drTStingray

I ordered the passive long scale for several reasons, one being I really wanted a natural Ray with black hardware - but the other thing is the sound from 5:30 in the video in the OP - passive tones with mutes engaged - sounds fabulous!!

I have ordered a long scale passive one as well (it’s natural ash/black hardware/ebony board). I was going to order a white Bongo and then saw these!! No shipping date for mine yet.

I’ve heard the GR Yaris is highly regarded 😁 …….ok, I’ll leave instantly (I’d get my coat if it wasn’t so damned humid) 😂👍

An early one then - I love these old SR5s but this one looks great - I did exactly the same with mine (replacing the scratch plate with a white Pearl one).

Lack of space to accommodate them focusses the mind but I agree with the sentiment 👍

Has there been a change to the size of photo which can be uploaded to the site? Seems to be limited to 1 mb or lower, which rules out most up to date phone photos unless significantly compressed?

The entire group was sessions players (Les playing on work by Chris Spedding for instance). According to wiki, Spedding used his usual white Gibson Flying V when playing (or miming in the case of TOTP) as part of the Wombles - maybe Les Hurdle had moved on to a Rickenbacker bass for this. Having been asked to write the initial song (which was very successful) and waived his fee, Batt had negotiated an arrangement whereby he could write more songs and he and the band make money from this - resulting in a stream of hits over several years. According to wiki, on one TOTP the band Steeleye Span donned the outfits as the proper band wasn’t available. So folks, this is what the average session musician and writer/producer (or famous folk rock group) might get up to (making money playing music as part of a sort of park keeper/rubbish collector furry creature franchise). Well I suppose Ringo narrated Thomas the Tank Engine, but somehow the roles played by the likes of Carol Kaye, Herbie Flowers (what a great, creative player he is) etc etc always seem more glamorous - I guess they’ve all had to play questionable music, but wonder if any of them performed in quite such silly outfits as this!!! Now badges - I believe I’m now on level 10 of 14 but only about 800 to go till my next level is achieved 😀 I’m expecting the odds are the site will be updated again and the ‘badges’ dropped before I reach the next level….. even if it’s not done for several years….

Very tempted by this one - though of course I don’t ‘need’ another bass!! 😬

What year is that bass @Stingray5? The necks on Musicman basses do darken quite nicely with age and use - but the combination with the white body looks great. Many years ago I saw a Stax musical and the bass player used an SR5 (white/maple) and the board looked like rosewood in some lights, it was that dark.

I think he was one of the culprits (it probably says on line somewhere which one he portrayed)!! 👍

Many of the better groups did - isn’t one of those costumed gentlemen the renowned producer and writer Mike Batt (just to disprove the Talkbass and SBL theory the producer will blow a fuse and send you home if you don’t turn up with a Precision).

Funnily enough I always preferred Brunel’s bridge design to his bass playing 😬 (though I’d confess to having dabbled a little with that Peaches/Beaches part more than once) (Oo f’ck - I’ve gone from blue star to green star as a result of that merrie jape 😂 apparently I’m now ‘proficient’, only taken me 9 yrs…….what are you on Basschat - I remember being declared proficient quite a number of decades ago 😬

Yeah quite different. My Classic has TI flats on it - but the Classic Sabre has brand new Elixir stainless Steel rounds - combined with the mahogany body of the Sabre, and roasted maple/stainless frets (so a bit of a forerunner of the Specials - but with a figured roasted neck) - the Sabre is getting most usage followed by the SR4HH with brand new EBMM pink pack nickel rounds!! I think you can see where my current tone choices lie!!! It’s helped by needing to do Tony Levin’s line on Sledgehammer, with an octaver!!

Yeah I’d agree - both of mine are HH - originally cost £2299 (a 4 and a 5). I use them a lot along with my Classic Sabre. That Classic looks nice (no it’s not mine!!) - it’s up for £45 less than I paid new for mine! Mine has birds eye, flame and a bit of quilt in the neck. That colour (coral red) was only available between NAMM 2010 and NAMM 2011 so they’re thin on the ground. As close as you’ll get to a 2 band Classic in fiesta red (one of the members here has the original prototype which actually is called fiesta red 😏)

I have a US Sub 5 - it’s very light. They probably vary. I’m not sure on price but I’ve heard of others paying that much. The 2 band makes a certain sound that many struggle to achieve with a 3 band Stingray (I can get quite close with mine - its a question of cutting the mids, in particular). Id say they are sufficiently different to be an asset and most people seem to like the tone (they’re poplar bodies and rosewood board). They also seem to hold, if not increase their value. Remember they’re very much a 2 band Ray in cheaper (industrial-like) clothing - if you’re happy with that, I’d say they’re a great bass for the money.

