4000

The earlier clip of Renaissance & Jon Camp that I posted is what I expect from a Ric. And this: And of course this: For me, it has to have that hollow, singing upper register as well as the clank/crunch.

I think my 4004 was maybe 8.5 lbs or so.

Because hardly anybody bought it, including people who complained about all the issues with the 4001/4003. 😉 It used to crack me up when people would say “I’d love a Rick except for the terrible bridge, uncomfortable body binding, stupid pickup surround and cover”. When you pointed out that the 4004 addressed all those “issues”, it was just tumbleweed.

Well Lemmy was my main influence originally (and well before he moved onto the Barts/HBs), and I do drift into that territory occasionally, but it’s not really something I’ve had issues with.

With regards to the big valve rig, yes, I remember playing one of my 4001CS basses through an EBS rig at the Gallery and being utterly underwhelmed. Played through the full Ampeg 8x10 next to it, it did sound rather righteous. 😉 However I then played my Sei through both and it sounded far, far better through the EBS. At the end of the day if you’re happy with your tone that’s what matters. my comments re Markbass and other more neutral amps were simply that for the Rick tone I want/expect, they don’t work. That doesn’t mean they can’t work for you; evidently they do. We all have different requirements and expectations with regards to tone. That said, I know from experience that people often plug into a more neutral rig expecting to sound like Geddy or Chris Squire and are underwhelmed when they don’t. Unfortunately that’s not how it works as those players have a very coloured sound.

Worse than that is a jazz bass player I’m familiar with that plays mostly the right notes but in nothing like decent time.

I never took the bit about valve amps to be an affront to my set up. Why would I? My setup isn’t even hybrid, there are no valves in it whatsoever. Which is why I’m a bit baffled as to where valve amps and 8x10s came in, as to my knowledge nobody suggested them, particularly as the only way to achieve the sound being discussed. The word used was, IIRC, coloured. GK are coloured. Trace are coloured, as in they’re not neutral-sounding. I can only assume you’re not familiar with The VT500? Worth a look, if you ever want grit, although as I’ve already mentioned you could simply put a pedal in front of your rig if you wanted that. https://www.tech21nyc.com/products/amplifiers/vtbass-500/ And the pedal, although they also do others: https://www.tech21nyc.com/products/sansamp/vtbass-di/

Did you read the bit about what rig I use? I can get perfect Glover/Machinehead tone, Squire tone etc out of that. It’s tiny and weighs nothing. That’s all the accommodation you need. I never even mentioned valve rigs or 8x10s prior to you mentioning them. FWIW I’ve had two Marshall Superbass heads that worked perfectly all the time I had them, something I can’t say about a single non-valve head I’ve owned, bar the VTs.

Who said you have to move to an 8x10 and “flakey” (really?) valve rigs? As I mentioned, I use a Tech21 VT500 (6.5lbs) and 2 x Barefaced One10s at 15lb each. Total weight for my 500w rig, 36.5 lbs. Or you can stick a pedal in front of your rig of choice. It’s always a given that YMMV. Either way, if that one bass is your main bass, surely you accommodate it?

Pretty much all the guitarists I know are perfectly fine on bass. But they are musicians first and foremost; all write music/songs and sing. In fact I know very few people who don’t.

As CV said, something with colour. Stuff like Markbass just doesn’t work IMO, unless you’ve got a pedal in front of it. Of course YMMV. Strangely my old Trace heads sounded great though, but then they did have a very particular tone. When I had an Epifani head it sounded rubbish with my Ricks, my Ashdown ABM sounded miles better. These days I use Tech21 VT 500 heads and a VT bass DI.

The rods - particularly in the 4003 - are only a problem if you’re not used to them. Most of the problems with the 4001 rods come from people not knowing how to adjust them. And I find the fact that they’re field replaceable a big plus. Having said that, it appears they’ve now gone/are going to a fixed single rod. Bridges - the new V2 seems to work fine from what I’ve seen. Mine are the old aluminium ones. The only issue with those is potentially running out of intonation adjustment. Obviously you get some duff zinc versions which can fold under high tension. If you palm mute they can be problematic, but you can always buy a Hipshot. 😉 I tend to rest my hand on the bridge a lot and a lot of basses have screws which tear my hand up, so it’s horses for courses really. Can’t say I’ve ever missed not having hum-cancelling though, in 40 years of playing.

