NikNik

Compared to what the Yanks can buy them for, most definitely.

Damn!

Immaculate, but needs a bit of electronic TLC> Westone.

Antoria Eagle neck. Dunno what that bridge is off, but Fender had something akin to that on their Elite Series in the '80s. Shadow was a German pup manufacturer. Fenderbird thingy

Here's the late, great Phil Lynott putting his 4001 through an Acoustic rig and Hiwatt guitar head via Rick-o-sound.

Always fancied one of them. Out of my price range, that one.

Never understood how they came to angle the neck and the headstock.

A very rude individual. Once tricked me, on a forum, into calling him, as he had some information that might interest me with regard to an item the forum was discussing ( Rick toasters) . Once through to him, he revealed who he was then proceeded to berate me at length. He seemed to think that I was accusing him of selling counterfeit RIC gear, which was far from the truth.

No mention of the circuit. Probably passive.

Meet & Greet and the option to buy the played bass. Insane coin, and I'll bet he sells them all!

GENE.

Exactly what I did with my 4001CS and my 660-12 Tom Petty.

I can't even remember his name. There was no band name or stage name mentioned. All I knew then, on the day, was 'Signed....' from the ad, and his first name. All I recall now was a friendly guy with curly, dark hair and a brown Gibbo 355.

Sounds like Festival Interceltique in Lorient? Did that a few times on technical production.

I was certainly prepared to do that: drop everything and go. My GF/Wife had talked about this and she could handle the mortgage, but an income from being a musician simply had to raise its head at some point. otherwise it would have been unfair. Security was more important to me, I must admit. Being an artist living in penury wasn't an attraction to me. But I knew guys who packed their jobs in, went on the dole and got housing support (in those days you got 70% of your rent paid) and got some level of success and recognition, albeit short-lived. Or found nothing beyond the local and Uni circuit. Proficiency aside, I understood the need to make contacts to get a call if I was between bands but there was a feeling of treading water. As for moving to London, it took one visit (for an audition) to convince me that city was not for me. My audition (for a signed, male singer guitarist) time was attenuated by other bassists still doing 'the sell' as they were leaving the rehearsal room. One even brought along his keyboard-playing pal and did 'the sell' in front of me, which reeked of desperation, as with the guy who turned up in full Confederate uniform at the end of my audition: he had already had his time but returned for another attempt at 'the sell'. The audition went well but they asked me to come back next week for another one but I really couldn't afford it, and the knowledge that I'd have to get digs quick in London if I got the gig came into sharp focus. I refused the second audition. If I couldn't make it up north, so be it.

'86. Couldn't seem to find the right mix of musicians. Plus, the beaching and sniping that went on in bands and between bands became a drag. I remember going over to Glasgow to a Joe Hubbard clinic with our guitarist and my heart just wasn't in it anymore. The singer left, then the guitarist starting missing rehearsals and being a c***, so the drummer and I began playing bars with a female singer to keep our hand in, but my heart wasn't in it. Wrapped it up in '88 and the following year went out on the road learning production ropes and guitar teching (not the breeze some folk think it is). Spent 30 years at that, now an in-house video guy at a college. But from age 16 to 28 I was totally convinced I'd make a living as bassist. Well done to those who have. EDIT: Actually, in the early '80s, a band I was in were offered a deal by Phonogram, on the strength of a demo. They put us back into the studio and arranged a showcase gig. But, during a short tour beforehand, several band members developed attitudes, and one - a lentil-munching Hippie - I'm convinced to this day sabotaged the showcase gig. The band were shid that night, through nerves, tension, and a technical mishap. At the end, in the dressing room, there were massive verbals been us. It was the last gig we ever played. The label rep went back to London and stopped answering the 'phone. The self-appointed band leader eventually got through to him saying the label weren't taking up the option. That was gutting. Then again, maybe it was for the best, because I wouldn't have liked working with the c**ts some of the members suddenly became.

GG Edinburgh are great. More friendlier than their Weegie colleagues. 😆

I never knew Bono played drums?

'85? This was one of them. '

Was it your first bass?😉

AH! I didn't know that!

A 'real luthier'? Does that imply the MG ones are machine made?

Enter Sanderman.

Looks like MG

Sort of Ricky-ish... Vigilant Quadra