drTStingray

[quote name='Dingus' timestamp='1363540879' post='2013833']
In the early 2000s the ones Fender U.K had left over that hadn't sold were offered to dealers at a knock -down price to get rid of them . Anyone who pays £4075 of your English pounds ( yes , that's £4075 ! ) or anything close to that for one of these either doesn't know much or needs their head examining
[/quote]

Agreed!!! Insanity.

Mind you there's another thread where Fender values one of their own creations at $28000!!

The Bass Gallery had one recently for £1750 IIRC. It was #36 of 42 or something similar IIRC.

Considering the cost of a new Pino signature (v nice Custom Shop with a quarter sawn neck) but still a P bass - and the sound difference possibly as much to do with standard fitment of Thomastik Icore flats as anything, £1750 seems OK to me. But then I am an aging Level 42 fan!!!! (And Pino fan).

There were 42 made I think, and those should have appropriate paperwork/certificate. They look quite nice with the blue LEDs.

They are referred to in 'The Mark King Bass Book' - transcription book by Stuart Clayton under the section dealing with Mark's bass equipment. It just says the Jazz didn't meet his requirements.

They're pretty exclusive at 42 made. Many of the Fender 'signature' basses are surely very little different from the stock versions so I don't see why this one wouldn't be 'undesirable' - it has one or two other mods I believe, though I do get the 'Hendrix's Les Paul signature' syndrome. The Fender Jazz is hardly renowned as a bass used by Mark King.

[quote name='samuel' timestamp='1363508227' post='2013387']
Could any bongo hh owners tell me how high their pickups are against the bottom strings please?
[/quote]

The same settings as all HH Musicman basses (I asked the question myself of EBMM customer services having received my 5HH used with the neck pick up set flush with the scratch plate (which was incorrect)).

[url="http://www.music-man.com/faq/music-man-basses"]http://www.music-man...usic-man-basses[/url]

[quote name='tommorichards' timestamp='1363490374' post='2013345']
.....................the classic radio knobs used on the pre eb stingrays, like the one shown here from gareths 77 stingray bass (for sale)
[/quote]

For anyone who's not already aware, radio knobs are only recorded as appearing on some of the basses with main components dated 1976.

Tommorichards - from what you've said the total cost of your 3 knobs is less than £30 (unless I've misunderstood) - doesn't sound that bad to me?

[quote name='BigRedX' timestamp='1363455765' post='2012986']
I would have said Gibson Flying V guitar via the Kramer XKB-10.
[/quote]

Possibly - but you could definitely have someone's eye out with that headstock or bottom horn. Can you imagine trying to play it on your knee

[quote name='BigRedX' timestamp='1363438716' post='2012694']
Having had another better look, I don't really see what all the fuss is about. Essentially it's just a P-Bass with a different body shape.
[/quote]

If you say so!! But what a body shape - interesting to hear where the inspiration for that came from - looks as random as a spalsh of paint on paper to me!!

That looks like a ............ aherm ............slight mistake!!

An extension of Leo's design principle that the instruments could be made by unskilled labour - in the case of the body of this one, very by the looks of it. Nice colour though

[quote name='ZenBasses' timestamp='1363292352' post='2011246']
The bit that gets me is "valued by Fender at $28000"....eeeeekkk[/quote]

Hmmmm - a Warwick lookalike with a Fender badge = $28,000 bonkers!!

Bear in mind that some amp/speaker combinations can accentuate scooped mids - I have noticed my Ashdown rig can accentuate this far more than my Markbass (both set flat).

As has been noted by McNach, string choice can make a difference also.

[quote name='swanbrook' timestamp='1363322223' post='2011561']
Wow nice one so after over 25 playing bass I clearly don't have a clue how to set my eq and my technique sucks, cheers lad

Both these issues are well documented on the ebmm and tb websites and even some of the die hard fans have said they have to adjust their technique to suit the SR 5.

