mcnach

optimistic price, very optimistic... even unrealistic although nice looking. Well, it would be nice looking if that logo had not been placed so wrongly!!!

[quote name='Schnozzalee' timestamp='1351960672' post='1857324'] How did you find them in relation to the Sue Ryders?? [/quote] The CV60 is a seriously good bass, regardless of the logo. The one I had, at any rate. Finish, sound, everything. Much better than the Sue Ryders. The SR ones... are ok. For the price they were great value, but nothing extraordinary. They work, I still have a couple... but teh Squier was a lot better. The reason I sold the Squier and kept the SR is that I'm not really into Precisions much... so it made sense to me to sell the one that would give me some money (I wanted to get a G&L L2000 at the time), as nobody would give me much for the Ryders.... and when I want a P bass I am happy to use the Ryders. Now the CV50... Quality wise, as good as the CV60. But different neck, etc, and of course the pickup. I much prefer the sound of the original single coil Precision bass pickup. It has less of that characteristic P-bass midrange bump, but I find it more pleasing. The midrange bump of a Precision is not exactly where I like it best... hence my feeling that a CV50 with a midsweep might help me tune into the sound I hear in my head. Or maybe I will discover I'm just looking for a Stingray sound in the CV50... it would not be the first time

Those Squier CV series are really nice, all of them. I had both Precisions, the 60s and the 50s. I sold the 60s but I still have the 50s, which I like better. It has a chunky neck that feels great to me, it's beautiful (butterscotch one, tinted maple fingerboard)... and it sounds huge. I used it for rehearsal a couple of weeks ago after many months of neglect and I was amazed at the bottom end of this thing. I have it strung with fairly new Fender flats and low action and it's delicious. But I felt that the midrange wasn't were I wanted it to be. I'm very much a bridge pickup type of guy and although I love the "girth" of this bass I felt if it only had a a more controllable midrange... Yes, I used my amp to bring it to where I wanted... using veyr differnt settings from what I use with my Stingray and Jazz basses. But then I thought... hmmm, maybe I can put a midsweep module from John East here instead of a tone control. The stacked knob will detract from it's "vintage" look, and I will have to route a battery compartmemt on the back... but... the result could be immense!!! Or a total failure. I think I will try.

The way the fretboard shines does indeed look like the ebanol fingerboards of the DeLuxe Squiers. Same with the position of the bridge pickup (a bit closer to the neck than usual.

very nice!!!!

[quote name='LukeFRC' timestamp='1351638186' post='1853719'] Red - part of me has always wanted a red jazz bass. I think ideally with a maple neck. But on the negative- well red basses are a bit, you know... common. could always go for the dark aubergine colour! blue. Not sure I like blue guitars, Lake placid is nice but it's not a solid colour is it? ocean, rustic and Mediterranean blue are interesting colours and not normal fender colours. [/quote] orange, bright orange... a bright orange jazz... with rosewood fingerboard. yes... oh yes...

[quote name='drTStingray' timestamp='1351558677' post='1852719'] The spring plates are far less than 5 mm thick - I'd say 1 mm or less. The only recess on the Classic bridge appears to be at the front edge - if you look carefully you can see the four plates fit into the recess, which is about 1 or 2 mm deep. I've just checked my 93 fretless and it has the same system. I suspect the plates are just wedged between the bridge and body, and into the front edge slot to keep them in place laterally. I'd go for it - if it doesn't fit I'm sure you'll be able to sell the mute assembly without a problem. The foam bit is similar to the innards of a mousemat, but without the smooth covering. It's a bit thicker as well. They are glued on. The pre EBs seem to be notorious for losing them - I had one from new and the G string mute disappeared during a gig on a dark stage after I'd had the bass for about a month - if you look at pictures of Pino's fretless Ray whilst with Paul Young, IIRC at least one of the mutes is missing off his. Presumably glue technology wasn't what it is now, back then!! The modern ones appear to stay put. If I had a pre EB with missing mutes, and I wanted it to be fully functional, I would certainly consider buying the mute kit which McNach is referring to, which is an EBMM part. [/quote] I think stingrayPete meant 0.5mm rather than 5mm. Indeed, from the pictures they look very thin. I'm going to go for it. ... and ordered!

