martthebass

I think part of the reason I've lost touch with 'today's music' is that I see so little live content (or miming to stuff a la TOTP) on TV.

I also like the taperless neck profile, not so keen on the thickness at the nut though on the 4003 but you get used to it

I think that Ric had some QC issues (anyone remember the paint finish problems of 2010?) and they were not the best at dealing with these issues if you weren't based in the US but I think they are past that now. If you got a good one though - happy days, my 2010 4003 is well built and plays well, certainly in the same quality bracket as my MM basses. I'm with you regarding the 'one-trick pony' bit, anyone who says that hasn't spent any time with one, it's no more a one trick pony than a Jazz. I'm also with you on the thief magnet bit - it's the only bass I've ever had in 30+ years that someone has tried to nick during a gig!

But you could argue that on much of what comes out of the USofA there has been a similar escalation on RRPs coming into the UK - look at the recent prices on Fender and Musicman basses?

We arrive about 2 hours before 'showtime' unless it's a WMC where they dictate the time the band has to be set up by and when the first spot is to start. Van with drums and PA is emptied into the venue first then each guy sorts their own stuff. Drum placement first then respective sides for Guitar and Bass with Singist out front/central. PA set up by singist, lights sorted by Bass and Guitar. Aim for sound check within 45 minutes of first fill then 15 minutes for sound check which gives plenty of contingency time if there's a problem. Pack down is finely honed to try and get everything out and in the transport in less than 45 minutes. Each member sorts their own stuff first, Guitar, Bass and Singist get their respective stuff out and in their transport. Then all muck in to pack down PA, lights and help drummer get these and his kit back in the van. Designated guy picks up payment and we're off..

That's fine BRX....so it's in your experience/opinion as opposed to all encompassing and fact. I'm not surprised that basslines are augmented/fixed at the studio otherwise tricks would be missed but it's a stretch to infer that this is the predominant situation back to the dawn of studio recording?

I like the flexibility of 2 cabs. For small acoustic gigs I take just one cab.

I don't know BRX - I think Jim Lea was pretty handy on bass....and violin and piano.

It's a good job that I play in a 70s Glam band where men were men (apart from Suzi Q), taste was optional and synths were consigned to twiddly sound effects. Not a 5 string in sight and the recording was almost certainly done on a 4 string.

....if I was buying new, in a word, no. Very nice though, but at £5k for the rig I’d want it to pack itself into the car.

Ooops, my bad Pete, shouldn't do these things at work eh? Looking for 2 x 8 OHm cabs......(original post edited).

I've been using my current set up of a MB LM3 and 2 x NY121 cabs for going on 5 years now. Very happy with the sound, flexibility and stage footprint but it's getting time to think about a change (partly for tax reasons!). Thing is, to keep the weekend peace, I let SWIMBO have the 4x4 and I now use the VW Polo for gig journeys (up to 50 miles each way); the current cabs fit ok in the boot and all is good but I'm now familiar with what else is out there that would be equally suitable. Preferences would be for lightweight stuff, a 2 cab solution (each 8 OHms) and happy with 5-800W heads. Any suggestions would be greatly appreciated.

Great name for a band though Muzz......

Love the bingo, gives you a chance to get your dabber out!

They lost me at Permanent Waves......

Led Zep, Houses of the Holy. Found the production lightweight. Maybe the problem was hearing most of the tracks as the live versions from The Song Remains The Same before the studio versions.

Had something similar to this recently at a verrry posh country club. Organisers were, don't worry about the level, it will be fine - we do the sound check in front of them and they give the thumbs up. The crowd starts to role in however and it's clear it won't be so we pull the volume down a few notches - on the quiet side of quiet. During the first spot despite reigning it in still further half of the crowd (the half on the top side of 75) depart to the bar lounge; at the interval we get a number of comments on the volume etc. By the second spot we had pulled the volume so far down that I could hear my singing without the PA.....

Like BRX, I always where shades on stage so if it's dimly lit then I'm buggered. I'd love some leds but don't like the uplift in price.......

Nope, we play Glam Rock. Anything as long as it's Glam, and Rock and from the 1970s. Only band I've ever been in where no one has asked for Sex on Fire!

Have a look in the Luthiers thread in repair and tech - the Guy I use is The String Surgeon - Shane Haigh. He might be able to point you in the right direction for less outlay than you expected.

Ok, no worries. What's the problem with the board, shape, colour, feel? I know that the tech I use in Wakefield can do miracles with less than perfect fretboards - he showed me a very nice 'ebonisation' job he had done on a guitar when I was there a couple of weeks back.

Why not go for a good Luthier de-fret job?