![]() Detail of Sunn rig, with setting markings. And I put Fender necks on because the Thunderbird necks were too thin on top.Ĭlick to view larger version. The bridge is positioned a sixteenth of an inch forward of where it is on the stock Thunderbird. I had bodies made with the Thunderbird pickup and bridge. Either Thunderbird or Fender/Thunderbird hybrids. Even now, when I find myself in a corner, I force myself to change equipment or play in a different way.” From October 1994, Guitar World interviewĪlso, around Quadrophenia was when I changed to Gibson Thunderbird basses. I then went back to using treble and my style changed yet again. Sunn amps had a pretty solid sound to them and all this combined helped me out of this rut I was in as a player. I started using the Thunderbird which had a much bassier sound, in fact no treble at all! I felt like I’d got stuck in a rut and the only way I could get out of it was by changing my playing style, my technique and all my gear. I’ve never been fully comfortable with my bass sound, and it doesn’t seem to transfer to tape very well unless it’s live. But I basically set the Sunn amps completely flat. I used a very straight bass sound in the studio, although later for the tours I started to use more treble and got a bit raunchier. “It was a Gibson Thunderbird bass and Sunn amps. From December 1996 Total Guitar magazine interview What gear were you using on the sessions? Selected quotes from John EntwistleĪll quotes and references are copyright their original owners and are included for reference only. Power: solid state, 320 RMS (880 watts peak) in a 2ohm load. Rear panel: Circuit breaker, two speaker jacks, preamp out jack, mixer input jack. Front panel: Line in jack/line out jack, input sensitivity (off/.5volt/1volt/2volt), audio/117v switch, lighted VU meter, polarity switch, power switch. A lot of versatility - you could turn the midrange off or turn the bass off or the treble, it used active filters. You could turn it all the way off, so you had ultimate control. But John largely remained with the one Coliseum Lead/one Coliseum Bass each on one Sunn 4×12/1×18 stack through December 1971.Ĭonrad Sundholm (of Sunn), on the Sunn Coliseum bass amp ( from the Sunn Shack ( archived):īut the Coliseum series, that included the bass amp used by the Who, was a unique preamp circuit because each of the tone controls was a separate preamp. 1971, an additional Coliseum Bass amp was used. Two Sunn 4×12 cabinets, some fitted with Bob Heil’s Ye Old Music Shop of Marissa, Illinois, badges or one Sunn 4×12 with one Hiwatt SE4123 4×12 cabinetĪt the Oval Kennington, 18 Sept.John Entwistle began using the first iteration of his Sunn rig at this time, what eventually became a 1,200-watt system, designed by Bob Heil, who also designed the Who’s first Sunn PA for the Who’s next tour. 1971, with Sunn Coliseum Bass and Sunn Coliseum Lead heads, two Sunn 4×12s and two Sunn 1×18s. Laminated pickguard with finger grip and “Thunderbird” logo on bottom boutĬa.Two humbucking pickups, two volume/one tone controls.Nickel-plated pickup covers, bridge cover and finger rest.Mahogany through neck, with rosewood fretboard.Honduras mahogany body in “reverse body”-style (bottom bout longer than top bout), sunburst finish.I go backwards and forwards like that all the time.” Specs Eventually I found that I had developed a new playing style, then discovered Alembic basses and went back to playing with treble. So I changed to Sunn Colosseum power amps and a German preamp called a Stremp, and took up with the Thunderbirds. I felt I was getting stuck in a rut, using all the treble. “…by ‘ Quadrophenia’ and Who By Numbers I was playing Gibson Thunderbirds. John: “Once you turn up the treble on a Precision, the bottom drops out.” “In big arenas, I wasn’t getting enough bottom end from the P-Basses when I had the treble all the way up.” From April 1994 Bassist interview ![]() On display through October 2019 at the Play It Loud Exhibition at the Metropolitan Museum of Art in New York.160065 (impressed to rear of headstock), in mahogany. Used at least two one accidentally destroyed by Keith Moon while exiting stage at Forest Hills in July 1971, breaking the neck off and John subsequently smashed it to pieces. ![]()
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