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drTStingray

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Everything posted by drTStingray

  1. @Romeo2 if you haven't heard it check out the You Tube live concerts with him in the Paul Young band - absolutely brilliant playing and groove. A particularly good one is the Paul Young band playing the song Sex on the 80s TV programme The Tube.
  2. Whatever you do don't quote Richard Van Dyke or Richard Emery 😂
  3. Possibly the handful of people playing in recording studios and some jazz dance band players. Most rock bands and prog bands were after a far more lively sound. The use of flatwounds has really only become popular in the last 20 yrs or so with the 60s vintage throw back popularity - the first use I can think of that may have been influential was Pino with D'Angelo in the late 90s. NB he appears to have been content to rip the board of his fretless Ray to bits with roundwounds in the late 70s/80s!! These days he was using flats (EB Cobalt) on it. Things may have bern different in the US but even there the livelier bass sound was a requirement in the late 70s - Jamerson's reluctance to do that is quoted as one part of the reason his work dried up.
  4. I actually meant the general public seeing them as opposed to retailers. Life was very different then - they'd generally sell you something from their stock - in fact it wasn't that different 20 yrs ago although centralised distribution has improved things. A few years back I wanted to buy an MM Sabre in a specific available colour - there were none in the country but every other available colour was - I was unable to get anyone to order one.
  5. It just shows how wrong the calculator is. If you consider actual salary or wage for say a 19 yr old - I had quite a decent job in 1973 at just under £1000 per annum. A new Precision was £252 (without case) in a particular shop (natural finish). So this is more than a quarter of that annual salary. A quarter of say £15000 now gives you a new US P bass at £3750 - so they are now relatively cheaper and should be around £3k. GHS did flatwounds in the mid/late 60s and a new Musicman Stingray came with them fitted. A sign of the times is they changed to GHS rounds in early 78. I do not recall anyone in my local scene who played bass even considering using using flatwounds and the normal replacement string (in the UK) was Rotosound. You have to remember that in the 70s stuff from the early 60s era was very deeply uncool - this extended to pastel coloured instruments, liking the Shadows, and in the later 70s, passive Fender basses even (unless you were a punk band) and even then there were as many people playing Rickenbsckers and the like (The Jam for instance). The idea anyone ever saw a Fender catalogue in the UK was also a misnomer - you bought what was in the shop - I'm doubtful anyone would be able to get a retailer to make a special order (I.e something not in stock). Times were different - we'd never heard of Jamerson, even less what make of instrument and strings he used - although his bass lines were, of course very influential to some people (rock fans would probably not listen to Motown in the same way that punks would not listen to Genesis and Yes!) So flatwounds were really not something of the 70s at all - I don't recall them being on sale in the music shops I frequented and of course there was no mail order or Internet. You have to question why would people stock something virtually no one used - and even if they did they didn't change them!!! I don't think I was unique in wanting that first two or three weeks lasting sound of a new Rotosound set of strings but wasn't wealthy enough to change them that often. Remember amplification and speakers were not what they are now also. Although things were changing over to solid state (Acoustic for the very wealthy; HH for something more affordable) the standard available now is light years away. The chances are with flatwounds you would have even less chance of hearing yourself than you had. For valve stuff, Marshall and Ampeg stacks were the preserve of the super rich!!!
  6. I have the D'Angelo album (Voodoo) - I really quite like it and the bass is excellent R and B style. I got it a few years back when I decided to revisit Pino (having been a fan when he first became famous) - as well as that album I got Gary Numan (I, Assassin) and Paul Young (No Parlez) as Christmas presents - encouraged me to re-learn songs like Music For Chameleons (always reminds me of Alan Partridge....) - great bass part though! As well as +1 on the David Sanborn and other jazz artists mentioned by @Doddy there's also a version on You Tube of him playing with Jeff Beck on Star Cycle - a very fast sequencer type bass part on his Stingray fretless
  7. I really liked that - quite Weather Reportesque at times. Thanks for posting 👍
  8. You obviously can't have been playing loud enough!! (Or their hearing's impaired!) But no - I'm saying they notice bass tone and comment on it sometimes (it's happened with the mahogany Sabre several times). The orange Bongo is another that has generated very favourable comments, people asking me what make it is and how refreshing to see and hear a bass that isn't one of those boring brown things you can barely hear!! I couldn't possibly comment 😯 Regarding other musicians I've had similar experiences sometimes - an example was a drummer who, talking to me in the break was waxing lyrical about a fretless on an album - I said 'oh I'm playing one tonight' - he said 'I hadn't noticed'....... it's not surprising as he was playing as if he was building a shed and probably couldn't hear much of the rest of the band anyway!! So I said 'hmmm I'd better turn up in the second half so you can hear me and we can become a rythmn section'..... 😬 Conversely ive had the singer come up to me in a sax and guitar solo and say the bass sounds great 👍😊
  9. Afraid not!! I did wonder about the gothic Victorian church pew style chair with turned legs but stuck with something more modern haha!! 😂👍
  10. I have a mahogany bodied Musicman Sabre and it sounds subtly different from an ash bodied one to me. Bass tone does make a difference and people (non musicians) do notice it. Similarly a maple boarded standard Stingray (light oil and wax finish) sounds different from a rosewood board one (same neck finish, construction and body attachment - same body wood, pick up, hardware and EQ. Im firmly in the camp of body and neck wood types make a difference - along with strings, player etc etc. Just my take on it.
