jonsmith

Over the years I've worked with drummers who really don't need any help with time keeping - this is the preferable option, but it can also highlight up timing weaknesses with others. I've also worked with drummers who were a bit sloppy in this respect, but with a bit of gentle nudging - and this can actually be done by attracting their attention while playing - have then started listening to other instruments (especially the bass), realised the need to keep an internal clock running and over time have learned to be consistent. I've also worked with drummers where I've had to try and predict what errors will arise and lock in with it (not ideal, but I got very good at this with one in particular and we fooled most of the people most of the time). The worst are drummers who don't seem to notice that they have this problem & aren't predictable in how it manifests itself. Sometimes there are other reasons why they are in the band though. I like having people I get on with in my bands, so it's worth tackling and in most cases it's not insurmountable. Here is the advice a drummer from the first category gave me for a drummer in the last one (part of my question was is the ability just inherent or natural): [color=#0000cd][i]Getting smooth is a combination of groovy things. But I doubt if it's truly 'natural' - like walking (which is far more complex) you have to learn it.[/i][/color] [color=#0000cd][i]It really helps (a) if you practice - does he? - and ( if you practice with a metronome. Usually people try to do stuff as fast as they can, try and be like Neil Peart, and this is not helpful. You should always try to get the full value out of each note, and not Rush on.[/i][/color] [color=#0000cd][i]Then there's technique: for the hands it's not so bad, since you use them more than your feet in your life, and they tend to be more in tune with your head as a result. Left or 'wrong' hand is something that needs to be worked on, as this can throw you out if it's not trained. Try playing hat or ride with the wrong hand when you practice, and this really helps.[/i][/color] [color=#0000cd][i]But the feet, especially bass drum, are a different matter, and it's usually bad BD technique that puts drummers out - always too early, and never usually in the right place. Guess it's just TOO far away from our brains (that little thing on top of a drummer), and technique is harder to learn IMO. To make it more fun, I would suggest practising with a disco tape and playing along, four on the floor in the bass. You'll soon see how out your timing is! Hihat is something people are usually quite good at because they keep time with it when they're thinking about all the other things they're trying to do.[/i][/color] [color=#0000cd][i]For the actual foot techniques, flat foot or heel up, your drummist will need to go on line and try to find a video. There are lots to choose from! I'm heel up, and sort of Moeller (someone's idea of how to hit things).[/i][/color] [color=#0000cd][i]Lastly, there's independence or inter-dependence studies. This is where it gets really annoying and frustrating, but all the best drummers are good at this. The book to get is Gary Chester's The New Breed (not part 2, which is a pointless follow-up). Another is Marco Minnemann's Extreme Interdependence, which will tie your mind in a knot. The one everyone USED to use, and which is still a cracker, is Jim Chapin's Techniques for the Modern Drummer (1947?), which is the standard jazz independence tome. Very good, and you can substitute your bass drum or hat for all the snare parts (which are played against the standard jazz ting-ta-ting rhythm).[/i][/color]

[quote name='warwickhunt' timestamp='1324574449' post='1475843'] Only listened through that once and it's great to hear genuine live recordings... is it just me though but does TB occasionally go into the chorus refrain early? Not that it matters as it fits harmonically but if it is then it's an even better representation of 'live' music! [/quote] [quote name='lowdown' timestamp='1324577124' post='1475897'] Yep, he did.... Still an enjoyable watch though. Garry [/quote] He actually does this at least once on the studio version too.

Yes, I use it, both to mute/tune easily and to switch between presets. Yes, it's good and I'd recommend it.

First Bass Owned: Kay Precision Copy (sadly stolen last year - sad for sentimental reasons only!) 'Go To' Bass: Fender Precision MIA, Black/Maple with chrome scratchplate. 'Your Bass': 2003 Rickenbacker 4003 in Fireglo

It would have to be a pretty thick piece of paper I could get under the bridge before I started to worry about tail lift. While there are some pretty shocking examples of tail lift around, a small gap isn't really cause for concern in my opinion. There are plenty of Ricks with a small gap that should give no problems. I've had this Rickenbacker (a 1976) since 2005 and the tailpiece hasn't moved at all in that time, but you could slide a piece of paper under the end of the tailpiece from the day I received it.

They've always been great whenever I've had any dealings with them - very helpful.

Nightmare. Ten minute setup for band that normally requires much more time. Power cut during setup means we have to forego a load of samples on an old sampler, as it takes a small eternity to boot. Lots of buzzing during first number & I discover that the patch lead from my wireless to my amp has decided to give up the ghost. Three synths boot up at correct pitch (-2 semitones) and one doesn't, but doesn't reveal itself until the third number - throwing everyone. Change bass for fourth number and check tuning during intro - looks fine with a couple of tweaks. Three minutes into song is first time I use D string, and find it is a semitone sharp. Realise that because I have only one cab due to time constraints, tuner is lower than normal & I didn't see the sharp sign because of viewing angle. Quick mental re-jig of fingering, but by now feeling well & truly jinxed. Retune again at song end, but now over-running due to power cut. Have to drop two of our most popular numbers. Last two songs go OK and we get some nice feedback, but we all know it could have gone a lot better. Nice audience, hosts & soundguys though... ...and a lesson learnt for next time - keep it simple!