The only neck type on the US Sterling is the narrow version. As that bass also has a 5 bolt neck joint and one extra fret (goes to high F - 22 frets), it was completely different from the Stingray with 21 frets, 6 bolt neck joint and wider profile. There was a narrower SLO Special neck available on a Stingray but also 6 bolt and 21 frets (as opposed to the version on the US Sub). The Stingray Special has 22 frets, a 5 bolt neck joint and the wider profile. All that said, I don’t know how Musicman achieve what they do with their necks but they are simply incredibly playable, slick and have a profile which is, IMO, a combination of a flat curve (11 in radius except the Classic series at 7.5 in) with (on the Stingray 4), a 43 mm width at the nut and rolled edges - the latest Specials have the added roasted maple and the slickest finish you could imagine - a lot of this is down to the level of hand finishing applied in the build. The main differences with the SBMM models is standard of hardware (which is different for the higher priced ones compared with the Subs). In terms of sound, because they’re all covering the same design concept, there are similarities, but like with a comparison of P or J basses across a vast range of price, there are differences. I think some of the SBMMs have ceramic pick ups (but I’m not up on the differences). The SBMM models provide great basses at the price points. The US basses these days are into the exquisite sort of playing experience. It’s also worth bearing in mind the US Sterling is essentially a 4 string version of the 1992-2008 SR5 - my 2003 SR5 remains my favourite 5 string - part of that is to do with the sound available, which is influenced by the ceramic pick up and series/parallel /single coil switchability. @dmccombe7 the SBMM SB14 is, as has been indicated, an offshore version of the US Sterling - been out of production for some time but do pop up used occasionally. The main difference (apart from hardware) is the body is, IIRC basswood (it is normally ash on the US Sterling). However that’s no bad thing, the Bongo bass normally has a basswood body and sounds great. These are worth looking at if you find one. That said, US Sterlings pop up used quite regularly.

Yeah that is it basically - I think they’re still available new but they do pop up occasionally used. They did a version in the ‘Classic’ series of basses (Classic Sterling) for a year or two from 2010 - these are very rare and apart from all the deluxe bits like figured maple neck etc, they didn’t have the series/parallel/single coil switch - I think the pick up was also alnico. A similar US Sub Sterling was also produced in the early 2000s - done at the time the US Sub Stingrays were done.

I agree it’s a known fact that rec drug use can exacerbate pre-existing mental health conditions - it also creates behavioural issues in many, which I think is what you’re getting at. it’s known to interfere with treatment of MH conditions. I think where we differ on this is Jaco immediately became world famous after he joined Weather Report (I’d never heard of him before that and didn’t buy his solo work until much later) - one of the issues with bipolar is having delusions around ‘grand thoughts’. Where Jaco differed from most is he was already considered one of (if not) the best in the world (from the Heavy Weather album and Birdland especially) - with a mental health condition, the outcome should not be surprising. I agree the rec drug use may have exacerbated a condition and behaviour. However I think it’s wholly wrong to focus on the negatives on this when the body of music is so good (and for me, it’s been part of a shaping of my own bass style which wouldn’t be there without it). That’s why I’m so pleased the documentary focuses on the positives. Some members of almost every well known band from the era of my formative youth (say 68 - 78 and even before (back to the Shadows and beyond)) have either had problems from rec drug or alcohol abuse (or other issues) - however the fact I know it’s there is one thing, but I don’t feel inclined to demonise the entire industry because of it (or Joe Zawinul). It’s extremely negative and unnecessary. Handling fame (and falling from it) and the excessive strains of touring (just one angle) are extremely difficult psychologically for many - if you already have a mental health problem that’s even more difficult.

Really? There is an issue with recreational drug use interfering with treatment for mental illnesses, but my dear old mum had bipolar and never went near a recreational drug in her life. Her behaviour was at times as outrageous and loopy as Jaco’s - although far fewer people saw it. We should beware conflating recreational drug usage and mental illness, and also demonising people for drug issues (there are plenty of people with gambling, alcohol and other addictions which also ruin lives). Im also very dubious of viewing these matters as greatly important when there are far more positives - after all some of the great composers of the classical genre had mental health issues.