  11. @Dad3353 I sincerely hope you're wrong as I'm about to take delivery of a desk from........ you guessed it - Oak Furniture Warehouse 😳 Well it looked nice in the picture!
  12. I played one at the Bass Gallery a few years back, when I was on a what used to be a periodic trawl around shops to see if I could find a Precision I liked. This one was, I think, a 76 bass - the grain was clearly visible through the finish though quite subtle and I'm not sure it would have actually shown up on a photo. It was one of the nicest I've played and looked great. Like you, I was a bit sceptical as I'd never seen one from that era before - I guess they were unpopular at that time (70s) against, for instance natural and sunburst. It was on consignment for a named bassist I recognised at the time - can't remember for the life of me which one! I think they are pretty rare in blonde, and as you've guessed I didn't buy it. Played a couple of Wals that day as well there!!
  13. Yes me too when using a bass with a blend knob - the one I was referring to has coil selector, and I was referring to either all coils selected or the outer single coils (the latter similar to a Jazz, effectively)
  14. I guess it depends on individual taste, but it's basically centred or very slight boost - I do realise the exact frequencies won't be replaced but I'm simply after the most usable sounds (for my taste and to fit the songs). I think I said before, I'm a bit inept in terms of the theory behind what I'm doing and the characteristics im countering!
  15. Although I agree that the initial characteristic is not caused by EQ, the net result is a scooped sound, which may not be wholly appropriate dependent on what our band mates are doing at the same time. As far as I'm concerned a minor tweak of my mid range (on the bass) enhances those scooped out frequencies enough to assist, when and if that's required - and that scooped sound is killer as stated by @FDC484950 I used a 3EQ SR4HH as my main bass for over 10 yrs and got very used to this - it's now either an SR4 Special HH as main bass. To be honest the EQ gets minor tweaks also in the outer single coil setting as well (Fender Jazz area of tone). I guess if I was using a passive bass, I'd have to alter the setting on the amp. My bass is usually on full volume or just below - I've never noticed any variation based on volume - the same sound applies as far as I'm concerned in that setting and very minor EQ tweaks make for an incredibly versatile instrument.
  16. Is that the one Flea uses on his bass instructional video, assisted by Chad Smith on drums. The green one? Is so that quacks like fe*k in his hands, using a 3 band Stingray (on the rest of the video as well)!! 👍 I'd forgotten about DOD. I tend to use the EBS in preference to the Bass Balls - you can see from how battered it is!!
  17. Just to observe that my experience with active two pick up basses covers two types, both with humbuckers. In the example with a pick up blend knob, eg Musicman Bongo, both pick ups are never on full. In the example with a pick up coil selector switch they can both be on, all coils. I don't see the scooped sound that creates as a problem, particularly if you balance the mids slightly back into the sound - far from it, it's a great sound and for slap it's the Mark King type of sound. To my un-theoretical mind, having a pick up near the neck on full will add quite a bass heavy sound to the mix of the two so it seems obvious that would need some compensation with reduced bass EQ (by the user). I also seem to recall reading discussions about this subject and the term phase cancellation between the pick ups was a technical term for the interaction. I may have misremembered that.... Anyhow the main point is I don't view it as an issue and use both pick ups on full (as the OP described) as a general rule, but with a small amount of extra mid range dialled in to compensate for the scoop. I've never played an active Fender Jazz but presumably if it has a three band EQ you can similarly dial in mid range if you feel the need, with both pick ups on full?
  18. I doubt it makes a massive difference - I can't see how Warwick would be building a licensed product not within the agreement of the owner of the name. Warwick is a highly respected name and maker - I presume the whole point for them is making an instrument of this type because they weren't covering that part of the market. As has been observed Warwick Masterbuilt is also highly respected - and so is Sadowski. There are no doubt Warwick fans around the world who would buy a Warwick Masterbuilt Sadowski licensed product (maybe they don't frequent bass forums) who wouldn't buy one of these otherwise, just like there are other people who would only buy an NYC Sadowski at that price. Im sure these guys have it sussed in terms of their business plans - as I said, the only potential issue is this initial QC, which I would be very surprised hasnt been sorted out. Also, do we know how Sadowski NYC prices have been affected by 'worldwide pressures', some of which we're not allowed to mention here?
