drTStingray

I haven't tried a new standard one recently - my most recent is an Old Smoothie which has the Classic type of neck. My 2014 Sabre has a very comfortable profile - definitely not chunky (to me at least) - the chunkier feeling ones I have are a 93 and an 03 - these are both fine on a gig though. Curiously I have a 93 Fretless which is far less chunky feeling than the 93 mentioned - curious!! I see your point though - it will be interesting to see how these 2018 ones compare. We need to get Rodney72a to give us his view as he has quite a few EBMM Rays.

Don't think so - couldn't tell you with mine as I don't have another Sabre to A B - from other Sabres I've played it just sounds as i'd expect the response from a maple board Sabre (as opposed to rosewood) - however the stainless frets (which mostly accompany roasted maple on Musicman basses) look good are possibly slightly more resonant - eg for slap (sort of like stainless steel strings are - just hope they don't lose their resonance as quickly as the string variety 😐 ) Roasted maple v CITES - not linked as far as I can see - these were around long before that and Musicman are offering ebony on some, and rosewood on others as well as maple. I think it's largely an aesthetic thing and some of the figured and lacquered ones Musicman have turned out are gorgeous. Thus a differentiator from the norm and something which appeals to buyers (like the figured maple on the Classic Stingray basses). No doubt the Fender one is a dipping of the toe in that water!! The first I heard of roasted maple necks was Sadowski and Musicman.

The Musicman ones have been around for a long while on certain limited editions they've offered. That Fender Precision edition has as well I think. I have a Classic Sabre with a roasted flamed maple neck - it's about three and a half years old. There are no downsides to it in my opinion, so long as you like the look - the idea is you get the equivalent of aged wood through the roasting process - not just in look but in structure - leading to potential improvements in stability. My bass is fine with no downsides to it - it also has stainless steel frets like the new ones and those are fine as well. No doubt they will wear better. I personally think the roasted maple looks absolutely stunning if the neck is laquered and slightly better than the oil and wax finish but that's just my preference. Not that it's of any importance but a curiosity is if you sniff the neck you get a faint but definite whiff of maple syrup (seriously!!!)

It depends which type you tried - the EBMM Stingrays always had 11" radius profile - the Classic Stingrays have 7.5" profile and feel different (more rounded, less flat). Also the neck finish on all but the Classics and some limited editions (PDN) is the super slick wax and oil and has been since the early 90s. The necks are hand finished so that is the only area of potential very minor variation. The wheel truss rod adjustment and six bolt neck attachment replaced the bullet head stock adjuster in the early 90s as well. The bridge changed to the shorter version in the mid 90s -The MM bridge is anything but flimsy - in fact is one of the chunkiest of any bass - it's just that the later ones don't have the mute assembly and the area it was fitted to. Are you sure it was a US Stingray you tried? Many of us don't have a problem with the weight of a Stingray (for a 4 averaging around 9.5 lbs these days) and even with a super light one like my US Sub 5, the design enables superb balance on a strap. The shorter headstock compared with 4 in line helps improve the balance amongst other things. The 3 band EQ appeared in the late 80s I think. If the new basses weigh 8 lbs or so they will be super light.

Excellent, but you missed the Parliament - Give Up The Funk 😕

I think there definitely is an element of that in the industry and customer base for instruments, otherwise Fender and Gibson wouldn't spend so much time and effort repackaging vintage reissues - and sticking to the same basic packages for their other output, with a few exceptions. It's interesting that although there's a perception that business model is what the market wants - no doubt some of it does, but neither company seems to make a roaring financial success out of it, which suggests it's not a successful model, but one they can't break out of because they are trading on brand history. However there is a lot of innovation going on everywhere else you look and not all people are either wedded to or only wedded to those old designs. I think Musicman have picked up on the things people have most asked for with the Stingray, notably weight reduction, sparkle and other cool colours and other things. You notice they are careful to offer black, sunburst, natural and white - the first three apparently sell more than any other colour. Ive seen lots of requests for green, yellow and other colours on forums, in fact the reduction in colours seems to have created the most criticism. That they've come up with such an attractive set of finishes is remarkable. I think they've been listening, which is good. I love my Classic 2 band but am very open to this new approach also - I'm unlikely to buy a second Classic Ray but almost certain to buy one of these new ones.

Mr Collins at his best - another essential bass part for a funk/soul/groove player to learn!!

I thought this was the best groove and especially bass groove I ever heard 40 odd years ago and still do - so hard to play this and create the groove

The new colours are great - I will certainly be ordering one if not two. I've been out with my Classic Stingray tonight in the house band at a jam session and wonderful it sounded too - but an HH 3 band it ain't, and as a result hasn't got the sound flexibility I like on some gigs. Timely comment about Mr McFly and his LEDs, part of the family Sims sang backing vocals whilst I was playing tonight - and good they were too - apparently Mr Sims was otherwise engaged at some music show or other.

