jonsmith

I remember watching it when it aired on the Beeb a few years ago. Unlike some, I think this band does bring something to the song & Bowie obviously thought so too and I'm sure that's the reason for the big smile. He seems especially impressed with the drumming at the end of Ashes to Ashes and makes a comment after it's finished (unfortunately the clip in the original post finishes before he makes it). EDIT: at about 10:50 on this clip [url="http://www.youtube.com/watch?v=lhltP1IELYg"]http://www.youtube.com/watch?v=lhltP1IELYg[/url]

Geddy Lee has played backup basses that looked rather like his signature edition (complete with signature on the back of the headstock), but were made by Fender Custom Shop rather than Fender Japan. He wanted his signature edition to be affordable, but reasonable quality (although he didn't like the tuners). As anyone who has played one will know, the signature edition has a thin neck similar to the one that his pawn shop Jazz had (the neck on the original has now been replaced with a custom shop neck satin/sanded on the back as he prefers the feel of satin finish these days, but I believe it has similar dimensions). Whether they sound like the original or not, Chris Squire has definitely had at least two of his 4001CS signatures as backups at gigs in the past. The colour was roughly matched to his and he chose the wood used for fretboard/headstock wings. Not sure I would buy an instrument now on the basis of it being someone's signature edition, but here I am an admirer of both bassists and I do play their signature editions. The particular 4001CS I have I would have bought anyway as it is just a fantastic bass (quite a few people tried & fell in love with this one before I bought it). I did buy the GL Jazz when I was in a Rush tribute, but I like the bass anyway (probably the second best Jazz I've ever played).

Caught most of it last night as Mrs JS likes them. They don't do a lot for me, but I didn't hate it & it seemed to me like there was a lot of energy from them and the crowd was lapping it up. I'm obviously some sort of bass playing slag with no integrity since I'd happily take the Mumford bass job or something similar, as I love playing music in many different forms - even types that I maybe wouldn't choose to listen to at home. I'm currently playing punk/new wave/ska/reggae/60s garage, classic rock & pop, 'semi-acoustic indie grunge originals' & have recently been involved in prog rock and country music projects as well as a Dire Straits tribute. Although I'm more fond of some songs than others I've thoroughly enjoyed playing them all live!

[quote name='51m0n' timestamp='1372199030' post='2122913'] Use an esata cable to an external hard drive or raid array mounted in a suspended rack... I've had no trouble with Alesis HD24s recording very loud stuff, that's 24 tracks right there, you'll need Mic pres too though... [/quote] I'm having no problems using a similar Fostex recorder for 'big gigs' where everything runs through the desk, my problem is trying to find an 'all in one' solution like the old Yamaha (i.e. mixer & recorder), for smaller gigs when the drums etc. aren't running through the PA desk. I suppose it might be easier buying a cheap 16 channel mixer to run into the Fostex for smaller gigs. Thanks for the replies everyone.

[quote name='butlerk02' timestamp='1372175604' post='2122496'] We've just bought a QU16 - [url="http://www.allen-heath.com/uk/products/pages/ProductDetails.aspx?catId=Qu16&productId=Qu16"]http://www.allen-hea...&productId=Qu16[/url] You can record 16 tracks plus your stereo out onto a portable hard drive, or link it to your mac/pc if you want to record straight into your DAW. It has built in EQ/Compression/Limiter/Delay on every channel, so no need for lugging loads of outboard gear around with you. We've had it a few weeks now and love it. [/quote] That looks rather nice - probably a bit more than I was planning to spend, but tempting! [quote name='danthevan' timestamp='1372176043' post='2122503'] Thought they done a bigger one? Could be wrong though [/quote] They do a 24 track one that is also limited to 8 tracks simultaneously. I wonder if something will emerge with more simultaneous capability, or maybe I'll have to revert to the Glyn Johns style of drum recording (it did seem to work for him).

Thanks, but unfortunately it's limited to 8 tracks simultaneously.

