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drTStingray

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  1. Music Man's s new clothes.

    Goes well with the black also. I'm betting the chrome will reflect light as well as the Phil Lynott or Noddy Holder's mirrored top hat 😀
  2. Music Man's s new clothes.

    Oi - how very dare you - love my checker plate, industrial Ray!! And the plain white come to that 👍 there again I'm willing to accept my taste doesn't always follow the conventional standard 'wisdom' - I once swapped a tort Bongo pg for a much nicer one from a chap in Europe!! Nice work - just not for me though. Not too bling IMO. Sort of Phil Lynott with a Gothic twist.
  3. S'Rays Old & New

    Hi, to an extent I understand how you feel as I had a pre EB from new and sold it in the late 80s - would love to have it back. Ive played various pre EBs since but never bought one - there are indeed variances in sound but that is not surprising when you consider the EQ was updated several times between 76 and 79, the body woods were different on some colours (alder) especially in the early 80s plus they went from strings through to top load and 3 bolt to 4 bolt neck joint around 79/80. All of those points change the sound slightly although not fundamentally. I have an EBMM Classic and Old Smoothie - these get as close to the pre EB vibe as I think you can - in fact I've compared recordings made with my pre EB and the classic - they are very close - the pre EB had an alder body whereas the Classic has ash and is slightly brighter especially for popping/slapping. The Old Smoothie (which has an alder body and replica 76 EQ - including degraded performance electrical components and an epoxy coating to the pre amp) is as close you'll get to a pre EB in a new package. A standard 3 band EQ Stingray will get very similar sounds to a 3 band if you boost treble, bass and cut mids (quite a bit). So you can get the old vibe in a new package (what I've done basically - a matter of opinion but as the largest proportion of my bass playing life has been as a Stingray lover I feel in a good position to say this). You could go for a pre EB and there are nice ones around - depends whether you feel like paying over £2k and with no guarantee its all original, especially electronically. Andy Baxter has some nice ones but they often don't have their original cases - if that bothers you (I know it does buyers of old Fender basses). Anyway I wish you luck in your quest - as a matter of interest what colour was your pre-EB?
  4. Classic Bass Comparison

    Indeed - but you have to turn the knobs a little to get signature sounds (and I suspect the P was on full tone). An interesting comparison. I preferred the Stingray here (not much surprise there!!). In a mix each of these would sound very different. However there were a number of things either notable or missing for me:- 1) Jazz ludicrously scooped (pick ups on full?) 2) Ric even more ludicrously scooped. No McCartney or Squire sound here!! 3) Thunderbird - far more defined version of the Ric (in this test). 4) Where was the Stingray sizzle and bottom end fatness? 5) Where was the Warwick signature woody sound. 6) The P was ash bodied and maple board probably with rounds - as trebly as it gets. So as comparisons go this probably favoured the P over the others because it got the signature sound. You have to turn the knobs on the others for the signature sound!
  5. Bass on Roxy Music's "Stronger Through The Years"

    +1 - the bass is a Wal which Alan Spenner changed to in the mid/late 70s. Prior to that he played a Precision and with Kokomo got some great sounds. However the Wal was a step forward in sophistication and made a great player sound even better. It is the sound of that era of Roxymusic and Gary Tibbs played one as well. For anyone who doesn't know already Alan Spenner is on the original Jesus Christ Superstar soundtrack and plays some fabulous bass on that as well. He is a big reason why some of us (well me particularly) chase the Wal sound (Percy Jones being another).
  6. Which flats are on your Stingray?

    Sounds great - the Old Smoothies are fine basses eh? I concur with you on string tension on Rays - the tighter flats really don't work as well (for me at least - and I've heard other people say this). I really think the tighter flats on P basses were probably because the early players were ex double bass players who were used to it. The original Old Smoothie as an early production 76 bass would probably have had flats fitted from new unless Sterling Ball was experimenting with rounds as well as the 'Smoothie' pick up.
  7. Bean9seventy - the first UK funk / slap bassist?