It's not a big problem for me with either bass and I still have one of each but I don't try to pretend that there is no issue with them or try to blame the players ears or ability.
[/quote]

I bought my first Stingray just over 30 years ago, and no, I don't find it a problem to be honest, as don't a lot of other people. I was really just trying to provide another point of view - perhaps to avoid impressionable people who may not have even tried playing a Stingray to run away with only your point of view. You shouldn't be so sensitive, of course I'm not suggesting you don't know how to use an EQ etc - and as you've said, you clearly compensate for what you perceive as a problem, and live with the basses - presumably the positives outweigh what you perceive as negatives. So is it my ears or yours - I seem to have been playing them longer.....if that has anything to do with anything!!! I don't have a problem with you disagreeing with me in the slightest - it's just different points of view.

Most of what appears on user forums is personal opinion and should be treated as such - it is how 'internet myths' can start. I'm perfectly happy to accept that some people find this issue with Stingrays a problem, each to their own. Changing the pick up may or may not assist - what it will do for sure is knock a big dent in the re-sale value, or even the ability to sell the bass - so if you do this, then keep the stock bits to put back to leave yourself with a re-sale option later. Otherwise go for it if that's what you want to do.

Asserting an opinion that the basses are flawed some way in their design is certainly open to question. The Stingray was conceived by Leo Fender, who it is said, knew something about designing electric basses - indeed it's also been suggested that one of the reasons the Stingray is arguably the best mass produced slap machine available is because he couldn't hear treble too well (note treble, not bass or mid range) - why would he release a bass with a weak G string signal - unless someone said they wanted it that way? Perhaps people perceived, in the mid 70s, that a P bass has too prominent sounding G string? That appeared to be his remit/idea - producing a super hot rod P bass to meet the changing needs of the time.

FWIW I have an HH Ray - it has a very loud G string (far too loud above 12th fret with some EQ settings) - I can make the upper strings sound quieter on that by EQ setting (and appear to disappear in the setting of a rock band with two guitars) - however that would be my choice of EQ - it's not a design issue. My Bongo 5HHp appears to have the same neck width as the SR5. I think I've pushed the G string off the edge of that, but not as easily as the SR5 - not really sure why though.

There's a simple answer, if you don't like them, buy something different. Like DIngus, I've had (and do have) several Stingrays and don't have this issue in a live or recorded situation.

The problem with all basses is if you overscoop the mid range, the upper notes sound less powerful (when stood right in front of your rig) than the lower ones when you're playing with a band. The Stingray has a naturally scooped sound (as does a Fender Jazz and various other basses) - if you overdo the bass EQ and cut the mids (on a 2 band Ray this happens automatically if you put the treble and bass control on full), the lower strings will appear to sound louder than the upper ones - however they actually don't out in the room, although you might not be as present in the mix as you would want if you have the mids scooped too much - the way to get the sound back is to avoid excessive EQ adjustment. This phenomena can be achieved on many basses, but particularly a Fender Jazz with both pick ups on full (scooped sound again). I believe it's an EQ setting issue. I have a Markbass LM3 and if I put the VPF on full (scooped sound) I can create the 'weak G string' sound - well certainly in terms of the sound in front of the rig.

Stingrays also respond to having the pick up level adjusted correctly (as per Musicman FAQ info).

I've come across the SR5 thing you mention - it's a technique issue - the neck is a nice width for me, but a trade off is the strings get relatively close to the edge but not a problem at all unless you're very inaccurate - the SR5 has certainly been one of the basses used for a lot of recording, and also in live shows - I don't think Elton John would have put up with his bassist constantly pushing the G string off the edge of the fretboard?? For me, a wider neck would be more of an issue in terms of playability than having the G and B strings relatively close to the edge. I guess some people may prefer a wider neck.

[quote name='Conan' timestamp='1363248792' post='2010294']
Necessity is the mother of invention. And so is Frank Zappa, to a certain extent.
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Well one of them, at least there were about 15 of them when I saw them...................

[quote name='4 Strings' timestamp='1363254923' post='2010402']
Even an air bass is a Precision.
[media]http://youtu.be/xpHb3uIkoiY[/media]
[/quote]

How cool that he does air bass (not air guitar) - absolutely hilarious!

If it's the bit on the building site where he does air bass in a caravan - in his Y fronts I think - and someone walks in - he's miming to Mr Palladino playing a Stingray or something similar (not a Precision) - whatever - it's a whacking great slap line with chorus (totally 80s!!!).

