stingrayPete1977

Ooh good work seashell, I shall send him a pm, did you get it nailed? Great bassline imo

It is that time of year, brushing up on the xmas songs, this one is purely for my enjoyment unless a drunken jam version happens, anyone got proper blobs for it? I did a search but could not find it here and the youtube bad cover versions are no help, as soon as they get the twiddle at the start wrong I stop the clip Ta

[quote name='ras52' timestamp='1415368369' post='2599675'] * fetches popcorn * [/quote] calling Doddy, lol

I did wonder, might have a play tomorrow.

Ive got a 9.2 Shuttlemax

Led me to the clip "one chord challenge" with Nathan East, clever pair of buggers

It has nothing to do with the number of strings, he'd be a boring player with any number of strings. Cult 'She sells sanctuary' is a great bassline with 2 strings and a pick, Clayton just doesnt appear to do much for many bassist but I'm sure he has heard all this before, good on him I say.

I want it to sound like the squier one I sold! Really happy with the way it plays and the build though, just needs beefing up, never had the volume knobs so high on any of my amps! I'm running the bass nearly flat out on the shuttle 3.0.

I don't need any more stingrays! Maybe a fretless at some point, lol

I can feel the bdi21 order coming on, dirt cheap anyway on thomann

Lol

Nearly a week, one full gig and a 2 hour practice with a different band in and I am liking it! Plays really well, I did not realise these 2012 onwards standards have the Graphite reinforced necks, I thought it was only the Deluxe but this has them and may explain why the B string is good compared to previous failed Fender V purchases? The rolled fingerboard edges are nice and it generally plays, looks and feels really good. The lack of bottom end is a bit concerning, I have the bass knob on full on my practice amp but it lacks that full fat bottom end of my Stingrays so I am thinking something like a Behringer BDI 21 to heat it up before it hits my amp's preamp a bit? Cracking bass though, good old Fender, they can still do it sometimes

I use a cheap Behringer AB100 pedal, does just what you want, I use it to keep my upright and an electric bass connected, hit the pedal to swap instruments and it has a level knob for each input

Excellent, the whippet is optional but you really do need a hat now, it's DB law don't you know!

My Gedo one was still in place without the strings holding the bridge during shipping, maybe they are fitted too tight? Maybe the bass is still settling in and drying out when new anyway so until it's a few years old it can't really be perfect straight away? I don't know?

That sounds like a clicky pickup? It should be stuck to the back of the finger board where it protrudes down from the neck to body joint (the neck heel) they are for amplifying slap sounds for rockabilly etc.

Make sure your strap is nice and wide, padded ones are comfy but I find they can get a bit warm and sweaty! After Christmas is a good time for bargains used or new.

[quote name='bassace' timestamp='1415122600' post='2596946'] The DB sound tends to get compromised as you progress up the volume scale anyway and stays reasonably OK until feedback kicks in. That is if you're not using FOH. At the recent Double Bass Bash Stingray Pete brought his DB fitted with a magnetic pickup which impressed many of us who attended. While a mag is not completely bombproof it can go up to very high vols before feedback. And Pete's sound was quite acceptable. Just to pick up on the Rev's love for the MA45, I find that cab to have a high resistance to feedback and it's not a boomer. Interesting that that and the Crazy 8 came from the same US source and follow a different theory that I'm not totally au fait with. But they work. [/quote] I was using a 1x18 sub on stage last friday with my genz 2x12 behind me, no feedback, crystal clear all over the fingerboard, I'm a total convert to mag now, still using the plat pro just to shape it up a little bit but thats all, I've removed my bassmax completely

Anything refinished and with non original parts will be worth less than an all original bass, unless its that Damien Hirst Jazz bass.

That bass will see you right forever if needs be, good choice. Amps wise depends what you want to do with it and what you want to spend? A Mark Bass or Genz Benz combo used from this very site would suit home use and pub gigs without breaking your back! If I was starting from scratch now id buy a small class D amp and one 1x12 speaker cab, you can take the head to practice rooms or use it with head phones, use the cab for home, practice rooms and small gigs then if things go well buy a second matching 1x12. Oh and welcome

If its doing it all the time it will be easier to fix imo

I tried banging mine all over, nothing, leave it plugged in for hours and hours with no problems then every few months BBRRRRRRRRRR! Loud is an understatement isnt it?!

No idea, nice though

Most people do not appreciate the differences from a regular Ray IMO, here is a list of the parts that are not stock or from the parts bin other than the 2 eq preamp. Neck- birdseye maple or flamed maple with a vintage tint finish (very smooth to play not sticky at all) and NOT CNC cut from a SR5 pattern as it has less frets, plus the retro logo. Body- new tooling to cut a slab body from a single piece of ash. Bridge- new tooling to create a 5 string version of the pre EB muted bridge as 5 strings did not exist then obviously. Pickguard- looks like an SR4 one but for a 5 string and in a gloss finish rather than the satin EBMM style. Neck plate- 6 bolt but with the retro logo embossed. Strung thru body and ferrules like no other Ray since the late 70's. Pickup cover doesnt have the scooped rest like an SR5. Metal battery box cover. Standard non compensated nut and vintage fret wires. 2 EQ and control plate where the SR5 only comes in 3 EQ with pickup selector. Chromed truss wheel. So to sum up the ONLY part shared with an SR5 are the tuners that all stingrays have always had, that is it! The fit and finish on mine is superb, I have had the pleasure of many basses owned and test driven and it is right up there when inspected in the flesh, the retro burst finish on mine and the body grain for a single slab are top drawer, the laquer is litterally flawless. The photos really do not do the body finish any justice nor do they show the birdseye or tint of the neck. [url="http://s997.photobucket.com/user/stingraypete/media/20130623_172731_zps46dbb2fd.jpg.html"][/url] Old Horse Murphy used to own this one and someone before him? but I wont be moving it on, as an ex multiple pre EB owner these are as close as you will get to a pre EB Stingray with a B string, I have a John East 2 EQ preamp in mine as the stock one was lacking, possibly faulty as this is a very early Classic 5 possibly the earliest in the UK we think which could explain that, I will get the preamp checked and replaced just in case at some stage for future value. I love mine EDIT to add this pic to show the contrast in neck finish. [URL=http://s997.photobucket.com/user/stingraypete/media/Mobile%20Uploads/2014-11/20141102_103333_zpsidubzzni.jpg.html][IMG]http://i997.photobucket.com/albums/af100/stingraypete/Mobile%20Uploads/2014-11/20141102_103333_zpsidubzzni.jpg[/IMG][/URL]

I dont know why they pair so well, I have just bought a USA Jazz bass and I am not getting where I want just yet so maybe a sans amp or something is required with the more oldskool passive basses? This is why there is no right or wrong answer, WoT complained about a lack of lows with his Genz which is where my Jazz is but man the Stingray has a right good bottom end on it IMO. Genz and Ray is a new classic pairing like P and Ampeg IMO, there are loads of here with that pairing