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nice score they sound great with flats

So I'm been pretty much a full time P bass/flats player since i started in bands. Ive had a few flirts with Jazzes and once upon a time a burns bison bass but always come back to the P. Over the years I've had a few basses ive always loved the look of a few others (i still think a Spector Euro in Gloss Black and gold hardware is one of the best looking basses) and had mixed reactions when finally getting hold of them. Now, my main 'always wanted' bass is an original Ric 4005 but finances just cant justify even the reissues but i developed a ric itch. Fast forward to last week and my daily trawl of the usual sites took me to Bass Bros where the had a few ricks in. I love fireglo but to me the newer ones have a sort of 'washed out' or 'bleached' look. Then i saw it - a 1998 Ric 4003 with just the right mojo and for what i thought was a reasonable price - i had to have it! Today, after being ordered late Friday evening she showed up in her rickenbacker hard case and she looks absolutely glorious. After years of P's ill need time to adjust and ill need to get her off to the fixers for a set up with my usual strings when they are in stock but here's a few teaser pics in the meantime.

I was in a couple of bands in the ‘90s / early 2000’s who played in the Grey Horse in Kingston ( not Jamaica ). I was told by a couple of band mates at various times briefly that it had Legendary name Musicians who played there . To me the bar looked okay, but the gig area was like a rundown social club . Most of those legendary musicians are either dead or in care homes. It meant nothing to me . All we ever experienced there was bad band promotion , dodgy bar managers resulting in a few punters. Yes, we played to the bar staff exclusively as well . We gave it our all so to speak , treated it like an extra practice session with payment fluctuating to allow for shady managers. That was the worst . We just took in on the chin and moved on ,and refused to go there again .

Perhaps it's just the way I'm wired, but when someone says they're hideous, it just makes me love them even more.

That's why I emphasise buying good cabs. The best cabs will combat that woolly/boomy-ness in bad rooms.

By the way, Worship Together’s website is a good resource. With a free membership account there are loads of chord charts available for a load of worship songs including in ChordPro format…

Danny’s tone is the tone I aspire to. Stylistically, he always managed to hit the sweet spot, underpinning what the other instruments were doing, never getting in the way, but always adding something significant to the setting. Thanks to @TwoTimesBass for sharing that beautiful version of Magic Strings.

Dunlop short scale flatwounds are very nice - but I'm not sure how loud they would be on an acoustic instrument - is it purely acoustic or can it also be plugged in?

Sounds good, but to be fair, I get a very similar tone from my Warwick Rockbass Alien. I ripped the frets out and fitted her with La Bella low tension flats and she growls and sings. Mind, my playing isn’t anywhere near Matt Garrison level 😂

Sad news. As well as the brand, all those people out of a job! Whatever you think of the headstock the technological steps forward: MFD, active/passive tone shaping, locking bridge, 6 bolt neck are worthwhile. I'd really hope that Fender might incorporate some of that into new models if they are the buyer.

I’ve got the old bought OnSong app and love it! Have used it extensively over the years. However, I hate the idea of subscription software so have never “upgraded”.But I’ve noticed that certain functions have started to fall away for it. You used to be able to search for songs generally on the web and that’s stopped working recently. But like orders I’ve got a large library which I’ve built up over the years and also just create my own files using the internal editor.Which is t so hard when you get the hang of it. There are a few ChordPro / pdf compatible apps out there and many are free so not a bad idea to check them out.

yep, it happens I had a Policed gig at a rugby club fun day. They all got plastered and went home, promising to return Organiser offered us the full fee and to go home. We agreed to do the first set and see if any of them come back. They didn't, so we gave it our all for the bar staff. And more recently a St. Patrick's day beer fest in Derby this year.# with The U2 Tribe boys You'd think U2 / St paddy's day were a good match It was a repurposed warehouse and freezing cold and it was rammed with people We were due to start at 8.30. I counted 23 people left but we did the whole set (they said to stop after an hour) but it was my 2nd or 3rd gig and I need the runthrough Got paid 400 quid each though

The general feeling is that if Fender does buy it, it’s to gain the right to use Leo’s name & image, rather than to continue the G&L brand. Time will tell, I guess…

Definitely truss rod adjustment needed there, the bass had probably just settled into your home's ambient temperature and humidity. I have to tweak some of mine (guitars included) with the changing of the seasons. Yep, that was absolutely clueless by the dealer

G&L by Squier 🙂

Sounds like it needed a ⅙ turn to loosen the truss rod. My Fender Performer was exactly this after not bring played since high summer. The dealer let you down.

@BassBags that’s great to hear and thank you for taking the time to clear that up 😎

I think we’ve all played the gig to the bar staff and the gig to a rammed out room. My own highlights include travelling 50 miles to play in a remote Northumberland village pub to the bar staff and pub dog because two local lads were having a birthday party in the village hall (at least the dog seemed to like us), and playing to 4,000 Hells Angels in a big top tent on a Thursday night in Stafford. Locally, live music is often seen as a way of saving failing pubs with the result that you get three or four pubs all offering live music of varying standards within a 1 mile radius. This splits the local audience with reduced numbers all round. Suffice to say that most fail and eventually close or get new management. We’re blessed with a few pubs and clubs with a reputation for good quality live music, and as both of my bands are shall we say ‘niche’, then we prefer to wait for gigs in these venues than take a gig in a dying ‘flat roof pub’ where the meagre audience are not going to appreciate your efforts. But I think we have a huge role to play in attracting audiences. The prevalence of social media means that marketing/advertising your gig doesn’t need to cost a fortune. Timing your advertising is important too, too early and folk will forget, too late and they will inevitably already have other plans. Also, all band members have to share the workload of marketing as whilst we have many common connections, if we all hit the like and share on our bands posts, we will hit the widest possible audience. Oh and posters, many venues still rely on bands sending posters to advertise inside the venue.

Anybody that's had any experience with corporations and acquisitions knows this is true, sadly. It's just a matter of timescales, and the ease of business transference. For the first few years, it'll be "Fender G&L" or "G&L by Fender", until one day someone in management realises they can gain personally by arranging a strategic brand absorption / "realignment". The brand will die in a C-suite Powerpoint pipedream promise.

So does that mean you got a full refund on the bass and walked away?

Maybe half-cut..?