Sparky Mark

Thanks guys, yes it's been kept unused for the past few years so has had an easy life. I could barely touch the case without the valve making all sorts of terrible screeches. Possibly why it was retired. The lovely thing about the non fan versions is that the internals are dustless and preserved in the state they left the factory 30 years earlier.

Just snagged an excellent condition 1993 vintage no fan AH250SMX. Replaced the original insanely microphonic TE branded ECC83 with a new JJ and all is working perfectly.

Woven carbon/graphite is just another material. It depends on how it is used as to whether the final construction is rigid or has a degree of flexibility. Therefore some carbon fibre necks can be totally rigid, if that's the goal, or flexible if truss rod adjustment is a desired feature.

Thanks ped. I just found a reference to the Nautilus guitar on the Vigier website then googled Nautilus bass and there she was. http://www.muzines.co.uk/articles/vigier-nautilus/1774

I have always remembered the Vigier bass I tried in Wapping BC back in 82/83. It had a crystal prism display for some function I cannot recall. Anyone else remember this model?* *Update: just found it. The Nautilus Bass.

I like all my PJ basses but similar to my J basses, I dial either one of the pups back slightly to avoid the cancellation type effect others have mentioned.

I went to a bass show at Olympia many years ago. Every few minutes a klaxon would sound to quell the slap bass cacophony. It would then build up until the klaxon sounded again. Although the noise didn't really bother me, I was annoyed by the "access bedroom area only" players who thought they were impressing everyone else with their non melodic 150+ bpm machine gun slapping. I've never had the desire go to another.

Brilliant artwork!

I've got a not so posh first year of production Mexican 4 string RH and can confirm they do sound huge! Mine is average weight for a jazz so not as light as yours; but you'd hope CS would use the best timbers all round.

^^This. More low end; reduce bridge vol 10%. More mids; reduce neck vol 10%. Both vols 100% = meh.

I've no idea which is which but I prefer no 2. Pity if that's the Squier as the upgrade is a waste of money IMO.

Reading all the changes that have been made it's probably worth less than half the asking price.

That's great news. The difference is subtle but significantly improves playability for those (of us mere mortals) that the binding aggravates.

How's it going with a 4003S?

Pencil or nothing back in those days was common. I think stamps came in later.

That is brilliant; all that technology to replicate what we do almost without having to think about it.

Yes thanks, I had to click on the link at the top of one of those threads. The old no Ricky sticky was front and centre previously.

Found it! Rule 8. Cheers.

I can't find the answer either. Although others on here believe the ban on genuine Rickenbacker product sales/trades has been lifted. Maybe one of them could point us towards the evidence?

That's great news. I might add another to my brace of 4003S if they start appearing here.

If they're "brilliant" and "great" (and cheap) why didn't you keep them please?

Your Italian cabs may well have B&C drivers in them. These have quality die cast frames as opposed to the pressed steel frames of the later (cheaper) Yellow Line drivers. Assuming you're not over driving your cabs I'd expect them to outlive your amplifier. Personally, I'd buy secondhand B&C loaded MB cabs before Yellow Line versions.

I agree those artists played Japanese basses at some time but those aren't the models they are now associated most closely with.