I’m exactly the same. Les Pauls are my guitars of choice. With bass, most of my boutiques/custom basses had humbuckers of some description and they never really sounded completely right to me. I know there are also other factors but I’ve definitely come to the conclusion that I prefer single coils in a bass. It was only a few years back when playing an old ‘80s Warwick Thumb next to an old Sei I had that the penny dropped. I will say my particular 4004 sounded pretty clear, open and bright, albeit not quite as bright as my 4001s.

When I was about 15 (late ‘70s) a friend played me a track on a tape he’d “borrowed” from his brother. I thought it was great; a ghost story song, which always floats my boat (see She Moves Through The Fair, Ghost Riders in the Sky etc). Unfortunately it didn’t say what it was, so I spent the next year or so unsuccessfully trying to track it down. We were both Prog fans so I assumed it was some previously unheard track by a Prog band. Imagine my surprise when about 2 decades later I walked into Woolworths and there was the album - Spanish Train and Other Stories, by yep, you guessed it, Chris De Burgh. I’ve seen Rush twice, including the first time when I was really into them in ‘81; both gigs were amongst the most disappointing I’ve been to. This was the first time I saw them. All I could hear all night was Geddy’s bass, although as he was playing his Rick at the time that was the best thing about the gig. 😉

Mine has certainly been useful. My band is all acoustic, with cajon, except for me. I often use the acoustic (an old Warwick Alien Rockbass) when we get together to work on stuff outside rehearsal, or for run-throughs the night before a gig. It’s also good for festivals when camping, where again we can sit round the campsite and just run through stuff. I wouldn’t say it’s loud, but it’s certainly audible. I do keep meaning to change the bronze strings - which must be years old by now - for flats or similar, but I am a bit concerned that it will make it harder to hear in the above scenarios, which are really the only times I do use it.

I spend as much time above the 12th as below it!

When I got mine it sounded absolutely tremendous. Then at the time we had some 100w Ashdown combo - I forget which one, but a cheap thing, not a Mag - at rehearsal. It sounded a bit ‘meh’ through them. But through my rig at the time, and everything else I played it through, it sounded epic. I think more than arguably any other bass, Rics - all Rics - are really dependent upon the right rig.

I never did understand what prompted that change. I’m just glad it didn’t last.

Actually the original Cheyenne had all-walnut wings and the Laredos have all-maple wings (although there may be some that have Cheyenne II construction). The Cheyenne II has the sandwich. When I bought my 4004 there was another new one in and I a/b’d them. Mine, as well as having nicer figuring, was both noticeably lighter and far more open-sounding, which I prefer. I kick myself every day for getting rid, although it went to a good home. I did ask about buying it back once, but sensibly the current owner said no. I did once play one particular older one that had a huge neck, like a P Bass, and most of the other older ones I’ve played have had big necks. Mind you, there was a period when the 4003s also had huge necks; I played a few. My 4004 was similar to a modern 4003, give or take. For those who find them too dark, Dane Wilder in the States makes new harnesses for them with different pot values which bring out the highs a bit more.

Yep. Wish I could get it back! Chances are slim to none. 🙁

You know they’ve changed the bridge right? V2. Proper intonation, string height and string spacing adjustment.

I had a 4004 that was epic. The fit and finish were at least as good as any boutique I’ve owned with the possible exception of my Alembics (far better than either of my Wals), the neck profile was nice, if not as slim as my vintage basses (I have however played some older 4004s with very big necks), it looked stunning, was very light and was one of the best-sounding basses I’ve ever played, never mind owned. I have however played others that weren’t as good in any way, shape or form. Why did I sell? Because ironically the contoured body caused me problems (I have nerve issues in my right arm), something the slab/bound basses don’t. I’d have it back in a second though. In fact if I could have any bass back that I’ve sold, that would be the one.

It’s all relative. 4001 basses typically had lower output pickups than the 4003, one of the reasons why 4003s generally sound darker.

Confidence is a huge factor, one of the biggest factors IME. That goes for playing too.

Love the bagpipes. Raise the hairs on the back of my neck. I love anything with a drone.