Sparky Mark

For me the major difference is that Fender guitars have been associated with so many iconic artists since the the 1950s; I can't think of any bassists of iconic stature that have the same relationship with these 1970s/80s Japanese basses (John Taylor included).

So you're wanting to compare the most expensive non Custom Shop Fenders with the cheapest Rickenbacker? A Fender American Professional Jazz is £700 cheaper new than the £2200 cheapest Rickenbacker. However I was hoping to hear ftom Rickenbacker players about their playing technique not argue over pricing.

Those 80's Japanese basses will only appreciate to a certain point. Like all vintage stuff, once us oldies that have fond memories of them first time around retire, their prices will probably decline back to their intrinsic value.

There are probably better PJ available new than the Westone. They were decent basses in their day (esp. Thunder 1A) but are average by today's standards and possibly heavyweight if that's a consideration. Aria SB1000 is the only model I'd look at owning again if it was cheap enough.

Really? You won't get much change from £2500 for a new 4003. That's several hundred pounds more than a USA Fender. Plus Rickenbacker don't have a lower entry point such as Mexican Fenders or Epiphone. Rickenbackers are a big investment/risk if you're not 100% sure you'll eventually gel.

Absolutely agree that Rickenbackers are versatile but their unique ergonomics stop many bassists from even trying to use them. (Maybe their relatively high price compared to many FSOs plays a role in this too?).

Not wanting to extinguish your BBQ, but I wouldn't say that the S versions have contouring, simply a radiused slab body. It does soften the edges compared to the bound tops but still not as comfortable as a Fender IMO. I hope I've overstated it so please keep us updated.

When the LM3 replaced the LM2 they were class AB. My 2009 LM3 is class AB. Class AB LM3 and Combo 2 heads continued until 2012 when the class D power section was introduced without publicity.

How old is the LM3? I'd be interested to know if your broken and 'new' ones are class AB or D?

Agreed. Mine are both S models as I found the binding really uncomfortable.

Thank you. It's interesting a bass that a fair percentage of players just can't get on with at all is perfect for others. Yes, the SRs are probably as comfortable to play as any bass out there (unless thin narrow necks aren't your thing) but as you say specific conditions can turn things upside down. I've found that as I have gained more experience that I can adapt to almost any bass (shortscales, Hofner violins, Gibson SG, Warwick Thumb, etc.) but the Rickenbacker is my biggest challenge. Maybe I should've retained the pickup cover and anchored my wrist on that when using a pick?

Yoiks, that is unusual! Agony in seconds? How come?

Geddy, Chris Squire, Bruce Foxton, Lemmy; there must be a shedload more? However, I'm more interested in BC'ers who actually play Rickenbackers, not observations about famous players.

I've just started a new thread asking about Rickenbacker playing preference in the Bass Guitars forum and would appreciate your opinions. Cheers.

I find playing Rickenbackers with fingers more comfortable than with a pick due to the lack of forearm contour, even on the S models. However, I much prefer the sound with a pick so adapt my playing to suit even though it's out of my comfort zone. I'd be interested to know whether other BC'ers have a preference?

Here's mine again. Any more out there?

Maybe it's because the CMD121P combo might be Markbass biggest seller but the majority of these tales relate to that particular product. In fact the only Markbass product that broke down on me was the combo 2 head in my CMD121P. I have a suspicion that vibration of the head in its vertical orientation may subject certain components (or solder joints) to unforeseen stresses. Mine suffered a cracked solder joint on the speaker output connector and latterly a failed pre amp board.

I love this film of the history behind the British valve industry. It also shows how they're made in detail. https://youtu.be/GDvF89Bh27Y

Perhaps a Stonehenge stack of three TE 2x8 cabs ?

Ashdown are in Heybridge, Essex; not so far from Trace Elliot's old Maldon site.

In your situation I'd seriously consider retiring your faulty combo head and replacing it with a good condition, newer second-hand LM series head. As the CMD121H has a single 12 speaker I doubt that you are putting the full potential at 8 ohms of 300 watts through it? So you could also buy a brand new LM250 Black for approximately £200 with full warranty that can output 150 watts with likely more than enough power to drive the combo speaker to its limit.

LM2 and LM3 had same frequency points for their EQ sections. The high EQ control actually boosts and cuts a range of frequencies, not just 10kHz, which I can hear make a clear difference even on my non tweeter cabs.

Is the hard case the original Trace Elliot one? Perhaps you could treat us to some TE photo porn?

Is it the rack mounting version? Cheers.