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What's wrong with the Rickenbacker 4003?

#241
prowla said:
You ditched your Ric because you didn't like the truss-rods?
Now there's a thing...
There's so much folklore and near-hysteria about the twin rods and essentially grumbles that they're not Fenders; the solution which has been opted for by several users is to just buy a Fender instead, which is OK if that's what you wanted in the first place.
Me, I've got Rics, Fenders, and some others; whenever I walk into a room of guitars, I'll just go straight to the Ric.
But I have to say I am very suspicious of the latest one-rod Rics; it's a bit like putting ketchup on a lasagne! :)
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Yes, I'm not crazy about one-rod Rics either, I have always thought of dual truss rods of being one of the benefits.
 
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#243
micguy said:
A few years ago, I picked up a 4003 in a shop. There had been some nostalgia building in my brain for a while about my first bass. Within a couple minutes, I remembered - "Oh yeah, that's why I didn't like my Ric" - mostly the hum (I hate hum), but the digging in to my arm didn't help.
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My 4001 has a lot of sustain, I've never tried a Kramer though. T
The pickups aren't reverse wound like a Jazz but they are quieter with both pickups on. I used to play stereo years ago with a 4001 using a regular split cord and it was so noisy I completely shielded it, everything, the cavities, pickguard etc. It was so quiet afterward I had to aim it directly at a source or it was dead quiet. Ric-o-sound boxes are also quieter for some reason even though they are just stereo to two mono out boxes.
 
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#244
dougjwray said:
Apart from Sir Paul and Jamaaladeen Tacuma, I can't think of any Rick user whose music appeals to me. I think of them as NON- blues/R&B/soul/country/jazz/folk instruments, so they've never been on my radar. I wouldn't mind trying one for the first time, though, out of curiosity. But I have the (perhaps ignorant) notion that I'd have to give it back quickly, because if I brushed against it the wrong way, a piece of it would fall off, or something.
And that's it for my pathetic, smallminded, inadequate input to this thread!
:bag:
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You can use them for just about any kind of music, they also have built it mutes. They do take some getting used to though for a lot of people.
 
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#246
Not that anyone asked, but the dual rods shouldn't be a problem for anyone who can adjust a single rod. Also, I'm not trying to get different relief on either side. To me its overthinking, and makes people think the dual rods are a scary complicated thing. I simply think of the 2 rods as sharing the load normally done with 1 rod, and that's all.

I start by removing the nuts, apply some petroleum jelly to the rod threads and the end of the nut that touches the washer. [do this once, not every time you adjust....] Then spin the nuts on only until they both begin to engage. Then hold the neck straight and SNUG the nuts both equal amount of turns until the neck is set where you want it. Take it slow, 1/4 turn at a time. With petroleum jelly helping, and the fact that 2 rods are sharing the load, I found very little torque is required. But definitely grease them nuts, you will be amazed how much smoother they adjust.

My experience only, everyone has their own way, just trying to ease any fears about the dual truss rods.
 
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#253
dougjwray said:
A favorite of mine. Was the same combination used on "Savoy Truffle"?
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Supposedly he mostly use a Jazz on the White Album but I mean there's been a lot of revisionist history about The Beatles for the past few years, the reason I know about 'Baby You're a Rich Man' is because I asked an an engineer who does YouTube videos on The Beatles who said it had been recorded in Olympic Studios where they could record direct when I asked him about it, plus you can hear that's it's definitely a Ric. One tale I absolutely do not believe is that John Lennon played bass on Helter Skelter. We have known for years that McCartney used to add his bass lines later on after they had recorded the basic tracks if he were playing a different instrument and they weren't often noted on the track sheets. He was often the last one to dub anything which is partially why he was able to come up with such inventive lines that really don't sound like much without the rest of the band playing but are genius lines within the structure of the whole track.
 
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#254
Deleted member 394181 said:
Compressor/sustain?
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I don't understand your question, no compression. If I want sustain I undo the mute.
The mute? It's a piece of foam in the tailpiece that presses against the bottom of the strings if you dial up the two little knobs on either side of it. McCartney used it a lot. (If that's what you meant) I very rarely used pedals or gadgets, I'll use an EBS valve drive once in awhile.
 
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#255
I have been seriously considering getting a 4003, and I am debating between the maple glow and the black. Does anybody have any input between these? For example, does the black scratch easy? Does the mapleglo have an epoxy on it or is it just the raw wood? Unfortunately, there are none in my area for me to go test drive in person.
 
#256
bobyoung53 said:
I don't understand your question, no compression. If I want sustain I undo the mute.
The mute? It's a piece of foam in the tailpiece that presses against the bottom of the strings if you dial up the two little knobs on either side of it. McCartney used it a lot. (If that's what you meant) I very rarely used pedals or gadgets, I'll use an EBS valve drive once in awhile.
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I was trying to make a dumb joke.
 
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#257
Not for me those crazy ergonomics but, and this is important....Back in the late 70's a busy and very good local 3 piece I used to watch used a Rick with a Marshall valve top and 4x12 cab....Hands down the guys tone was the fattest I've ever heard doing 60's 70's pop etc, and it would fill a large hall with ease....So yes a unique tone and delivery which ain't a bad thing.
 
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