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  1. Very nice - they’re great basses to play - so comfortable 😊
  2. I think the first ones he assembled were from already made parts - but not all pre EB Stingrays are heavy - I don’t recall mine being heavy although it was about 40 yrs ago when I bought it so such things would probably not have been at the front of my mind - the main selling points were that I wanted one, loved the sound of the instrument and it had a very easy neck to play (the lack of the latter was one of the things that put me off my previous heart’s delight, a Precision). Moving to EBMM Stingrays, I find the 90s models have a slightly more chunky neck - still great to play - but the later production and current Stingray Specials somehow have totally sublime necks - in my view it’s a combination of the attention to detail (they’re all hand finished), the roasted neck, the finish on the neck and the profile/width combination. In terms of weight, my Classic Stingray (made April 2010 from very early production) is 9.75 lbs. My Old Smoothie (also slab bodied), from 2016 is lighter - about 9 lbs. I have a 2014 mahogany bodied Sabre Classic and that’s also about 9 lbs - as is my 2007 Stingray 4HH. More recently, the Stingray Specials are generally light in comparison, even the 5 strings - my 4HH and 5HH are a little over 8 lbs. My last two EBMM basses (Stingray Special long scale Tim Commerford signature - passive) and Bongo 5HH Crescendo are just under 8 lbs and 7.75 lbs. From this I’d conclude that the more recent production is lighter generally than the 90s/2000 models. However I would point out I have an SR5 which is between 10 and 11 lbs - but has excellent balance on a strap - using a well padded strap this bass is fine for me on a gig - it sounds and looks great as well - lovely figured ash body/maple neck. 10-11 lbs (2003 5 string/ash bodied bass) Under 8 lbs (2021 basswood bodied bass) Just under 8 lbs (2021 ash bodied bass)
  3. Upper one for me if you ever think of selling 😏😁 I know you’re not though - certainly top end of my list of wants!! (Do they have strings through as well).
  4. Awesome signature basses - as well as one of the nicest Wals I’ve ever seen - and talking of queues, do you still have two (yes two) NAMM 100 Stingrays? (Don’t tell me, you’ve acquired another 😀) You’re right the LK Rickenbacker is an acquired taste - the standard Rick sort of Art Deco look, combined with gothic looking carving is a strange but alluring look!! 😂
  5. I’ve never really gone for signature instruments although I did dally with the idea of a Marcus Miller Fender Jazz at one time - to the extent of trying them out UNTIL ……. this wonderful beauty appeared. It’s currently my number 1 player Yes - it’s a Tim Commerford signature Stingray Special - passive, long scale. (Offensive wallpaper courtesy Messrs Greene King 😂). Absolutely great bass and sufficiently different from a standard spec Stingray Special to justify the name (and price IMHO).
  6. As I said before, the 3 band Stingray has an HPF. Whether you need one to deal with the Orange I don’t know but it sounds from the previous description of its EQ that the mids are vastly scooped. You could try boosting the mids on the Stingray but a multi band external EQ would probably enable you to pick the band to boost more accurately for your taste.
  7. That’s an interesting suggestion re the Orange amp. I have only used an Orange set up once (valve), when provided at an outdoor festival - I use Stingrays and I found the sound somewhat scooped (but big bass booty in a good way) with the amp EQ centred. As far as the sound from the Stingray is concerned, I’m presuming you’re using a pre Stingray Special 3 band? The reason I query this is the Special is slightly different. Firstly the 3 band Stingray has an HPF (unlike the Stingray 2 band circuit). Presuming a single pick up Stingray, I tend to start with the bass and treble boosted slightly and the mid cut a little - not too dissimilar from yourself - note that cutting the mid significantly gets close to a 2 band sound. I boost the mids slightly more for songs where the bass might require to cut through more (but not be excessively loud). I use this setting on an SR5 also - for a two pick up Stingray using any of the combinations available which use both pick ups, I don’t boost the bass but would start with mids at centre and maybe boost them slightly. The EQ, and especially the mids, are voiced differently on the Stingray Special - as well as being an 18 volt circuit with neodymium pick ups. Howver we all hear things differently and have our own views on what constitutes a good bass sound - there is no right answer so whatever suits you. Playing style also has a significant effect. I got a decent sound from the Orange but felt it was naturally scooped, especially in the highs. I had the same experience with a Fender Rumble combo (again provided) - until I discovered it had one of the pre-set shape buttons activated so was excessively scooped (it was ok after I turned that off). I use a Mark Bass LM3 with Mark Bass 2 x 10s which give a certain mid presence, fat bass, and clear highs - whilst other amps can do this, they all have their own sound colouration, and a number of makes do seem to lean towards mid cut at centre detent.