  19. Can I order a Wal please 👍 I prefer UK built boutique 😂
  20. That's good to hear - I've never met him but have heard similar experiences from others - as I said before I'm pretty sure he will have sorted the issues out. However one thing does strike me with this talk of boat anchors (Warwick), and people being disappointed with the weight of Sadowski by Warwicks that people have got their hands on, I am by no means a Sadowski expert, far from in fact, but I do recall my drooling hours spent looking at the web site that at least some of the NYC basses are chambered, presumably to improve balance and weight whilst still giving the required tone. You are not going to find something similar in comparatively budget line versions. I know many of us on this forum aren't in the first flush of youth - indeed far away from that, but unless we have a medical condition that requires very light basses I do wonder whether we stress too much about this and calling say a 9 to 10 lb bass a boat anchor or similar is somewhat unfair - I would say that back in the late 60s and 70s, the weight of a bass would be the very last thing that would exercise my mind. My original Stingray bought new in the late 70s never occurred to me as heavy and never caused a problem - it just felt like a bass to me (similar in weight to Fenders, Antorias and others of the time) - I no longer have it so I can't tell you if it was 9lbs or 12 lbs!! As I say it didn't really matter.
  21. For me, three high contenders are:- EH Bass Balls EBS Bass IQ Mutron I have two of those which I find fun to use (I've never felt inclined to spend the money on a vintage Mutron, or any effect for that matter) - however the EBS was quite expensive for the time, when I bought it. You can tell how long ago - it was from the Bass Centre when it was a shop!!
  22. In a word, yes - well all of mine certainly do. As others have said a mid control helps to adjust this. On an HH Stingray I tend to run the bass with all EQ flat whereas with the bridge H soloed I would probably boost the bass and treble a little and cut the mid. The tone with the HH selected provides a great slap tone and the finger style sound is also excellent - a fuller sound than the traditional Stingray H sound (although that's selectable at the flick of a switch). I use the HH setting most of the time. I have a Sabre with 2 band EQ - I rarely run it with both Hs selected and usually have the bridge H and one coil of the neck selected - mellows the traditional H sound.
  23. Interesting info in this thread (and those other threads covering the same subject). In terms of organisations gearing up for this IIRC the deal wasn't agreed between UK and EU until Christmas Eve. So until that time all organisations involved had to exert effort on covering both for the deal and no deal scenario and even so the full details of the deal were still not available to organisations required to operate it within 1 weeks time. So the fact it took the politicians nearly 4 yrs to sort out should be put down to brinksmanship on both sides and they should be held responsible for the fallout by the population. Recently it was announced trade between by far our largest trading partner and ourselves and vice versa had reduced by 68% since last year. However several days later it was announced the economy has shrunk the most since the 1700s, and attributed to Coronavirus. It seems the Brexit malarkey is now being shrouded behind the Covid issue. Politicians should be held responsible for their actions (not least that slippery fellow/ring leader who is setting up his own anti Covid restriction party) - these people should clearly not be trusted and ought to be held responsible for many problems. Lets hope the EU export/ import nonsense are sorted over time - and if any members are from N Ireland you seem to have it even worse. Hold the politicians responsible not HMRC and carriers. They've been given very low quality bats and balls to play with!!! 😐
  24. Visually, roasted standard maple v birds eye/flame maple with aged varnish. I would say the maple board Sabre sounds more akin to a rosewood board or perhaps mid way between a rosewood and maple board - as both the Sabre and Stingray have 2 band EQ the only other significant differences are mahogany v ash body, and stainless v nickel frets - so not conclusive at all!!! We really need to hear from someone with a maple board Stingray Special!!
  25. I think your second paragraph is the key here. Presuming they have sorted out the QC of the new range, I see no reason why the brand is devalued - they are great instruments, and make a specific sound which I personally like. Notwithstanding people's personal views of Hans, Roger and any other name you could think of (Sterling, John, etc etc) spring to mind, the brands Warwick and Sadowski remain at the upper echelon of quality instruments and always will be I would guess. One sometimes wonders if FMIC have got this right - faceless Corporation with no names to hurl insults at or take up QC issues - I've no idea how good or bad they are - I've never personally had any need to complain and found their products perfectly good but do remember one of our fellow Basschatters having a truss rod on a newish bass snap for no apparent reason and it took them (FMIC) nigh on twelve months to sort it out - but of course no individuals to bombard on Facebook and the like..... I can forsee some sort of Sadowski in my life at some point regardless 👍😀 I like Roger - as well as having developed an iconic EQ and high quality renditions of classic designs, another reason is, in the blurb which came new with my 1993 Stingray 3 band fretless is a pamphlet and one of the glowing recommendations/ reviews for Musicman basses is by none other than Roger Sadowski!!
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