I started out live recording with a Yamaha AW2816. As this was limited to recording 8 tracks simultaneously, I soon progressed to an AW4416 which allowed me up to 16 tracks simultaneously. I got great results and produced some excellent recordings with this setup. Recently, I've discovered that it seems to get a bit twitchy when the band is really loud - then the recordings tend to skip. I've tried different hard disks but the problem remains. Thinking that this was a vibration issue, I tried using a CF card instead of an HDD, but although it tests well at home, the CF card seems unhappy about set length 16 track recordings. For 'everything through the PA' recordings, I'm recording onto a Fostex recorder that allows 24 track simultaneous recording, but this needs a mixer (for recording levels), so it's less useful for smaller gigs where not everything runs through the PA. Is there anything new-ish on the market that allows 16 track simultaneous recording, preferably onto non-mechanical media (SD card or similar) that has it's own mixer section? I can't seem to find anything. EDIT: Title for clarity.

These are pretty similar to what an ex Rickenbacker employee was recommending for Ricks, which worked really well for me. Somewhere I've got the exact details & I'll try and find them. The old CV finish was quite susceptible to interacting with certain foams, which may explain the haze you've picked up if it's been in non-Rick cases or cheapo guitar stands.

Gsm on its own is not really an accurate indicator of thickness. The thickness (or caliper) of paper or board can vary quite dramatically for a given grammage (gsm), depending on its density. Where caliper isn't given, grammage and bulk would normally be given in order to give an indication of thickness. In some uses (e.g. book production) things are further complicated by the fact that the measured caliper value for multiple sheets tends to be less than what would be predicted from a single sheet measurement.

Just a quick note to say the service from Real Electronics was excellent. Having finally got my new RH750, I posted off my RH450 on Monday to have the buttons fixed. On Wednesday I was advised that it had been repaired & on Thursday the courier company tried to deliver it (and would have succeeded had there been anyone in).

Our version of this is based on The Who's. Great fun and normally gets a load of people of all ages up dancing.

EDIT to say what I originally wanted to say - thanks to xilddx for the original post - I hadn't actually seen that before. Alice Cooper says in the documentary something along the lines of "Frank said 'there will be people that get it & people that don't'", and I suppose that's what's the deal we're dealin' in. I know quite a few people who dismiss FZ outright (not saying anyone here actually has), which I always find quite puzzling given the huge diversity of his output over the years. It's hard to imagine that they couldn't find anything in that catalogue that clicked with them. I go through phases as to what eras I prefer, but '73-76 is particularly appealing to me at the moment, along with a lot of the stuff from the last tour. I find some of the orchestral stuff a bit difficult to stomach sometimes, but other pieces I really enjoy. I must admit that the disc concerned mainly with adult entertainment activities from the YCDTOSA series came on the network player the other day and I did find its constant schoolboy-style humour a bit wearing eventually. Still, I couldn't help smiling at the memory of when - many years ago - I accidentally left a mix tape containing Stick It Out playing in the office while I popped out for something. Quite a few puzzled expressions when I returned just as it got to the 'sofa' section. I don't think anyone ever thought of me in quite the same way afterwards. I think FZ definitely made an enormous contribution to the world of music, opening people's minds to other styles & disciplines. Combining wit, humour and insight in his lyrics with extraordinary musical dexterity. And if you don't like the lyrics, there's plenty of fine instrumental stuff to check out. There's some real beauty in there too - Water Melon In Easter Hay still gets me every time.

Thanks Rob. TC have recently authorised this to be treated as a 'warranty repair', so I'm sending mine off today.

I suspect it was previously owned by a Rush fan rather than by Geddy Lee. I spent a lot of time going through what he used when and on what when I was playing in a Rush tribute (probably to a stupidly detailed level that I'm actually embarrassed to think about now). I've never seen Geddy Lee with a Mapleglo 4001 (faker or not), although he definitely had other Rickenbacker basses that didn't see live much action, so anything's possible I suppose.

Every gig I've seen at the O2 has had great sound, with the exception of the two Rush gigs there. I wore ear plugs though and it was ok from a few rows back on the floor, though not brilliant. I thought the band was on great form and as I've caught every tour for more than 30 years & think CA is their best new release for 25 years, I was more than happy with the setlist. Sure deep down I'd like to see a whole load more early stuff, but Geddy just can't sing those songs any more. The band know how to deliver & I think they demonstrated that last night in heaps. Only gig I've been to that was delayed by a fox...