[quote name='BassTractor' timestamp='1363190735' post='2009484']
My only point from a personal perspective is that I love the Low Mid and High Mid of the 4-band EQ as the real character shapers, and I thought the H is 3-band. Maybe I'm wrong.
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You're definitely correct - 3 band on the H Bongo (possbly 4 band if you have a piezo?). I agree that the mid controls are great - espespecially that low mid. The bass control is unreal - you can get shed loads if you boost it. I have a 5HHp which I bought used - it's very good indeed.

I agree you can't get one to sound like a Stingray, quite a different underlying tone IMO. They cut through just great and lots of people comment favourably on the looks (it seems non bass players and particularly non musicians rather like the look of them - especially women!).

They also have a blend knob rather than the 5 way switch used for coil tap on SR4 and SR5s and Sterlings - I find it slightly more restrictive, but probably just what I'm used to.

[quote name='Conan' timestamp='1363161436' post='2009289']
That's just bizarre! It's bad enough that bass players have chips on their shoulders about Fenders, but why on earth would, for example, a keyboard player or vocalist have a strong opinion about the bass you turn up with? Where does that attitude come from I wonder?


There are some strange people in this world...
[/quote]

I've been asked a number of times (if not playing a Fender) why I'm not - it has almost always been guitarists, but very occassionally bass players - the latter have usually asked the question after admiring the bass sound! I think the problem is that other musicians are often unfamiliar with any other bass instruments but Fender, hence making the remark - however I would never dream of asking a (strat player for instance) why they didn't play, say a Gibson, as I would perceive it to be a loaded question which had a hint of criticism in it - plus it would probably be none of my bloody business lol!

To respond to Wateroftyne, I am certainly not a Fender hater, and at one time I was in the camp of not liking anything but Fender basses (and so I thought, bands who used them - then I realised Cream, Free, Yes and other bands used something different and I liked those bands as well). I was serious about the 63 P reissue in sonic blue - I was almost at the point of ordering one, but have held off for the time being.

I do worry that the current fad of Fender basses seemingly being used in most current pop music has a more annoying overtone - they are often mixed in a way that they are not very audible or articulate sounding - now that IS a problem for people who care to learn the instrument properly - it seems virtuoso bass players are not welcomed in the way they were in the 80s/90s when Jaco 'had changed the world for ever' for bass players. Let's hope it's not disappearing into the background again.

[
[quote name='lojo' timestamp='1363030141' post='2007332']
Dysons are really Hoovers aren't they
[/quote]

Well it's a similar analogy - another vacuum cleaner but a far more technologically advanced one. Rather like a formula 1 car wheel is a wheel, just like a cart wheel is........................I wouldn't advocate using a cart wheel on anything but..........well a cart to be honest.

Face it, the Fenders (well at least the P and J variety) were conceived and designed for 50s jazz/country and rock and roll - as mainstream genres, these are surely extinct (well except in tribute bands) - the public listened to them through very low fi sound equipment so the quality didn't matter too much - improvements in amplification and speaker technology have made them usable for subequent genres - whether they work in them better than more technologically advanced instruments is a moot point, coloured by personal taste. Thankfully there is plenty of variety around from what I see in local gigs - Warwicks, Musicman etc are as popular as Fenders amongst semi-pros.

I quite often play gigs where there are a number of bands supporting - I have to say that when two or three of these have the ubiquitous Fender bass, and particularly when played by the ubiquitous type of bass player I do yawn sometimes (and it does get boring) - I see an ever more boring procession of them on television shows as well. So yes, they induce yawning (and certainly some (though not all) of the people playing them these days does also - so yes..........they probably have become boring. Must surely be time for a resurgance of the Gibson era..............any budding Andy Frasers around??

All that said, Fender know how to grab you by the balls!! They only had to release a new 'vintage' model in sonic blue and I was suffering major GAS - I have recovered without parting with any money............but I'm sure it will only be a temporary recovery!

[quote name='tauzero' timestamp='1363043471' post='2007645']
Good grief, look what that's done to the frets.
[/quote]

Similar vertical distortion to the kitchen pics, I think - is it the camera lens??...........lovely kitchen though Grand Wazoo - nice bass as well.

ANyone know if the OP got his Fender CS fixed yet?