[quote name='Shaggy' post='1301703' date='Jul 12 2011, 10:43 PM']Back to Rick Resource; have to say I always found them friendly helpful chappies, but then again I guess I never posted anything contentious[/quote] There are some great people on RickResource. I bought two of my Ricks from members there, both of whom couldn't have been more pleasant to deal with, and a third member made a six hour plus round trip to pay for & pick up my 4080/12 from the seller in a neighbouring state and arranged its safe shipping to London.

Not playing, but definitely catching a few acts. Will try to be at The Dolphin on Thursday.

[quote name='Blademan_98' post='1298289' date='Jul 9 2011, 03:53 PM']I was looking into getting a 4003......... I still love the shape etc but am a little perturbed by the lack of Ric fans jumping in and telling us they are great! [/quote] I think they're great and my 'go to' bass is my FG 4003. It just feels totally right. They're a popular bass to bash on here & it would seem that some have good reason for doing so. But I've owned a few in my time (I currently have 6) and I have never had any problems with tail lift, truss rods, poorly cut nuts or anything. Maybe I've been very lucky. The lack of contour doesn't bother me at all either. Incidentally, these days the nut is deliberately cut fairly shallow, so that it can be filed to personal taste allowing for consistent action.

Yep, it's true, I've decided to pop the bass pedals back in the cupboard at the end of this year (or sooner if my replacement is found & ready). As DBP says, it's with heavy heart that I do this. The gradual realisation that the geography just makes it too difficult for me to continue has made this decision for me. Anyway, if you're in their neck of the woods and like prog, give them a shout. Sarus are a really great bunch of guys and while I will miss the prog challenges, I will miss working with them even more.

[quote name='Beedster' post='1265947' date='Jun 12 2011, 12:26 PM']Although both are beyond my budget, can anyone let me know the difference between these two 64's? [url="http://cgi.ebay.co.uk/Rickenbacker-4001C64S-Mapleglo-NEW-/220797884107?pt=UK_Musical_Instruments_Guitars_CV&hash=item33689456cb#ht_2620wt_933"]http://cgi.ebay.co.uk/Rickenbacker-4001C64...b#ht_2620wt_933[/url] and [url="http://cgi.ebay.co.uk/Rickenbacker-4001C64-Mapleglo-NEW-/190540944731?pt=UK_Musical_Instruments_Guitars_CV&hash=item2c5d20155b#ht_2642wt_933"]http://cgi.ebay.co.uk/Rickenbacker-4001C64...b#ht_2642wt_933[/url] Cheers[/quote] The C64S has a sanded body, satin finish, current design tailpiece & a zero fret, so is closer to Paul McCartney's Rick as it is today. The standard C64 has a replica gap tooth tailpiece.

There are trends over the years with the necks & I'm sure this is documented on RickResource (there have been threads where people posted their neck dimensions for various years), so it's worth a search there. Even the shape of the neck has changed at various points (especially heel and volute). It gets more complicated at some points, for instance somewhere around 2005-2007 two different styles of neck were being manufactured at the same time (one line had been updated with a slimmer profile). If neck profiles are a big issue, then I suppose it really goes without saying that there's no substitute to trying before you buy (although I've just said it). Is it unreasonable/a departure from the norm for a manufacturer to only honour warranties on basses bought from an authorised dealer?

Ignoring the 4080 & 4080/12 doublenecks, up to and Including Signals, it pretty much is all 4001, with the exception of the first album. First LP was indeed Precision. It was supposedly also used as 'By-Tor' on Fly By Night, but not on any 'proper' bass parts. I wasn't aware that it was used on Lakeside Park, but it was used by Geddy live later on (converted to the 'teardrop' bass). Spirit of Radio apparently was the Jazz, as was Entre Nous. Moving Pictures was all Jazz except Red Barchetta (4001 confirmed) and (subject to speculation, but I think it's right) The Camera Eye (4001). In one interview, Geddy unconvincingly confirms the 4001 was used on Limelight, but he sounds like he's not sure and I think he's wrong. Signals is 4001 except Digital Man and New World Man (Jazz). I've read that Losing it is 4002, but seen nothing to back that up. I believe that Grace Under Pressure is mainly Steinberger, then on the Power Windows sessions, Geddy fell in love with Peter Collins's Wal and went on to use Wals until Counterparts, when he got the Jazz back out. REASON FOR EDIT to include whole post, instead of half of it. REASON FOR ANORAKNESS was in a Rush tribute

The horseshoes on the reissues (V63, CS etc) aren't real horsies - i.e. the pickup does not work in the same way as an original horseshoe pickup - so the 'covers' can be removed with little (possibly no) noticeable difference. The covers on the 4001/4003 basses are purely covers and these days are actually plastic, so can be removed without problem (I think Joey's Bassnotes might even have a guide to doing this somewhere). Just make sure you put the earth wire back on one of the screws when you're reassembling.