Ignore all previous attempts - they were wrong - just take your info from these photos - now these are not micrometer or brain surgery accurate but I suspect they are close enough for jazz, as they say, and certainly to locate pick ups in some other make of bass's woodwork - and before anyone asks, no I haven't taken account of the truss rod setting .......😄👍

Just in case anyone wants any further useful info, I did measure to the nearest bus stop, Guildford Civic Centre and various other variables, based on a location 8' 6" and 75 degrees from my television as the crow flies. Of course, none of this applies to the new 2018 Stingray which has 22 frets anyway 😏 😊👍

I'm certainly going to order an SR5, possibly HH in that turquoise green/blue colour with the black hardware and scratch plate. But I like the dark blue sparkle greatly as well - maybe an SR4 in that........ I can forsee a likely depletion of funds on the horizon 🤑

I don't know if you know but they were used on the Reflex throughout its run and have been used on the Bongo for the last few years. I'm guessing the reason for not changing the Stingray ones till now has been concern about the look and upsetting the 'accepted' appearance - perhaps people should moan about Fender using big old tuners on t all their four in line head stocks where the balance effect is surely worse. I guess the Classic Ray will still be available as now (with big tuners).

Sorry I seem to have misquoted you McNach - I suppose I should have said i empathised with your view - take it how you like but my view is based on hands on experience with, currently 8 Stingrays of various types and 1 Sabre - listen to the acoustic sound with your ear against the top horn - elements of the Stingray characteristics are there just from the vibration of the mechanical parts. I know this challenges the accepted view of many on bass forums that it is only the pick ups and electronics which contribute to the sound - this view is challenged also by most guitar makers - the pick ups and electronics often contribute significantly - some more than others - but to say they are the only contributors is rather like saying the ambient volume driving in a car is only created by the engine and mechanical parts - and the tyres make no contribution whatsoever.

Agreed, but made in Germany and relatively heavy - with the changes to the rest of the bass may have upset the balance. I'm guessing the Classic Ray will (might??) still be available. On another point - I love that heavily sparkly silver/black colour and the blue/green.

Are bridge.H and neck H the same spec on a Stingray - they aren't on a Sabre - I have a feeling the poles are shorter owing to probs had with the first pre EB Sabre neck pick ups and string pull. As McNach says, the sum of the Stingray parts is very much the sound (even acoustically) - whilst an interesting proposition, a collection of other parts with Stingray pick ups placed correctly may sound completely different - a bit like Thunderbird pick ups placed in a Precision..... Nice experiment though and I'd be very interested to hear the outcome.

The problem with bought in tuners in California is the trade laws don't let you say the instrument is made in California, USA - thus a marketing issue. I noticed that apart from revoiced and 18 volt powered preamp and neodymium magnets, the SR4 and SR5 have revised neck profiles, revised sculpting at top fret, and revised body contours. Those plus the new colours and options represent a major change and I will be very interested to try them. This creates quite a gap between the new passive bass lines, the Classic Stingray and the updated Stingray.

Hi, I have SR4HH and 4H basses. Here are some Stingray 4HH measurements - subsequently deleted - see later post with pictures

So I'll change my selection to:- 1) Stingray 2) Cort This will be a ceramic pu SR5 (2004) and the series setting fattens the sound. Parallel would have more of the sizzle.

You can get the 2 band Stingray sound pretty well on a 3 band by reducing the mid range significantly from centre detent. it will never have as much bass boost as the 3 band has a filter to remove boomy frequencies. The 3 band mid control is very useful in certain circumstances - I use it when playing Fretless for instance to enhance the mwah sound when required - it gives a lot more control. Amazing how fashions change - 20 odd years ago everyone wanted the 3 band. Standard Stingrays (and US Subs) have 11 in radius (flatter) whilst Classic Stingrays have 7.5 in (and strings through - with more sustain and mutes for less sustain, more thump!!). Lots of choice.

Fabulous bass - congratulations. You guys are doing nothing for my Wal GAS. Love the paduak facing. i was talking to a friend who has one on order last night - he buys a lot of basses having just received a Jaydee Supernatural after a couple of years on order, we were talking about CITIES certificates and whether manufacturers provide them these days? He's had an issue with selling/buying some basses from abroad. He seems to be on a quest to buy one of everything!! Do you know if Wal provide them for a new bass or would it be an add on cost - none of us would ever plan to sell a bass like this but I guess with a Wal it does open further possibilities if the unthinkable does happen.

Hi Al, You mention that both basses have no EQ - do you mean it's turned off or at centre? Also with the SR5 which switch setting is in use, parallel, series or single coil? They sound fairly close as is but the second has a more Stingrayish fret brightness on the hammered notes especially - however as the EQ is off, the electronics would be out of the picture so the differences are pick up and construction. I'd say you have the SR5 possibly in parallel - it would be slightly fatter in series. Now if you turned the EQ on......

I have to admit Chuck Rainey's playing has really influenced me - no one has posted this yet but the bass playing on this is just wonderful. I read in an interview with him he said he was basically playing his take on Jamerson.

They have contours - probably similar I'd guess but haven't tried one.

The Classic EBMM ones are about 9.5 lbs but can vary either way a bit. Of course, they have slab bodies so the standard ones, with contours, should be a bit lighter. However they all balance superbly on a strap and that is perhaps more important. SR5s tend to be a bit heavier - around 10 lbs though there are exceptions. I have a US Sub 5 which is about 8 lbs - great on a strap but neck dives without as the body is so light!! I have found the heavier ones tend to have more thunderous tone and resonance - my main bass is an SR5 in natural ash - about 10.5 lbs - the body resonates so much you can feel it whilst playing - fabulous deep tone though. That's not to say the lighter one are lacking tone though. If you go for an SR4 of some type you should find one in the low 9 lb area - even the two pick up ones seem to be.