Sparky Mark

That decal is really interesting. I cannot find another like it anywhere online or in my various books. It doesn't make sense to me that anyone would create a fake that was different to a genuine decal.

Totally agree. I wouldn't have looked for one then or even now based on aesthetics alone. Not knowing it was active, I was expecting it to sound like any other generic passive single muddy pup bass. However, once I'd heard its full, punchy growl and chatted to the player, GAS had me (again). This is also the first time I've touched Sperzel machineheads. I think they're more of a thing for guitarists but they are brilliant! Took me a couple of minutes to work them out (instructions are for ignoring aren't they?) but they lock the strings into the post without any possibility of slipping. Downside is that the rear locking head/knob might get lost.

The New York bolt on neck range of guitars and this bass were introduced to compete in a lower priced marketplace. However, I think they had a distinctive cool 50s/60s retro look, in contrast to the more typical 90s designs of the higher priced set neck offerings.

I would be wary of using a rubber glue to secure a nut as it may have a damping effect, I.e., reducing string vibration transmission through the nut to the neck. It might be less of an issue for instruments with a zero fret.

Maybe, in an attempt to increase production output, the variable Rickenbacker quality control missed a few issues?

CA, or super glues are rather brittle in my experience. When I want a glue to really stick, permanently, I use a quality two part epoxy resin such as Araldite.

Beautiful guitar. I hadn't realised the Tony Iommi signature models link between Patrick Eggle and John Diggins (Jaydee) until I received the 95/96 PEG catalogue with this bass. (There's a bolt on Milan bass for sale on ebay at the moment for what looks like a very reasonable price - not mine I hasten to add!).

8 years ago I was smitten by a Patrick Eggle New York IV being played at a mate's birthday bash. I was so impressed by it's tone, compact attractive aesthetics and high quality build/hardware that I've been trying to get one since then. The only example I knew of in my home town got sold before I was aware and went to Nottinghamshire a few years ago . Anyhow, last week I spotted it on ebay and amazingly it's now back in Hertford . There's so little information on the Internet about this 1995/96 bass that I can't imagine too many were made or have survived? Anyone else had or still own one?

Can someone buy my 61P before the grim reaper gets around to me please!

I owned a matte black 4003S for a while. The neck finish felt amazingly fast, like Teflon but was a little prone to collecting fingerprints.

The playing technique of both hands is exceptional. The thumb of his left hand leaping from behind to over the fret board was interesting; it looked like he was using it to mute and/or fret the E string.

It will probably be quite heavy but should sound as good as any other 70's Jazz.

I think the neck does belong to that body. Everything points towards an abused early to mid 70's bass. The pickguard white layers also look too white for 59. It'd be strange for the body wood to be parted from all of its original components. As he says the pups are dated 74, so I'd put the bass at 74 earliest.

Estimate says £12,000 to £18,000.

Mine has just the right amount of mojo thank you very much!

That's lovely and £1,000 more than my one.