[quote name='4000' post='1249751' date='May 29 2011, 10:44 PM']Not true. I've had 2 CSs (vermilion board) and 1 V63 (rosewood board) and have played several more CSs and several more V63s. The CSs haven't sounded the same as the V63s at all. None of them. The V63s have sounded different individually, as have the CSs, but all of the CSs have sounded more like each other, as have the V63s. Again, if someone can't tell the difference then their ears just aren't that great or they're not really listening.[/quote] The CS is basically a V63 with a vermillion (itself a type of rosewood*) board, so I still maintain it is almost the same. However mine does sound different to my other Ricks (and they have all sounded different to each other anyway, even supposedly identical ones). *EDIT FOR CORRECTION: Actually not a genuine rosewood, but sold as Papua New Guinea rosewood (should have looked it up before I posted!)

I guess it depends on how you define tone and I think musicians (especially guitarists & bassists) tend to mean 'sound' rather than 'tone'. I think I have my own sound, in fact it's something I have to fight against in one of my bands as it would be inappropriate. It's mainly comes from playing style and then with different basses & amps the eq alters but the fundamental structure of the note remains intact. Someone like Chris Squire tends to sound very distinctive & identifiable to me, regardless of what bass he is playing. Even the confusion over Geddy Lee's 4001 & Jazz use on Moving Pictures shows how much people can have a 'sound' independent of the bass. Yet I can easily tell my Wal apart from my Jazz or Rickenbacker when playing through the same gear on the same settings. It's a combination of factors, but I think that when you have a target sound in mind, then you will tweak until you get it, regardless of what you're using. [quote name='Doddy' post='1249604' date='May 29 2011, 08:22 PM']Your friend can't tell the difference between your two Rics? That doesn't surprise me at all.[/quote] Especially as the CS is virtually identical to the V63.

I used to have two of these. Never had any tuning issues, although the tuners on one seemed slightly more robust than on the other. Took me three months to get the neck stable and setup in a way that satisfied the person I sold one to. I kept the other and I have to say I wanted to get the neck a little straighter than it was, but the truss rod didn't want to give any more assistance with this. However I've recently started playing a tone lower with one of my bands and the bass has just settled down nicely. It always sounded great although not as warm as my main 4003, but the feel is rather good now too. My understanding was that the originals had proper blocks and the later ones have painted 'inlays'. One of my action shots (photo by Carol White-Griffiths):

Just in case everyone isn't already rather wary of this, last year I was surprised to see photographs of my Wal for sale in - you've guessed it - Lerwick. I knew it was mine, because I recognised the facings on the bass and the carpet of the person I actually bought the bass from (in Yorkshire). I was particularly surprised because it was sitting in my hallway ready for rehearsal later that day.

[quote name='dmccombe7' post='1214501' date='Apr 29 2011, 07:18 AM']You guys are obviously more into it than i am and i stand corrected. Sorry if I've offended. Cheers Dave [/quote] I don't think anyone could be offended. I feel like a total anorak sometimes, but (as you can probably guess from my gear) I played in a Rush tribute for a while and studied such stuff in a lot more detail than any sane person would/should.

[quote name='dmccombe7' post='1213915' date='Apr 28 2011, 04:08 PM']Were you aware Geddy used a Jazz to record most of the earlier albums up to Moving Pictures. ?[/quote] Don't know where you got this from, but my understanding - mainly coming from interviews with Geddy - is that he didn't really use the Jazz [b]until[/b] Moving Pictures, but it features on most of the tracks on MP (including Tom Sawyer, which many people think is a Rickenbacker and confusingly he uses a Rick in the video). The first album was a Precision, after that it's mainly Rickenbacker (bit of P on By-Tor apparently) right through to Permanent Waves (where the Jazz starts to appear). Red Barchetta on MP is Rickenbacker. Signals is mainly Rickenbacker, with some Jazz (?Digital Man). Then Steinberger for GUP, Wal for Power Windows to Roll the Bones (although the Jazz appears in some videos), then back to the Jazz on Counterparts onwards.

At Igliston for both of those tours, if memory serves me right. [quote name='steverickwood' post='1213661' date='Apr 28 2011, 11:32 AM']haha - that happened to me. On my first ever recording, I was told to refine my technique as the fret were clattering as I hammered the strings! I did refine it but still like to dig in:) I must be fairly local to you - who do you play for?[/quote] If you're in Broadstairs, you're extremely local. Rock Candy is the only local band I play for, but we're not out playing just yet (although we're just putting the finishing touches on a few things & I expect we will be out there very soon). Who are you playing for?

Everybody stands anyway... [quote name='Bobby K' post='1213542' date='Apr 28 2011, 09:30 AM']As was the case with me and my Kay p bass copy [/quote] I got a fairly passable Rick tone out of my (since stolen) Kay that fooled some people, but it required me to really dig in, a bad habit that I've never shaken...

I was going to say someone on here picked one up last year, but I see that was you. Would you be prepared to sell it for around the same price?