martthebass

Warwick Thumb.....loved the look and feel. Waited ages to get one, just wasn't me. Rick 4004.....another one I coverted, thought of it as a more refined 4003 but it sounded so completely different that I couldn't get my head around it. On the other hand, my Status Streamline.....I was determined not to like it because it looked goofy (it was originally my stepping stone to a s2) but 5 years or so on it's still the mutts.

Thanks for the answers guys. Cabs will be a pair of NY121s. Not sure if there are two inputs on the back of these....there was on my old 151HR. If there are 2 then ill daisy chain if not then different leads. I was concerned about using standard jack speaker leads, I thought it was necessary to use speakons with 500W output amps?

Despite playing for longer than I care to remember I've always used combos or single cab solutions. I'm looking at going for a two 12" cab solution running from from MB LM3. My stoopid question is; with a single speakon output and cabs with a single speak on input how do I connect up the 2 cabs for a 4 ohm load?

I have no issue with buying from the Far East as long as I know that's what I'm doing. I'm more than happy with my Squier VM for example but I didn't expect it to be as good as my old US 75ri. But, I do try and support UK and European manufacture and will pay a premium to avoid everything going to the PRC etc......on this basis I wouldn't be happy buying something I believed to be made in the EU to find that it wasn't.

Hi A and welcome to the forum. By 'the the pickups' do you mean the chrome surrounds - if so a bit of chrome cleaner as TB says would be fine but I'd do it off the bass so you dont get any on the paint. If it's a bit of corrosion on pole pieces (my 2010 has plastic buttons so hard to comment here) then unless it's really bugging you i'd leave it. On the set up side - the neck cant be screwed up in the same way that it can on a 4001 but I agree with you in checking the luthier has experience on Ricks.

It is requested that this is done by the OP but generally I only lock a thread if it is stated as sold either in the thread or in the title.

I've just left (albeit on ok terms) with the classic rock covers band I've played with for the last 3 years because of the two guitards buggering about with the set list. In this case it was more chopping and changing on the fly with arguments between them when there was a 'conflict'. The final straw for me was the argument at the pre XMas gig when the lead guitard had a strop and wouldn't play the encore....unprofessional.

....is there any left?

Quite often gig with my Squier Jazz VM77 which I only bought as a back up.

[quote name='JTUK' timestamp='1388391236' post='2321373'] Very interesting to try and create classic synth lines on a bass...IMO I think that is a real neat little angle to explore... or go the whole hog and learn to play synth bass keys. [/quote] I've had some fun this year with my 80s covers band doing the synth bass parts on Reward, Just Can't Get Enough and All Stood Still using my Status. Have to think though because I can start to drift off mid song and before you know it I've come unstuck. Next ones in the pipeline are Rip It Up (judicious use of env filter here I think) and Let's Dance.

My Status Streamline. Rich (out to play jazz) convinced me a few years back that this was the only bass I'd ever need. We'll I don't know about that but it's the only bass I've ever owned that becomes part of me when I play it like some old comfy shoes. Sure it looks a bit weird but eh nothing's ever perfect.....one day I'll have to get one of them Status Stealth thingies to appease me on the aesthetic side.

Hi D, I'd be inclined to let the wax colour the chip and pop a bit of clearcoat or clear nail varnish over the top when you get the chance.

Had a number of both. Problem I have always found with the Stingray is that on its own it can be hard to tame and sound crap onstage, go FOH though and it sounds great. With the P bass I find it gets lost on stage - with my weakening ears I find it hard to pluck out of a complex mix. I recently had to part with my old go to P bass for this very reason. I will add though I play exclusively finger style so that no doubt makes a big difference.....some P basses only come to life when shown the pick.

In Rick 4003 Squier VM77 Jazz Out US Jazz 75RI FSR Rick 4004 Cii Precision Bitsa

If its for a fretless Chris don't use superglue. I had a nut replaced by Jon Shuker on a Ray 5 fretless a few years back because if was having a fretboard level and skim. He had a helluva job removing the nut and he had to repair the board behind the nut as small pieces pulled away with the nut.

[quote name='4000' timestamp='1386853518' post='2305353'] Depends what you put them through IME. Through the small Ashdown combo at rehearsal mine sounded a bit flat but through my Hartke, with a tweak of the shape control, it sounded like the biggest 4001/4003 you ever heard, and I have the 2 best-sounding 4001s (IMO) I've ever heard to compare it against. Amazing sound, possibly the best I've had, and gutted I had to sell it because (ironically) the ergonomics didn't suit. Having said that, mine sounded a lot better than the other one I tried in the shop. [/quote] You're probably right but I couldn't get 'that' sound using a Peavey combo or (at the time) my MarkBass Rig. I could only get (for me) a sound I liked out of the bridge pup, dialling in the neck just muddied things up irrespective of what I did with the EQ. On the other hand the 4003 just seems to have more punch on the bridge or combined pups and is smoother than the 4004 on the neck pup solo'd. I did try to like it because I loved the shape and the 'modern' bridge.