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drTStingray

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  1. Thanks for posting that again. It's very interesting and demonstrates how controls interact as well. I said in an earlier post that I sometimes boost one of the mids on the amp when using a 2 band Stingray - it's to compensate for that mid cut. Remember this bass was originally designed in 1976 - at that time everyone used a smiley face type EQ with Fender type basses - this bass put your sound into that direction straight out of the box and sounded more like a recorded bass sound. Its worth remembering the original hang tag manual for a Stingray bass suggested moving the controls back towards centre from full to enhance the mids. So none of this is new at all!! 👍 To answer earlier points on 2 band Stingray pre amps, you can see both the bass and treble controls can cut as well, although the treble more so than the bass. @ped mentioned the frequencies changed over the years - for the 2 band it's the same since 1979 (there were several iterations of the original pre EB preamp. Those charts also demonstrate the point of adding a mid range control to it, and high pass filter to cut some of those lower, muddier frequencies out. It's how you use the mid control which gets you close to the 2 band sound.
  2. Yes things on there could, at one time, get lairy - there's a lot of history and to be fair to Big Poppa, there were some people who wound him up a lot and had axes to grind business or customer wise and he sometimes 'fed the troll' - haven't we all 😕 The book I have, below, is by no means a coffee table book but it does cover the start up, running, and end of the original company and contains some interesting info. This is the Kando Shokai letter I referred to reproduced in the book
  3. Haha! Yes inter string volume is an off debated point!! The slab bodied Stingrays stopped when the original Musicman company went out of business - Musicman was bought by the Ernie Ball company in 1984 and amongst other changes, introduced contoured bodies. However the Musicman Sabre, introduced late 78/early 79 had a contoured body from the start. Charvel were contracted by Musicman to produce the bodies and necks after they stopped using CLF - CLF had produced hundreds of incorrectly manufactured necks, discovered early in 1980 when the Japanese distributor took one to pieces owing to not being able to adjust any truss rods from a whole batch. It cost Musicman large amounts in rectification (which didn't help their finances). An interesting exchange of letters is reproduced in a book I have. They, at that time, also invested in Modulus to produce the necks for the Cutlass basses. Yours must be one of the last pre EB basses - they closed at the end of 1983.
  4. Yes a subject which divides opinion - however I use the onboard pre amp on the bass for minor adjustments between songs or even mid song - this usually entails a slight mid range bump for greater articulation, harmonics and prominence in the mix (where required by the song). I wouldn't want to do that on the amp although I might slightly up one of the mid controls if I feel the need - but that would stay for the set. I also change pick up settings mid song - a very good example of this is in Stomp by the Brothers Johnson - using a twin pick up Musicman, the humbucker is selected for most of the song but both humbuckers for the slap section (different - more scooped sound). The point I was really making was that it's possible to cut the bass control which would also influence the 40 hz - however all the controls interact on basses and in any case they affect adjacent frequencies. As well as the practical issue of not being able to change the amp EQ readily, by having the tone controls on the instrument, the interaction of the player and their playing style with the pick up, bass and tone controls is different from the effect of adjusting the amp, which is more remote in the chain. Just the same as passive bass tone controls v tone controls in the amp - in reality most of us use both to an extent. I guess it depends on your viewpoint and what sound you're seeking.
  5. That's a reasonable weight for a pre EB - that one will be assembled from Charvel made body and neck. Glad you have found a good sound - I have found resting my thumb on the E string (like when playing a 5 string) reduces the possibility of hitting the pole pieces - the E side of the pick up should be set a bit lower than the G side and that might also help - but tape is a possibility. You should try the mutes if you want a really thumpy sound.
  6. This shouldn't really come as a surprise - the bass control on an amp is often centred on 40. However there are other controls (in some cases another three) - they also CUT as well as boost - so you can cut those frequencies (eg 40 hz) if you want to.
