martthebass

Why would they do that when they can sell all the 4003s they can make?

It's unfortunate that the 'Ricky' hate clouds the debate.....understandable on the basis of the objectionable owner but if we compare just the basses and not their 'baggage'. However, I think these 2 basses are very different animals coming from different design points and eras. I've played both and for my sins still have a Rick. Ergonomically they both have flaws, I don't like the bridge pup cover on a Rick (and the fact you have to fill the hole when you take it off) and I don't like the fact that the 1st fret feels a mile away (to me) on the Spector. I can't comment on quality, I've only had 2 Ricks (my current 4003 and a previous 4004Cii) and both are/were top notch build but I understand others have had different experiences. On a bass at this price level though I'd never trust to luck and would always play before buying. On the sound side, they are very different, I agree the Spector has more flexibility but they are far more flexible than most basses conceived in the 50s/60s. The 4003 is fairly flexible, at least as good in this respect as a Jazz and it has THAT sound as Cetera has previously said. Price wise I think anything from the US is overpriced at the minute - the £/$ doesn't help here. But in terms of the Rick not being worth it.....only the OP can decide that, FWIW I wouldn't pay over £2k for one but I wouldn't pay over £2k for any bass.

I had a 57 JV - big Fender logo, small 'squier series', bought it the same month the review in 'International Musician and Recording World' came out - August 1982 IIRC. All the ones I saw were white PG and two colour sunburst (I think the first run also had a 62 Precision and a 62 Jazz both 3TSB and tort guards?). I'm assuming the gold guard (assuming it's not aftermarket) means it's a domestic.

Is that a Theramin on the left? Ooooooooooooooooweeeeeeeeeeeeooooooooooooooooo.

Another one here who only uses the 2 finger technique when playing 'galloping' triplets. On occasion I've used 3 for those slightly 'messier' Entwistle moments. As others have said - start slowly and work your way up. I practiced Duran Duran's Planet Earth to build up stamina - playing it as triplets; urban legend has it that John Taylor needed to play with a plectrum when he was laying down the recording as he couldn't hit the tempo......not the case now though.

Finish is definitely different to my Mike Way sig Mustang. No multi coloured flecks in mine so doubt the MW would be the donar body.

I play in a Glam Rock band. That is all.

I do like the Jazz. However having just obtained a Mikey Way Sig Mustang AND a Ray Starry Night for the Glam Rock band I think I might have to pass as I'm already on Glitter overload.

Has Blue become Bluewine?

I'll say. Listening is mainly 79-84 electronica, new wave and indie. Playing is exclusively 70-74 glam rock

A very early 1983 JV 57P - traded against a 'proper' US Jazz A mint fretless Westone Thunder 3 - traded against an Ibanez geetar And I'm sure at some point I'll regret letting go of my Status Streamline......

[quote name='BigRedX' timestamp='1508938749' post='3395500'] I don't think that Stockhausen counts as rock, and from what I've heard I not very much of Frank Zappa's output does either. The fact is, with the majority of acts on Later fall into the rock and pop categories, most listeners should be able to make up their minds whether or not the music is worth further investigation after 60 seconds worth of listening. [/quote] I’ll concede your point on Stockhausen....I was working on your ‘composer’ reference but I think you’re splitting hairs on Zappa, there’s a lot of distinctly rocky output from old Frank. Which makes the point that 30-60 seconds of one song should hardly be considered definitive of an act’s ‘music’?

I think that is a bit of an oversimplification BRX.....what about the likes of early Zappa or Stockhausen?

Mick Karntastic!

[quote name='CameronJ' timestamp='1508064711' post='3389509'] Also, for less money, check out the Markbass SuperSynth and the EHX Bass Microsynth. For relative pennies the Digitech Bass Synth Wah has some very good sounds too. [/quote] I had the MarkBass SS for a while....some great sounds to be had. Main problem I had is that it doesn't latch and the sound dies when the note decays below a certain level. I'm not sure if that was fixable if you dug into the settings via the software? I ended up getting the Digitech which I found did a halfway decent job for a lot less cash.

Can only comment on my Squier Mustang but, in general: 1. The tone is less bright and 'thumpier' - like a P bass on half tone? I like it FWIW 2. String tension is lower 3. String spacing is tighter (think this is a Mustang thing)

Good point Mikel, my eyes need all the help they can get.......especially at stupid o clock when I get in from a gig and decide to watch BBC4 offerings.

Location: Rotherham Arts Centre Age: 18ish Bass: Squier JV 57 Precision Amp: HH VS Musician with a Peavey 2 x 15 Set: 50/50 originals and covers. Covers - Joy Division, Bauhaus, Bowie I remember being p1ssed off because I lost a strap I'd just paid a tenner for....

http://www.glamfever.co.uk/ Put together by the technically competent drummer of the band - so no techy details from me.

If you're looking at a conversion - you'd need one of the early first generation 4004's, the later ones have the same neck profile as a 4003 (i.e. narrow not wide).

What BRX said. Playing in different band/song scenarios definitely increases the pattern catalogue and your degree of flexibility.

Loving that Sterling! I use my 'Starry Night' Ray4 in a Glam band - looks awesome with good lighting.

I can get quite anal about dings.....but mainly if it's a pristine bass and especially if I'm not convinced it's a keeper. My main workhorse is a MM US Sub which has the 'indestructable' finish but it still manages to get headstock chips; it gigs weekly so I look at it as honourable collateral damage!