[quote name='LukeFRC' timestamp='1351554258' post='1852683'] one thought.... bongos look odd.... but a fan fret bongo could look amazing [/quote] INdeed. If you're going to go "unusual", go all the way!

at least I liked it... some unusual instruments there. That blue Sabre... yum! [url="http://youtu.be/YmPH_HcYwWI"]http://youtu.be/YmPH_HcYwWI[/url]

[quote name='stingrayPete1977' timestamp='1351543923' post='1852483'] I think you could probably use a bench grinder to create the little recess in the back of the bridge failing that the spring plate is really only about .5mm anyway so it might just squash down, I did not realise the OLP had the big flat area like the ebay ones so its crying out for the mute kit! I will send you a link when its up Jose for the Mag cover, I'm not really sure exactly what is going on there myself 28'000 copies though [/quote] I don't have one of those machines... I do have a router But if it's that thin it may be ok without. I'll try. The later OLPs (like the one that was my main one, "Natillas") have the smaller bridge very much like modern Stingrays. Previous models have this very large plate ones... and like you say: they are screaming for something to be added there! Yay for the link!

[quote name='JapanAxe' timestamp='1350846491' post='1844240'] Aha! I did find one report of a failure similar to what I experienced, only it was in the early days of the RH450 (same power stage as the Classic 450 I presume), reported on [url="http://www.talkbass.com/forum/f15/my-tc-electronic-rh450-amplifier-died-any-users-had-problems-565716/"]TalkBass[/url]. If mine is only the second reported incident out of all the units TC have shipped, that can't be bad! [/quote] That was me! At that time I was not yet in Basschat. The amp died on me when switching it on at a gig. A flash, white smoke, smell of burnt plastic. That was a Saturday night. On Wednesday (I believe) I had a replacement in my hands. I posted about it on Sunday, I think. I also wrote to TC. On Monday morning I was told my local dealer (Guitar Guitar in Edinburgh) did not have one in stock, so they'd send one from Denmark and I should be able to exchange my dead one for the new replacement on WEdnesday... and that's exactly how it went. I have used the replacement amp a lot since then, nearly three and a half years ago. It was disappointing that it failed... but the company responded quickly and I have been enjoying the amp ever since. So, no complaints here.

[quote name='bassman344' timestamp='1351412100' post='1850832'] I am looking to buy an amp. Dont mind if its combo or head and cab and one of the most financially viable options is looking to be behringer. Are they the real deal with bells and whistles you get or will they not stand the test of time. Any opinions on the 300 watt ultrabass combo or the 550 watt head and cab? Thanks. [/quote] I haven't tried that amp you mention, but I used to have a BX3000 head (300W). They also have a 450W version (BX4500). They go for very little money, £100 or less... I bought my BX3000 plus a Behringer 2x10 cabinet for £100. That was my first rig. The speaker cabs are not amazing, but the heads I actually like. Pair them with a decent cab and you can get a cheap rig that sounds good. If weight is no problem, I'd look for a Peavey TX410 cab. Heavy, but solid and reasonable sounding. They are usually around £75-100 depending on condition etc.

Thanks for the detailed pictures I think it can work. The pickguard is actually leaving a gap of about 3mm from the bridge. That picture above is not the "final" product: as you can see, it is not screwed in. I actually moved the pickup a tiny bit towards the neck, to close the gap between the pickguard and the neck... the routing on the OLPs is not like on Stingrays, it's just a big wide hole, so it's easy to slightly reposition the pickup. That resulted in leaving a 3mm-ish gap between the pickguard and the bridge, which is just what I need. I had not noticed the bottom metal parts go under the bridge. I thought they were screwed from the top. That means the bridge would not sit perfectly... but it would be easy to remove that 1mm or so from the top of the body under the bridge with my router... I think I will give it a try. First without routing, and see how I like it. If I then like it and think it will work ok... I'll get the router out. It seems doable

[quote name='stingrayPete1977' timestamp='1351533272' post='1852293'] I would get one of those cheap copy bridges off ebay as they have the extra metal that the pre EB bridge has for the spring plate to wrap around, it will be floating in fresh air else wont it? Get the kit then just bond 4 matching nuts into the body to create the captive threads, there is not much tension on them really. The only thing is that it wont be reversable as the holes will all be on show if you put the old bridge back on. [/quote] This is the OLP in question, I think that bridge should be ok, shouldn't it? so much blank space is calling for something to be installed there! [quote name='stingrayPete1977' timestamp='1351533272' post='1852293'] Should be good though or just get a pre EB you know you want to! btw I have bought another one [/quote] another? where's all the pictureage??? I'm sure one day a preEB will be mine. I'm avoiding coming in too close contact with them for now, in case one speaks to me... and I can't say no [quote name='stingrayPete1977' timestamp='1351533272' post='1852293'] OT but as an avid fan David Barron has a track on the front of next months Prog Magazine with some top notch bass playing by a certain someone this time, its that track from the video we did but the proper version with my lines etc. [/quote] great! Glad you got your lines there in the end! I'll try to keep an eye out for it... but you can always remind us when it's out

