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drTStingray

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  1. You clearly need to try a Stingray Special, especially in HH form. Light, powerful and fabulous tone. You can get them in the traditional brownish hues but also some quite spectacular colours. This is one of mine. I don't know how they do it, but the combination of neck radius and profile, and the finish give these basses the best playing neck I've ever encountered. So much better than other makes with this type of neck width.
  2. I can assure you that is not a Northern thing - it certainly is a little odd, having had a similar experience to you, but it actually happens all over country!! My coral red Stingray graced one or two of these clubs in the south east during the time I played in such a band. They were quite warmly accepting of us - however I did have one incident where I was accused in a derogatory way by an octogenerian of 'sounding like Jaco Pastorius' - I had used a Fretless Ray on a jazzy song.....I suggested he may have been mistaking me with Pino Palladino 😂😂 Interesting that bass is ex Mark Griffiths - he's a great bass player - seen with either an FR Precision or white Burns with CR and The Shadows but he also played guitar in Matthews Southern Comfort. As stated, Jaydee will make anything you ask, and for a surprisingly reasonable price. A mate of mine had a Supernatural made at the same time as he was having a Wal made and the price differential was very significant. That one does look a little odd with a Fender style headstock. Much better IMHO with traditional Jaydee type.
  3. Some lovely basses there and seeing a pic of a sunburst pre EB Stingray with an Acoustic 370 and rig takes me back - that was my exact set of equipment back in the early 80s. cd_david has been rather naughty here - he has replicated exactly what happened in the late 70s when people heard say a Musicman or Alembic amongst P bass sounds - igniting significant GAS for those wanting to be able to produce some nice bright sounds as well as the muted thump type of thing!! 😉 Back then quite a few of us were trying to be Stanley, Louis and Bernard all with one Bass. What sort of bass is the early 2000s P Special lookalike?
  4. I really like the blueburst Old Smoothie - isn't that the one with the herringbone skunk stripe - I think the Old Smoothie is the only Bass EBMM does which has a rear loaded truss rod. The green Caprice/Cutlass look nice as well. Going by the comments on other forums it seems people have ordered pink Stingrays. What with these Vault specials and those BFR Stingray fretlesses, I'm finding it quite hard to resist! 😬😧
  5. A Stingray Special HH is great for that - the neck H is very articulate but does dub reggae very well.
  6. Possible - some became actresses, at least one in Coronation St. That song was another infliction on the population..... there have been many.
  7. I can forgive Mr Flowers the great transgression of inflicting that on the population (and the flat wound string thing) as he is totally brilliant on, at the very least:- Space Oddity - D Bowie Rock On - David Essex Walk in the Wild Side - Lou Reed If he got a lot of money from royalties from the Clive Dunn song (CD was aged 51 at the time of recording and made to look 80), good on him - I think he only got sessions rates for at least some of the others.
  8. I recall my dad being outraged by the Jimi Hendrix Experience playing Purple Haze on TOTP in 1967 - his objections:- 1) Hendrix was so shite he couldn't control his electric guitar - unlike Hank B Marvin 2) The drummer and bass player had mock Afro hair so they all matched I did point out that Hank B's whammy bar and echo could have been considered by some purists in 1960 also to have been out of control 😏 stage clothes (indeed clothes generally) had gone a bit odd even by today's standards, by that time - afghan coats and beads being de rigeur. Flared trousers being made up from curtain material etc etc!
