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drTStingray

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  1. Congratulations - nice colour. I've had mine over 12 months and still loving it. You'll find the bass has less natural compression and a completely different mid range from the previous 3 band model. They really are great basses in all respects. They will still do aggressive Ray if you want though - and quite usable with the mid fully boosted. The amount of boost available in the pre amp (if you want it) is similar to a Bongo.
  2. You sure that's Jamerson's? His and most other Ps from the 60s and 70s had at least another 1/4 in higher action!! (6 mm). Because quite a few were ex upright players and played quite hard. You'd have been hard pressed to find many P or J basses in use with the covers fitted in the 70s from my recollection!!
  3. I have two Stingray 5s - one is about 15 yrs old, natural ash, maple board - weighs well over 10 lbs. But the body resonates more than any other bass I have (to the point it's more like a huge vibration) - and that is translated into the sound of the bass when amplified. The second is a pretty new Stingray Special which is not much over 8 lbs. It also has a very resonant body, though nowhere near to the level of the other one - it has the neo pick ups and 18 volt preamp with Bongo-esque levels of available EQ boost. Do I still use the heavyweight one - you bet - the sound is that good, and on a comfortable strap it's fine for two 45 min sets (though I don't have it round my knees - more under my chin - well about mid way between the two!! Probably a bit 80s in look). I often wonder if this constant clamour for light basses results from our six string player colleagues taking up the bass and finding it a bit heavy compared to some guitars (not a Les Paul!!) or maybe it's because the average demographic of bass players is creeping ever closer to and beyond the 60 years of age mark....
  4. He's playing some sort of PJ with a front loaded preamp - the front cover is of the Marcus Miller style. It's got a very lively and punchy sound in places - maybe result of the active circuit and a compressor. The sound on Give Me What You Got is certainly typical of an SR5 (possibly ceramic). Bear in mind he's a virtuoso player. Im concious that it's rarely worth arguing with other people's opinions, but for me, the Stingray is shown across the board to be a versatile bass - if you want to lay back and groove, there's no better fat bass tone - if you want to step out occasionally, you can do that, if you want to play slap solos then the sound is great, if you want to play solo chordal work you can do that (though a Bongo may be better at that). It's sound could be described as iconic. Not sure why anyone would class a bass of that type as over-rated. If you prefer a Precision then fine - for my money they're not as versatile and you'll struggle to do some of the things I mentioned well (lots of people don't want to anyway). But none of that makes the Stingray an overrated bass. You may also notice Stan plays with the bass strung the other way round - I didn't see a problem with him pushing the B off the board - arguably far easier to do, with certain technique variation than the normal arrangement with the G there.
  5. Did someone say Stingray through Ampeg? Keb Mo again - I love this sound and my SR5 sounds exactly like that!! Though not the playing!! https://youtu.be/ygUV3e9nY9s
  6. I'm sorry but call me old fashioned or purist (if there can even be one who doesn't own an upright or a 60s Precision, which I don't) but I thought the idea of these rolled edges were to make the neck feel played in - like a well used vintage instrument. The quadrant radius on the Sire and chamfered arrangement on Stub Mandrel's bass are surely way beyond that? Do they not facilitate or even encourage that technique error which involves grabbing on to the bass neck as if it's a baseball bat? Rather than pivoting the thumb behind the neck? I haven't tried one of these basses shown but am now very curious to the extent I might go to Andertons to try a Sire - problem is I'll probably end up buying a pink (fuschia) sparkle Bongo (if they have one) or a natural special Stingray or some other extravagance I don't need 😁ðŸ˜Ŋ
  7. Poly finished ones also age to cream - see most 70s P, J or Musicman - especially noticeable if you take the pg off. Even 10 yr old basses finished in this colour start to change colour.
  8. Very nice - natural/black scratch plate was THE cool look from around 1973 to the 80s. Love it 👍😊
  9. In which case - in my experience - if you want to hear yourself against any level of crunchy low end from guitars, left hand on keyboards, and heaven forbid, some types of drummers, you'll need 300 watts worth of amp and speaker, so you can have a clean sound with plenty of headroom if volume is a problem - remember most set ups require 2 X 8 ohm speaker cabs to get the full output - so think around 70% with one cabinet. You may also find a studio which provides back line and PA - in which case just a practice level small combo for home use would be required - I very rarely play amplified at home - most personal practice is done acoustically (that said, and as you no doubt know, a decent proportion of bass playing is about stopping the bass making noises you don't want - ie muting technique - it would be best to be amplified really to cover this angle).
  10. You mean like this? I can see this helping a lot on a bass with a wide neck and string spacing - I have never got on with, for instance Fender 5 strings (and in the early 70s, Precisions) for their comparatively wide necks. I can imagine this would make these types of basses feel better to play. Everything's a compromise but i prefer a narrower string spacing with lightly rounded fretboard edges on 5 strings. The hand finishing on a Musicman results in basses which feel great to play. chris_b, I can't imagine what era/model you we're playing, but I don't think many people would find the more recent offerings much less than exquisite!! (I've said in another thread, I have an early 90s Stingray with a chunky feeling neck).
  11. Another shout for Markbass. You'l get a great stage sound. I use a Little Mark 3 with a 2 X 10 Traveller cabinet (with tweeter). It's very light but is suitable for small to medium venues, and rehearsals, and more with PA support. The DI output is great - also has a DI volume control which is very handy. For larger venues without PA support I add a 2 X 10 deep cabinet - it's a very loud set up - particularly at the back of a venue. An excellent compact bass rig - plenty of headroom and thoroughly reliable - also available used.
  12. Thanks - it's a great bass. It was a special package available during a one month ordering window in 2014, on more or less any instrument in their range. No matching headstock, but highly figured roasted maple neck (mine is flamed). It seems most people ordering basses ordered Stingrays or Bongos - I happened to be after one of the reissue Sabres at the time, in a different, and unavailable colour. This option was announced so I bit the bullet and ordered it. It also has stainless frets and mahogany body. So more or less a unique MM Sabre - I'd never have got it without ordering new!! I think they didn't include the matching headstock owing to figuring and roasting (not covering it, front and back, basically. The 2007 blue dawn LE Musicman instruments all have matching head stocks (but standard maple).
  13. One of the advantages of buying new is ordering a particular colour you want, which may only be available for a while. I have never seen another MM Sabre in the Neptune blue limited edition colour at all, let alone used.
  14. There are different levels of this. I've seen close up photos of bass fretboards with what are described as heavily rolled edges - these have a pronounced radius between the edge and the surface of the fretboard. The Musicman ones are more subtle, and it is done by hand as part of the neck finishing process. For that reason there may be some minor variation. My older Musicman basses have a much more pronounced edge to the fingerboards - indeed the profile seems slightly different as well. With hand finishing there's going to be minor variation. One of the differences with the US Musicman Sub is the neck finishing - as well as being painted they also reduced the level of work by hand on the edges of the fretboards (per Sterling Ball). Here is the Sire version - it looks heavily rolled to me (machine as opposed to hand finishing) - you would have problems with this on many basses because of spacing from the strings to edge of fretboard.
  15. They have been for some time - in fact, like the neck finish and truss rod adjustment wheel, I'm pretty sure the fretboard edge treatment predates Fender adopting it (for some models). It's quite subtle on Musicman basses but very noticeable if you play one of the earlier basses A/ Bd.
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