AMV001

I had a mate who used to live in Wymondham, so I spent some time there occasionally. There was a rehearsal place called the Woodshack he used to use, I went there a couple of times. They used to have various flyers and ads for local events on display. Maybe start there (if its still there of course, this was about 10 years ago) I'm sure the staff can advise on the local scene. EDIT- There was also a place called Plug Studios in Norwich. Maybe try there too.

More muddying of the waters- "The earliest version of Autumnglo was simply shaded brown. The middle clear areas on most of these old guitars have yellowed, but wasn't originally apparent. The next version was just Fireglo laid on rather heavily. The last version was back to that original brown, but in a satin finish, while the gloss version of that color was designated Walnut. So when someone says Autumnglo, you always have to ask WHICH Autumnglo?" (John Hall, posted on the official Rickenbacker forum February 2000). "There's so much confusion about Autumnglo and how it changed. In the early 50's it really was it's own dye but by the end it was just dark Fireglo" (John Hall, posted on the Rick Resource forum, November 2005). I have a similar conundrum to your self. For years I believed my '80 was Fireglo until getting hold of Paul Boyer's book. Then I was almost convinced that it's actually Autumnglo. I had a discussion about it on the FB 'Rickenbacker Bass Guitars' group and plenty of people chipped in who had Fireglos that were a darker shade of the burst (the standard Fireglo is brighter, almost a cherry sunburst). There ended up being no consensus apart from the fact that Fireglo has varied over the years due to various factors- the shade of paint used, whoever happened to be manning the spray booth on any given day and the fact that the varnish yellows over time, which changes the hue of the paint. The other thing we agreed on was that the black scratchplate on mine fools the eye and makes the red look darker than it actually is.

Referring once again to Paul Boyers excellent book 'The Rickenbacker Bass, 50 years as Rocks Bottom'. He states in the chapter dedicated to finishes that Montezuma Brown was only available between 2003 and 2006 (it first appeared as a Colour Of The Year in '03 and was the only colour programme to be extended). Therefore the OP's bass, being a 82, can't be Montezuma Brown. Pics from the book attached- 2 Monte Browns and an Autumnglo & Walnut comparison. The latter are very close in colour, however the accompanying text states that Autumnglo disappeared from RIC price lists in 1980 but Walnut continued until early '85 although it was described as 'shaded brown' from '81. I'd still be inclined to say the OP's bass is Walnut.

Possibly Walnut? Paul Boyer's book mentions that Walnut was available in matt and gloss finishes up to 1985.

Frosty The Snowman- The Cocteau Twins Sleigh Ride- The Ventures Sleigh Ride- R2D2 & C3PO Walking Round In Women's Underwear- Bob Rivers & Twisted Radio (to the tune of 'Walking In A Winter Wonderland')

There are a few contributors to the Rickenbacker thread over on Talk Bass (yes, I know...) who have done 4/5 string conversions. Might be worth a browse. Apologies if you've already done this, of course.

Was flicking through Mick Rock's book 'Iggy & The Stooges- Raw Power' last night and was curious to find this pic of Ron Asheton with a Precision/Jazz hybrid. Most live pics of him in his bassist days show him using a Guild Jetstar but this must have been a neck and body thrown together from different instruments. I don't think Fender were in the hybrid game during 1972 but I could be wrong.

Absolutely there is, I agree.

Ah...after fret work, I see. That's a different kettle of fish from a regular polishing routine then.

320 grit? Really? Wow, I salute your skill. I wouldn't dare use anything that coarse. A real risk of re-shaping the fret with something that rough.

8000 grit micro mesh polishing cloths.

Ha! That bloody typo from the 1990 press release is still going around then, 35 years later? There is no 'a' in the title (as it refers to the T-Rex song 'Mustang Ford'). Spent years explaining this in interviews!

https://www.basschat.co.uk/topic/489070-bass-review-magazine/#comments

See my reply above. Similar situation.

Its interesting that Dunlop straplocks have been mentioned in relation to this. I do some work with a guitarist who has Dunlop straplocks on all his guitars and the only ones that have failed (repeatedly) have been fitted to Les Pauls. The top horn position. We have never been able to figure out why. They click into place OK and seem tight (we can't pull them out of the button) but once he's stood in playing position it only takes a few minutes for it to fail. Tried a couple of sets with the same result. He's got quite heavy leather straps so maybe the weight has something to do with it. Having said that he's got the same type straps and Dunlop straplocks on his V and Explorer and they are secure with no problems. Its very odd.

Rick 4001 owner here since 1989. Always used 45-105 roundwounds. Tailpiece has maybe lifted a couple of mm but nothing of any concern whatsoever. No ill effects at all on the neck. In fact, I had it set up by the Bass Centre in 1990 and apart from the occasional slight intonation tweak I've never had to touch it.

Remasters don't affect the levels of the instruments or vocals of the original. You need a remix for that. Having said that, adjusting the EQ and compression levels, which is pretty much what a remaster is, can enhance some elements slightly which can have an affect on how they sit within the audio spectrum. Its very subtle though and very subjective and usually defined with very nebulous phrases i.e "a little more air around the cymbals" or "slightly more authority in the attack" or similar. Check out the Steve Hoffman audio forums for further examples- and there are thousands- of audiophile nonsense.

I'm with you on that one as 'Raw Power' is one of my favourite albums of all time. The accepted reason for its poor quality for a long time was that the rhythm section tracks had been bounced down and were therefore all Bowie had to work with when he did the original mix. Obviously Iggy's 1997 mix blew that fact out of the water but that remix is such an utter piece of garbage that its unlistenable. 'Raw Power' really deserves to be remixed by someone competent. So do the pre 'Raw Power' demos of all the great tracks that Main Man rejected ('I Got A Right' 'Scene Of The Crime' etc) although, as demos, the chances of those multitracks existing would be slight, I would suspect. Mind you, even in their current state they still sound better than anything on any version of 'Raw Power'.

Those masters still exist, as it recently had the Steven Wilson remix treatment- https://www.cherryred.co.uk/warrior-on-the-edge-of-time-three-disc-expanded-edition Same with 'Space Ritual' and 'Doremi...'. and I see 'Hall Of The Mountain Grill' is due in August.

I tried to commission a HW last year. Initial communications were fine, agreed most of the specs than when I tried to confirm and pay a deposit, he just blanked me. Won't answer any of my messages. Peculiar.

Congratulations. I know that feeling too. My daughter didn't pick up the bass until 19, so a bit of a late starter but she did her first gig only six months later.

Yep. That's a Chickenbacker. Bridge, pickup surround and the shape of the 'toaster' gives it away. That's just on first glance.

Maybe he wasn't a songwriter and earns no publishing royalties. Or he could have been a non-partner, just a waged employee.