Thanks for posting this - what a positive documentary. Jaco suffered from what we would now call bipolar disorder which, for anyone who is a relative or close friend of someone with this, will know that, as for all forms of mental illness it can be supremely hard work with that sort of relationship. I’m afraid that people complaining about this is really discriminatory in the same way as complaining about other disabilities or people’s sex, age and other illnesses. I’m sure if it were now there would be far greater support for someone like Jaco. That he was a genius on bass should not be in dispute - I learned so much from him (and Alan Spenner, Leo Lyons, Jack Bruce, Louis Johnson, Bernard Edwards - more recently Jamerson, Dunn, Babbitt - in fact an absolute mammoth of a list right up to the current day - but Jaco’s work (also as a writer) really moves me - when Two Views of a Secret was played on the video attached it almost moved me to tears - fabulous! I also am a great fan of Henning (and was from first seeing him at the beginning of the 70s on DB with Oscar P - usually on the tele) - there have been many jazz players I’ve admired - but Jaco taught me to groove on electric bass (as did most of my other influences), followed by the note selection and patterns, voicings to make things interesting (even the most mundane) - there’s a mass of truth in Zawinul’s input to the documentary about his view of Weatyer Report - I have heard other stories of Jaco idolising him and finding it hard to gain praise from him - especially with his solo stuff - so good to hear Zawinul say in such positive terms what he thought of Jaco and his music. Jaco’s tone was pretty well unique at the time and his accuracy staggering on fretless (Pino - another influence - took this approach as well but added his own flavour). I can say in 1980 I was really after copping some of Jaco’s tone and groove (and Pino’s)!! Though I didn’t own a fretless (yes a Stingray) till 2010!!!

Looks totally correct to me (another check is to open the hood and look at the pre amp and board). People have been known to swap them out but the pick up looks ok to me as far as can be seen. If you visit the EBMM forum site there is a sticky link to a serial number checker - type in your number (which links to the manufacturer’s database) and it will give you the build details. You can link to this from the main EBMM site as well (possibly under FAQs. Another resource for all MM basses (including pre EB) is http://www.musicmanbass.global/ There are similar resources for other types of instruments including Fender - here is a good example http://www.guitarhq.com/fender.html

Simple answer - change to a Stingray Special HH (much lighter - and larger belly contour and changed forearm contour 😏) However - my 2007 SR4HH is still one of my favourite basses - even though I’ve got the same bass as a Stingray Special as well!!

I think it’s likely to be caused partially by the string gauge set you have there. The strings Stingrays ship with are 100, 80, 65, 45. Have you tried resetting your EQ to flat (both onboard and outboard?) also - and then starting from there, perhaps with the controls on the bass guitar first? Another issue with this design of bass is that the string heights (as well as the pick up pole heights) should follow the radius of the fingerboard (in other words the A and D saddles should be slightly higher than the E and G, with compensation for the different string sizes) - people often set these completely flat to each other which not only affects the height of the strings over the fretboard but also the height they cross the pick up. You say you’ve already adjusted the pick up so that’s covered (the Musicman bass factory set up dimensions are on their website under FAQs). I once used a set of strings of the gauge you have on a Stingray - I didn’t have the problem you’re experiencing but I did find the bass sounded much more 80s sounding, especially for slap (somewhat thinner) - although the G was thinner than yours (possibly 35). Finally some string makes do tend to accentuate the sound of the lower strings as well, in my experience, whilst anyone playing in a band or situation where one or more players fills all the sonic space (eg guitarists/ drummers/ keyboardists), then you may have to be careful about whereabouts you play on the fretboard/which octave you play in to avoid the bass sound simply mixing in and being lost. In some cases this is what happens when several otherwise bedroom players play in a band and haven’t learned the skills of band/ensemble playing (or find it difficult to play hearing anyone else but themselves). A good example of choosing whereabouts to play on the fretboard is Dave Swift in the Jools Holland Orchestra - Jools Holland is a renowned musician but also play boogie woogie piano on some pieces - this has a busy left hand bass on piano. Dave often plays in a higher octave where Jools is playing the heavy boogie left hand. I hope you find changing your strings helps. The SB14 is effectively a budget Sterling bass, which differs from the Stingray in having a ceramic magnet pick up, series /parallel/single coil setting as well as a three band EQ. I think the SB14 has a mahogany body which will accentuate lows a little. However the Sterling (along with the Stingray 5 (early 90s to 2008 model)) can be made to cut through mixes very effectively as well as having great flexibility with the pick up settings in combination with the EQ - they also respond greatly to whereabouts you pluck the string, so a significant amount of this is in the hands of the player. Finally it may be worth checking the pick up is functioning correctly - you can certainly find out if all the poll pieces are functioning by pressing strings against each individual one - they should click. If it’s not then Sterling would probably do a replacement on an exchange basis or you could go for one of the aftermarket one. Best of luck with getting it how you want.

She’s great - I especially like that cover of the Wham song. Im also a big fan of Juliaplaysgroove, on You Tube. I like the way they take modern pop songs and play awesome bass parts to - has actually turned me on to some of the artists covered eg Dua Lipa and Anderson Paak.

Unless it’s in a decent bass with a proven track record (I haven’t owned a passive bass since 1980 and have never once had a problem with a preamp!! 😂) Well done @Happy Jack - for patience and perseverance - even though that body colour and figured top are really alluring I think I’d have given up or chucked it away in frustration way before 😧