[quote name='lowlandtrees' timestamp='1361291730' post='1984045']
A friend of mine plays in this band. Won't name them. The bass player plays everything in the same key through a modulator(or whatever its called) which changes the key as needed, Wit aboot that. Is this common?
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Funny that - never heard of it before - it's such fun playing in G and Bb and you get some really nice bass sound just from the different positions on the fretboard.

In my experience you sometimes come across guitarists who prefer to play in one key - no wait it's two - E and A! I've never come across a guitar based band or jam session that ever plays, say James Brown, Stevie Wonder (Superstition is in Eb!!) or any other songs that weren't already in E or A in the recorded key (except I Can't Get Enough of your Love by Bad Company - and some have real problems with the solos as a result!).

My dad (who was an accordian player) used to say many piano players would play in B - given the choice) black note bias and thus easier. I have heard recorded rock stuff with piano/keyboard solos where the band plays in B on those songs, whereas on songs without they play in E or A - so I guess there may be some truth in this.

Of course there's many a keyboard/piano player, guitarist and bass player who can play most things in most keys - it's rare a singer's range can be as versatile as this so the more competent musician (can play in any key), can accomodate a singer's range. Those who can't may insist on playing in E, A etc and may upset the poor old singer or may use a harmoniser (or a capo in some cases).....but I guess it is possible some of these guys may believe the audience is only there to see the lead guitar, and the singing and everything else is incidental oo how could I possibly be so cynical.......

The use of a brass section, or individual brass instruments may also affect key choice.

Definitely only 5 string.

I read an interview with Tony Levin at the time and he said he'd been involved with re-voicing the EQ - which might account for them sounding different. Dunno how many they made but fairly rare I think. I remember being in a shop in Denmark St trying some basses out and a guy came in asked to buy one - needless to say they'd never heard of the model and were not very helpful! The guy was trying to buy one for his daughter IIRC.

[quote name='BassTractor' timestamp='1360609600' post='1973355']
Some people on the MM forum wrote that the single H Bongo is like a bigger, fatter, rounder single H StingRay, and still in StingRay territory. Would you agree with such a description?
[/quote]

Bert I've never seen a single H Bongo let alone heard one. However the HH Bongo sounds nothing like my HH Ray - it has that Musicman DNA in the sound but to my ears has more of a P bass timbre to it - a very fat sounding one.

[quote name='BassTractor' timestamp='1360609600' post='1973355']

BTW, pics of the Women, Dr T, or it didn't happen.


best,
bert
[/quote]

Lol I'm frightened to take the bloody Bongo out after that escapade!!

[quote name='Lfalex v1.1' timestamp='1360601493' post='1973127']
Yes.
Or a Bongo.
Excellent instruments. Well, all the ones I've played were. BIG, BIG sound and plenty of tonal options in both HH and HS models
[/quote]

Indeed they are excellent - but sound not like a Stingray at all. If the OP is sold on the Stingray sound/feel/look, then a Stingray's what's needed.

I can't see why you couldn't do the back of the nck like that.

However the fretboard's a different matter. I suspect the dot inlays (shiny black) would get damaged and dependent on how hard you sanded it, it might possibly interfere with the fret joints with the board.

I've found that cleaning with a slightly damp cloth with lemon oil gets patches of really bad gunk off the fretboard followed by thoroughly drying it with tissue paper prior to re-oiling it - or take it to a professional to do along with a set up etc. If you play with dirty hands it's surprising how much is left on the fretboard after playing - especially if you sweat, (which many people do) whilst playing.

Sorry to hear about your experience - the answer though is Stingray - particularly if you miss it that much! The Classic Rays are fantastic if you want a 2 band - and can perhaps find a used one.

I have toyed with the idea of going (back) to a P or J but every time I play one in a performance setting I go back to the Stingray and much prefer it. Just my preference I guess - they all have their limitations (some more than others) - I just prefer the overall performance of a Stingray, and I can get a very gritty sound if I really want to, which is unique to that bass.

[quote name='dwh87' timestamp='1360030563' post='1963881']
At least Big Poppa was honest when he said "the forum is not a great place to get help"

Also a sly dig at Warwick towards the end. The cheeky git
[/quote]

I seriously fail to get the tendency for individuals on forums to constantly rant at individual company CEOs - it's very tiresome!