  9. This is extremely well observed and articulated. The 3 Wets was definitely a low point - exacerbated by my then wife buying a copy of the album and playing it regularly 😬 I thought it was very insipid and amazingly the single was actually a welcome relief from the rest of it - the puke basket requiring emptying by that stage - it's predecessor, Everything I Do, I Do It For You by Bryan Adams appeared to stay in the charts for a good portion of the decade also and at number 1 for, well it seemed like months - both had similarities, being linked to the film industry I believe. But the main point I wanted to make is there are low points here there and everywhere - which cause people such trauma as to shut their ears to future output of any part of the diverse church that is music generally - Grandad by Clive Dunn was another example (I think the bass may have been played using flatwound strings on that studio output so some people may find my view that was a low point offensive - along with anyone under the age of 10 at the time - believe me, for the rest of us it was truly awful). Everyone seems to have such low points - having once played in a tribute band to an olde British artiste and beat combo from the late 50s/early 60s, I was exposed to a whole plethora of people who had the view music died when the Beatles became famous - and if not then definitely at the end of the 60s. This forum seems to be populated by many people who don't understand that the Jools show is actually a sort of music magazine show - magazines being something one often skim reads and only focuses on certain bits that interest. The chance of everybody liking everything is nil - and if your musical taste results in music dying at some arbitrary point in the past - probably very little. I find some of the archive stuff from the show fantastic, like the very early performance of Amy Winehouse they showed a clip from recently. Last week's show was a bit meh for me - the one before with Mark Ronson far more interesting. And this is the way it always is, like reading a magazine. Now then this egging of Paul Weller - I'm very interested in this idea - could I make a suggestion this be in Surrey stockbroker belt perhaps at Hersham station, where we could, concurrently hear London being called on the station announcements - I'm sure someone could come up with some songs about such stuff - with apologies to all Clash and Mr Weller fans 😂👍
  10. Indeed - but I don't think JPJ was using flats - things moved on very significantly in terms of the huge growth in rock and blues rock bands from 1968 onwards. Recording techniques and equipment also - and availability of stereo systems became more widely available for listeners in the UK - so the whole sound of that style of music was different from, say pre 1967 pop - and the idea of people clinging to early 60s ideas just didn't happen generally in that genre. In fact the contrary - bands were trying to break new ground, innovate and be taken seriously as an art form rather than commercial pop. You are unlikely to find, for instance, fiesta red Strats - completely out of fashion at that stage. In JPJ's session days, or playing with Herman's Hermits etc, he probably was using flats.
  11. I just think the blues rock and early rock guys were more likely to be influenced by the John Entwhistle school of thought. Fact is you could argue a lot of people sounded like they were using flats at that time - I think that's more about recording technique (both in the studio and on the instrument). They certainly didn't sound like flats live. I can get my two band Stingray to sound 'generic with flats' with rounds and the mutes engaged and a percussive technique in the studio. Its often forgotten that we are now looking at this with the benefit of hindsight. No one in the UK had a clue who was playing on Motown stuff back then and least of all it was on a P Bass with flats. Back then you certainly couldn't hear the tone properly of the players of that era anyway. Im also not trying to put people off using P basses with flats - it's certainly a good sound (especially with modern amps)
  12. Don't underestimate the power of technique and especially muting to achieve this.
  13. I don't have a P but have experimented with flats - I felt like I needed to be a champion arm wrestler with some (mentioned earlier in this thread). TI flats, EB Group 3s and EB Cobalt all have roughly the same tension (similar to 100-40 rounds) that I can work with. These are my basses with flats. Regarding Acoustic, they were used by loads of people in the 70s - early 80s - they are SS, very loud, and keep a clean sound at high volume (I had a 370 - 3 or maybe 400 watts and very similar in amp size to an Ashdown ABM or Trace Elliott). A revelation against Marshall guitar stacks!! I'm not surprised JPJ didn't use flats - they are very much a 60s throw back when nothing else was available and in the 70s few musicians in modern music used them - even less in the 80s when a bright sound was required. That said they sound different (although you can get close with rounds and technique). As Stingrays shipped with GHS flats up to early 78 I was keen to try them on my Classic Stingray and the TIs are still there after about 4 yrs - the Fretless has EB Cobalt flats (partially for maintenance of board reasons). That said I like the sound with them. You can call me a 70s (or/and 80s or 90s) throwback if you want but definitely not a 60s throwback 😁😁😂
  14. I think it highly unlikely that situation will occur again - if I used that analogy id be expecting to pay £250 for a US Precision or £350 for a pre EB Stingray - clearly highly unlikely. If you think a Wal is worth £500 then that says a lot about your taste in bass sound and willingness to pay for craftsmanship, particularly when we are surrounded by US built 'production line instruments' that are 3 or 4 times that cost - as I said previously it's rarely worth getting involved in such discussion as its about personal taste. As with all antiques and collectibles prices can go up and down very significantly based on fashion (this affects the vintage market more significantly so this type of argument is more appropriate in a vintage bass thread) but surely we're talking complete collapse of a market or capitalism for any item to reduce to the price it was in the 80s/90s? Used prices of instruments do track new prices largely.
  15. The reason I mentioned Alan Spenner was exactly because the Wal allowed the listener to hear the nuances of his playing and frankly, yes, the sound went from good to phenomenal (particularly live). This wasn't just limited to him, there are others. Join the club with Wal GAS!!
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