So this variation of awesome is going to be looking a little bit like this... and it will be awesome! I hope I get to use it live soon... not that anybody would care, as nobody notices the bass player...

I have one remaining OLP in my stable. It's one of the "mk2" types, with the nicer contours and big plate bridge. I'm going to be installing in it the 2EQ preamp 'tommorichards' assembled, and I thought "hmmm, I wonder if I could install a set of mutes here". They only cost <£25, and it could be quite interesting. Has anybody experience installing these mutes in non-Stingray mute-equipped instruments? I gather that with the kit I'll get the springy bent metal part, with the pads, and the thumb screws. I would just have to get 4 metal inserts that those thumb screws can screw into, and drill the metal plate and into the body to install the inserts in. It does not seem scary. Anybody has any words of warning (or encouragement!), experiences?

[quote name='drTStingray' timestamp='1351350521' post='1850445'] The body construction has a lot to do with it (bridge etc) - if you press your ear against the upper horn of a Ray or SBMM etc, the acoustic sound gives that overall characteristic sound - passive Sub Rays also sound similar. No doubt the pick up and circuit contributes but the underlying sound is the instrument itself. [/quote] I would very respectfully disagree. There isn't anything very special about the body or the bridge etc. In fact, take that big MM humbucker and move it an inch towards the bridge, and you lose the Stingray. Move it an inch towards the neck, and you get a lovely meaty bassy mighty thump from it, but it does not sound like a Stingray. You will not hear a difference "acoustically". I'd say a Stingray is by far mostly defined by that prticular pickup at that particular location. The preamp contributes to the variety of tonalities you can get, but as you say, even a passive 'Ray sounds like a 'Ray. To the OP: if you really don't like the Stingray sound at all... then something more drastic than a preamp is needed. Probably best to get another bass. Or if you really love how it feels etc... then go the route StingrayPete1977 suggested, and try different pickups at other positions (you can hide the routing with a custom made pickguard). If you like it but don't love it... then I'd still suggest trying a 3-band John East preamp. Because of the midsweep control, the range of tones to get out of it is simply amazing. It may help you find *that* sound you have in your head. But only if it's somehow Stingrayish, of course.

[quote name='MoJo' timestamp='1350649976' post='1841747'] Stingray is naturally a little scooped (2EQ). Tried all sorts of EQ settings on the bass during the evening. LH500 was set 2-10-2 (close to flat on a Fender tone stack) [/quote] A "little scooped" depending on your settings. A Stingray has tons of midrange. And remember the bass and treble controls are interactive. When you move one, it affects the other to some extent. If you max the bass control, like many do, you may just get too much bottom end with little midrange, especially if then you max the treble to compensate (like many do) which would only provide top end clang. If you want midrange, I'd turn the bass control to about 25%, and treble to taste. If you need more bottom end, set the amp to provide a "basic" sound with bottom end. Stingray's 2EQ are basic yet versatile, but you need to play with them a while to "get them". Also, if your bass control is maxed, it can easily overload whatever you plug into next. So I wonder if this is the reason you distort your input in passive mode. I have to say that I don't find Stingrays particularly hot in their output, compared to your average P and J bass, and I normally play my Stingray and my slightly hotter SUB (wired in series) through passive inputs when I have the choice of both. Without distortion. But then I use the bass tone control to "tweak" my sound, not as a master bass control: I use the amp for that. I'm not familiar with your amp. But others are and think you should be able to get enough oomph out of it. I am familiar with Stingrays in a variety of settings, and I have seen people complaining about a variety of "issues" that could be solved at the bass. You say you have tried many settings on your bass, so maybe all this is useless to you after all. But I had to throw it out there, just in case, as you mentioned the scooped tone of a Stingray... because in my hands it's a full bodied midrange-rich beast. An old battery can also bring in distortion and low output... but I guess you checked that already.