. Until this week I have been using swr 150w / 350w heads + goliath 6x10 cab, and ashdown abm500 1x15 + 2x10 gear. I have just reverted to a 10 year old marshall 200w head and a marshall 200x integrated bass head after years of wondering if the reason I didn`t sound good anymore was through old age!. Ladies and gentlemen if these are state of the art bass amps - you can keep `em, the marshalls I`m using have soul, not cheap speakers protected by compressors/limiters (as in the ashdown)thus removing all emotion from my soundscaping.
The gibbo has some nice sounds in it from a boomy/middly bass to a nice grunty/growling funky soul machine - if only it played as well as it sounded.
for studio use this bass has plenty of very very good sounds, on stage.....well what can I say, I`ve had more knickers thrown at me than bill clinton or that old tart that used to be with cobain.
One drawback - unless your playing on large stages forget it big headstock and thin neck make for lotsa nervous moments.

Read above. Absolutely and utterly diabolical, If I hadn`t ordered this bass and had picked it up in a shop I wouldn`t touch it with a bargepole unless it was priced at around #250 - #350.

Read above.
I use my own straplocks and a nice substancial leather hide strap - I threw the poxy standard ones at a neighbours cat. The volume and tone pots have started crackling after 7 months and the tuners are crap.
Truss rod? - ha ha ha!! why bother replacing the cheap plastic cover just have a key in your gigbag at all times. Having said that I never take a spare bass, just strings.

Changed first bass with no fuss. Just can`t be bothered now - after all why should one expect near perfection for the measly sum of #1300($2000?).

Looks brilliant on stage, paintwork looks good from 4m away, plays like a cheapo bass, sounds really really good.
Comprehensively outperformed by the epiphone bolt on neck version at #250 ($375?) - I can`t help feeling that the name on the plastic nut cover is not worth the #1000 difference.
I`ve been playing for donkeys years, my amps are now good old retro marshalls, I use a hand built headless Gordy (Manchester Guitar co)bass and a westfield acoustic bass. I`ve used fender aria squire gibson shaftsbury and yamaha basses. I play in two bands and do session work and am a big headed old weasel who has been there seen it and got the t shirt. My sound and style is a cross between JJ Burnell (stranglers) Raven (ex killing joke) and john Entwhistle - so there!!.

1977 T-Bird IV Bicentennial reissue. Mohogany, neck thru body, long scale bass. Tobacco sunburst, dual P/U's, 2 volume, 1 tone control. The only drawback is poor balance and bad strap button location. Get a chiropractor and straplocks and your in business.

Bottomless bpottom end, good mids, decent highs with right strings. Played through a Roaland Preamp, QSC Poweramp and Bassman 215 loaded w/EVM15's. Neck thru body gives long sustain. With treble opened up it can sound harsh when played solo but seems to blend well with other instruments. There aint a Les Paul/Marshall out there that can't be slain. Play jazz, rock, standards, polkas, whatever. You WILL be noticed.

Bass set up well. No complaints.

24 years of gigs and still goin' strong. Finish looks remarkably good. The trussrod has to be adjusted once every seasonal change because of the thin and looooong neck. If you don't use straplocks, better start looking for a replacement bass.

I've never called them, but they never called me either. Go figure.

Been playing bass for 27 years. The T-Bird was the first good bass I ever owned and over the years all the other ones have been chucked. If it was lost or stolen, I would quit playing and join a monestary.