    I agree with you - not only were those bands a reference point if you were into jazz/funk in the early 70s, I well recall trying to learn a particularly funky Santana from one of their early 70s albums, an instrumental, for a band back then - and the bass part was extremely difficult (actually I never mastered it properly) - it was similar to the synthesiser bass part on StarCycle by Jeff Beck (there is superb version of this with Pino playing the sequencer style line on MM Fretless). However none of this stuff was played in clubs and was not club music, so I can see where Bean9seventy is coming from. It's also earlier than the big crossover with jazz/funk things like Birdland.
  8. Bean9seventy - the first UK funk / slap bassist?

    When we played that song in clubs you could see people at the front saying to each other in a slightly outraged/shocked way "they're singing we want a f**k" 😂 A bit like "Get the f**k outa my face" - I'm sure they these guys wrote them to sound like this!! Spookily we covered several of those you mentioned but also War and Brass Construction (Brass Construction were played a lot in clubs I went to (before playing in the band).
  9. Bean9seventy - the first UK funk / slap bassist?

    Yeah agreed entirely. Northern soul is another influencer in a different way (that dance craze was quite region specific as well). I get that needing to much better to play some of the stuff as well - trying to do some of Jaco and Stanley's stuff was impossible for me by ear. Bands like AWB and Kokomo had such feel as well - single note bass parts with incredible timing and you needed the right drummer, rythmn guitar and feel for playing together as a unit to get anywhere near it. Anyone else get influenced by James Brown through clubs? I loved Get Up Offa That Thing and learned the bass part from hearing it and seeing/feeling its effect in a club!!
  10. Bean9seventy - the first UK funk / slap bassist?

    I first heard Bootsy on Flashlight in a club - and on other Parliament stuff which I had to learn as I was fortunate enough to get the bass job in a soul/funk band in the later 70s, which gradually morphed into disco/funk. The main men were Jamaican and had an encyclopaedic knowledge of black music since the 60s - hence covering bands like Fatback and Parliament. If you saw Bootsy with Funkadelic they had up to 40 odd people on stage, with three or four bassists and each song went on for about 30 mins - you couldn't really pick out who was doing what and it was more of an experience than a gig/concert - a bit like a funk version of Zappa!! Except that squelching bass sound ha ha!!
  11. Bean9seventy - the first UK funk / slap bassist?

    Yep agreed - I also resonate with the local player thing - we had several - one of our best local funk bands actually supported the Stanley Clark Band when they performed for the first time in Brum. Also Jaco with Birdland - I was astonished when I saw him in concert playing the melody on false harmonics. Incredibly, looking back, I came to this through a prog and blues rock background - my group of mates basically diverged from prog - some towards Steely Dan, some AWB, Tom Scott and Marley, Mahivishnu, Return to Forever and Back Door - I think two or three of us got into clubbing in a big way also - myself a bass player, along with a drummer and guitarist - club music changed our playing fundamentally, though we still played Greenslade and Camel covers for a while (with V funky rythmn section) ha ha! The biggest tracks in clubs often didn't become mainstream hits - although some have in recent years having been resurrected by people like Joey Negro and Giles Peterson. The 80s Brit funk scene was very much dance orientated - and indeed dance music has always been far more influential on music than commentators give credit - even to this day. Level 42 got its audience from UK clubbers and the jazz funk fans - I never fail to be amazed the number of women at Level 42 concerts these days - not the sort of demographic you'd expect and surely evidence of their fan base being different from say, Genesis - whose concerts would be frequented by mostly guys often with long hair with beards etc!!
  12. Critique An Opportunity

    I think so. Certainly from what Ive seen of such things in the UK, and that is a microcosm of the US stuff.
  13. Sting new bass?

    I like the way it looks like a miniature AJ Presentation bass. But without the bulk, if you see what I mean. Good to see Sting following your lead Ped!
  14. Critique An Opportunity

    Very smart web page. Looks very C and W circuit to me. Shovel Drums is a new one on me - I've heard of the term 'drummer building a shed'. i reckon unless your mind is attuned to that type of country act you possibly wouldn't enjoy it. And it's all upright?
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