I use the EQ to get whatever sound I need - that's what it's there for! In one band I'm I might play a Specials song followed by a Stranglers song, then it might be a Magazine song followed by a UB40 song - sure I can alter things a little with playing style, but one flat EQ for all of these just wouldn't do! That's before I even start looking at the different sounds I want for my originals band.

[quote name='Geek99' timestamp='1369209417' post='2086194'] I cannot understand the dumb people who watch a fixed price item until it ends. [/quote] I do this, especially with something I'm in two minds about. Sellers sometimes reduce their 'fixed' price, which may move something from a 'might buy' to 'will buy' status for me. Doesn't seem like a dumb thing to me.

Haha, that would have been me. EDIT: to say I noticed your lines & your 4003 sounded great!

They do come up on RickResource (or eBay) from time to time. It's even worth posting a wanted message on RR. That's what I did a few years ago & was offered two 4003s5 basses within 48 hours. The string spacing on these is a little narrower than is usual on 5 strings, but I got used to it pretty quickly. The sound is slightly different to a standard 4003 as there is a toaster in the neck position (and I think the bridge pickup is different too, but can't remember). I ended up with this lovely Jetglo at a reasonable price, shipped from Florida.

Why did you let it go in the first place? I was really surprised when you'd been saying how great it was first time you had it.

[quote name='musophilr' timestamp='1364742244' post='2030246'] ...and there's no mid range in the sound to define it. All you get is a dull thud plus a bit of 'plick' if you're using a plectrum. Nobody would know whether you're playing a B or a Bb. Horrible things! [/quote] I have six Ricks made over a 30+ year period & this statement does not apply to a single one of them. Quite the opposite in fact - notes are extremely well defined.

[quote name='arthurhenry' timestamp='1364040286' post='2021165'] I went to one several years ago with a similar karaoke style event planned just for singers. Predictably for a Rush convention, there were lots of "musicians" in attendance who got up to play. It was a horrible mess. [/quote] Which one was that? I've been to a few and played bass at a few. Leaving my contributions aside, I've seen some pretty passable performances, given that it's normally three or four people who may have never even met before, playing stuff that is a bit challenging in places, often under the influence of rather a lot of alcohol. It is meant to be fun anyway!

The backing vocals for many years have been samples (mainly of Geddy) triggered by Alex or Geddy on the bass pedals. The tickets are expensive, but they are around the same price for most acts of that size these days I'm afraid (and it's how everyone makes money from music now recordings are freely available for nothing). I've already seen this tour in Tampa last year and Rush did not disappoint. I'm hoping to get the alternate set to the one I saw, but we'll see. I had mixed feelings about the string section beforehand, but it actually worked really well and added an extra dimension to the music (old & new). I do think CA is a partial return to form and I'd rather hear a large slice of that than the large slice of S&A I had to endure a couple of tours ago (the rest of the set on that tour was good though, so I survived). Having said that, nothing will compare to the first couple of times I saw Rush - on the ESL and Signals tours. What fantastic sets they were! EDIT: Yes, I'm going!

[quote name='Musky' timestamp='1363534441' post='2013728'] The standout bit for me is quoted below. Even if this weren't a grey import JH seems to be saying there is no manufacturers warranty for anyone outside North America. There are other laws in the UK which should allow for some redress should things go wrong of course, but interesting that RIC wash their hands (presumably in non-biological soap) of responsibility for the rest of the world. [/quote] They do. Rosetti are responsible for handling Rickenbacker warranties in the UK. I remember the MID finish threads & I think Rickenbacker could have handled the problem a lot better than they appeared to. As that particular bass was bought from a shop, albeit not a Rickenbacker dealer, I wonder if the problem could have been pursued through the Sale of Goods Act.

To paraphrase a couple of Mr Hall's answers to the same questions elsewhere... [quote name='Roger2611' timestamp='1363372651' post='2012076'] Has Mr Hall ever taken the time to explain his companies position and why he chooses to go after indivual sellers rather than tackling the manufacturers? [/quote] They have to be seen to pursue as many instances of sale of copies as possible in order to maintain the design protection. That includes private sellers. [quote name='Roger2611' timestamp='1363372651' post='2012076'] Why Rickenbacker don't join the 21st century and outsource some production to the far east and go down a proven successful route both Gibson and Fender has paved the way for? [/quote] They have no desire to. They are making money & have a full order book. They are quite happy with their business model.