  8. I know that’s a viewpoint but I think there’s more understanding than that amongst audiences - who appreciate a good bass sound and contribution - just look at Hozier - the bassist has a Skjold bass and the bass sound live is phenomenal. However that’s not to say a good result can’t be had from a £300 bass - it’s just in the right hands, a better one can be had from a different, and expensive bass. I remember some members on this forum complaining of a growing trend for what they described a few years back I think as a tendency towards background pithering on bass - no doubt if that’s the role of the bass player then people probably won’t notice.
  9. Very interesting article - very balanced opinion and reasoning. Interestingly quite a lot matches my own experience of electric instruments. I guess everyone is entitled to their opinion, but I know who’s opinion I would trust when comparing those of highly respected luthiers and interested amateurs with an opinion on the subject on the internet 😉😁 I suppose when a reasonable proportion of players are happy to play pretty rudimentary instruments designed in the 50s, anyone suggesting there is more to the subject of tone and functionality is almost bound to be shouted down. Thankfully other industries involving engineering do not rely on getting away with such things - I’m really glad my 2019 car doesn’t have 1950s spec wheels and tyres, and my train journey of 150 miles on Sunday is not going to be at low average speed on a ‘heritage’ train, or my dinner will not be cooked on an appliance designed over 60 yrs ago (in fact you can insert virtually any item and have a bit of a chuckle). It’s a funny old industry eh!!! 😁👍
  10. Item 3 - not necessarily - my Stingray Tim Commerford signature is passive (with a parallel/single coil/series switch and a boost (which is really a switch to remove the attenuation it normally runs with - great for solos!! But warn the sound person if you’re going to use it 😀) On EQs, the only real differences I’ve noticed with the Special are:- a) more headroom (18v power) b) different mid range voicing - you can boost it fully and still have a musical tone. c) the amount of bass boost available is substantial (similar to the Bongo EQ in that respect).
  11. Definitely the original reason for having the Hofner, but not the reason for its resurrection.
  12. Another couple of great influences of mine from the past - literally big hitters of the bass guitar (whacked hell out of the strings)!! Leo Lyons (Ten Years After) - Fender Jazz Larry (The Mole) Taylor - Canned Heat; John Mayall - Fender Precision (I liked the sunburst one he usually played but this picture shows him playing a black slab bodied Precision - which is OK as well)!! Sunburst with obligatory curly lead - playing a 10th (v unusual in 1968)!!
  13. Considering he played a Wal for years, along with a Rickenbacker and others (including the Yamaha) this is unlikely. I understand Elvis Costello persuaded him to resurrect the Hofner, at the start of the ‘everything must be vintage 60s’ fad and hoodoo - prior to that McCartney had considered it an instrument which would be out of tune as much as in tune - however he managed to get someone to fix it so that it was more reliable - not sure what the sound’s like though. I have always liked his tone whatever bass he has been using, but it’s clear the Wal is far and away the best of all - however the weight of instruments becomes more of an issue for performance as age increases and no doubt the featherweight Hofner is great from that point of view. It’s incredible to think some of our famous artists are now octogenarians.
  14. The wonderful Alan Spenner (Wal JG series) The wonderful Percy Jones (Brand X) - Wal The wonderful Bernard Edwards - 1977 Musicman Stingray (I know the bass has been mentioned before - no disrespect to John Taylor, but you can’t beat Bernard playing it). Boz Burrell - Fender Precision fretless Andy Fraser - Gibson EB3 Jack Bruce - Gibson EB3
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