  7. Wow that's really nice - presumably 4 bolt neck attachment? Ive used 125-40 on my SR5 (though EB nickel strings) Stingrays sound great with that gauge. If you haven't had one before, a tip on the EQ settings, I tend to use my 2 bands with full bass and nearly full treble - move the controls back towards the centre to further boost the mids where/when you need to - and they are both boost and cut!! I also up the upper mids on the amp slightly to taste (and especially dependent on the room). Im sure it sounds great - like other wooden construction basses, they seem to improve as they get older, somehow. What sort of weight is it? The white does change to cream on all of these (the clearcoat is affected by UV) - those which have not seen as much UV tend to look whiter (eg those not in a case much when not in use). I've seen 10 yr old EBMM basses change towards cream - if you look under the pickguard you may see a difference 👍
  8. Did they back in the early 80s? A spare battery is an essential part of the kit if you have an active bass - the batteries in my Stingrays last for year's (but I never leave them plugged in when not in use). I suppose I should recount a story of my long divorced she who should be obeyed persuading me to buy a cheapo battery for my Stingray back in about 1985 as I wanted a brand new battery as we were playing a prestigious gig with a massive PA and sound guys (the cheapskate approach was so she could buy some ciggies as well) - the net result was it started to fail mid gig - but i never twigged what was going on and neither did the PA guys - who thought there was something up with the PA channels - I took the bass to a shop later thinking it was f*cked whereupon the guy put a Duracell in and Bob's your uncle - perfect Pre EB Stingray again - moral - I've never since bought cheap replacement batteries 😏 When I went in the shop for the repair, for those Stingray officianados - they had a brand new EB one hung up in the shop in fire engine red - it was not far short of twice the amount of paid new for mine in 1979-80 😧
  9. All the instruments since 2015-16 have that logo - to do with a change in the law in the US (California) at the time meant that because elements like the tuners not being made in the US or California prevented the previous logo being used. Easier to look at the front of the headstock? Old Smoothie 40th Anniversary - 2016
  10. Dare I say it also - more sustain. The 60s and 70s Precisions did not feature string through bridges and those 60s players often played with foam rubber under the strings and very heavy gauge flatwound strings. But that was the 60s. The original Precisions (51 onwards) had string through body bridges also IIRC.
  11. I find the way I can't refer to Di*k Emery, Van Dyke or Betts without it changing the word to Richard mildly amusing (and also idiotic frankly) - the best one of all is the replacement of co*k as in co*k and bull by pink torpedo - this is surely worthy of a Carry on Film or Monty Python sketch - however if this is what it takes to keep the forum owners out of the courts who are we to moan - it does seem quite barmy when there must be far greater chance of litigation by annoyed CEOs of guitar making companies. Come to think of it his first name is slang for lavatory in the US (sorry for any offence to anyone from the US - bathroom) - perhaps the word John should be added to the profanity filter 😂
  12. @stewblack forgive me if you already know this but the highly acclaimed track Donna Lee on Jaco Pastorius's first album is him playing a Charlie Parker solo piece on bass.... not sure if your FB mates might be sending you up? 😯 For the 12 keys, you could start at any note you like but if it's a 4 string bass maybe E as the first key - then each key based on the next note in ascending order (eg F, F#,G etc etc) until you get to the next E octave - you'll have covered all 12 then dependent on whether your solo is in major, minor or whatever mode it might be in (please - any theory guru correct me if I'm talking ballcocks!!) 😬👍
  13. She's really good and has such groove and style in her playing. Her version of Hair by GCS inspired me to learn it for the first time (despite having been a Larry Graham fan since the first GCS album appeared in the UK in the mid 70s and they appeared on a CBS sampler album along with other newbies, Earth Wind and Fire and Kokomo 😀) - based on the fact she says she is now 19, she was 14 when she posted Hair - and it's an absolutely brilliant interpretation 😳 better and more accurate than the SBL version in my view. https://youtu.be/vSyKWnxPfFQ There are loads but the other stand out one for me currently is Dua Lipa Hallucinate - the groove, and her impro on that is so tasteful and accomplished 👍 https://youtu.be/f40HDIwho_E Both are well worth a listen - very inspiring stuff.
  14. If you mean the 2 band Musicman circuit, then that is boost and cut (but doesn't have a centre detent). Ive also seen it described as a Baxendall type circuit.
  15. Some of the things you raise here are a wider debate eg onboard active v outboard pre amp pedal v completely passive (but still electric) - or even onboard active PLUS outboard pre amp pedal (as advertised with the Sadowski pre amp pedal at one time)!! As I said many of these designs date from when it was either not possible or certainly not desirable to have an active bypass with switchable passive ability for one reason or another - the reliability and functionality of some active basses (and especially lower priced budget ones) has always been questionable - however this doesn't just extend to active basses - the switches, pots and most particularly the Jack socket connections have sometimes been unreliable in even expensive basses where you wouldn't expect it - it's unlikely you will have this as a general issue either with the general electronics, or the active circuit on a quality bass like a Wal, Alembic or Musicman. Of course, if this was the 60s, many of the bass die hards of the day 🤔 would tell you this is a good reason for using an upright!!! There was a lot of upright v electric bass snobbery back then, especially in jazz. With regards to your bass suddenly dying mid song, this is generally not how active circuits behave - if the battery discharges it's usually gradually over a period of time resulting in the controls being less responsive and the bass generally sounding a bit compressed, and eventually a bit far*y sounding. I think you must have had another fault as well there (I've had that with a dodgy lead before now).
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