drTStingray

[quote name='Opticaleye' timestamp='1458674835' post='3009774'] I bought 2 sets of these when they first came, out while I was in the U.S. I made this video with them; [url="https://www.youtube.com/watch?v=s736Ryj4J3A"]https://www.youtube....h?v=s736Ryj4J3A[/url] I really liked them at first but then, after a couple of months, they seemed to lose the fundamental quite a bit. At this point they sounded like bad flatwounds instead of the perfect mix of round and flat that I initially loved. I don't kill strings quickly either. Disappointing [/quote] Nice playing on the video - but goodness - that's not good. I put mine on the fretless Ray around a year ago - the bass still has a ton of mwah and they can still zing if I turn the treble up. The opposite experience for me and they sound warm and punchy with tons of zing if wanted. I also have a fretted Classic Ray which has TIs fitted - which sound really nice - they're a little older than the EBs but I have the tone of the EBs as on a par, with a little more growl and more zing available if wanted. The fundamental is fairly similar. The tension is v similar. The EB cobalts had a slightly sticky feel when brand new but that went after a week or two.

I bought a set of Ernie Ball Slinky flatwounds (cobalts) which I have on my Stingray fretless - they sound excellent and have some unique qualities in the sound - similar tension to TIs. Highly recommended.

[quote name='EssentialTension' timestamp='1458289271' post='3006232'] See Larry Taylor at Monterey with slab Precision in the video above. [/quote] Yes the very one - I hadn't run your upload, as you guessed but I'd seen it before. He seems to suggest it was just another new P bass hanging on the wall in a shop in the US, which he happened to buy because he wanted a P bass, and a black one. To me it had an aggressive tone (quite unlike his recorded work which had a Jamerson like intensity to the thump) - he played pretty hard from my recollection (plucking intensity rather like Leo Lyons - maybe you'd call it almost thwacking rather than plucking!).

[quote name='bubinga5' timestamp='1458261272' post='3006185'] Forget all the negative hype bullsh*te. BassWood is a great wood for bass bodies. a lot of the reason they paint it over on Fender MIJ/CIJ, is because it doasnt have the grain of Ash. It still has the tone. Music Man Bongo's are proof of that. [/quote] My Bongo is quite a heavy beast as well - I know some are quite light but as mine is basswood it sort of blows the light weight theory also - at least as a given with basswood - it also has no dings whatsoever (2008 model). I suspect they used basswood partially because of neutral affect on tone but also the ease of cutting the curvy edges of the Bongo......... although that is also contradicted by more recent limited versions using alder or mahogany (with trans finishes showing wood grain). I wouldn't worry in the slightest about basswood on an instrument having experienced ownership of the Bongo.

Larry Taylor who played with Canned Heat, John Mayall and others (and is up there with Bernard Edwards, Jamerson et al in my humble opinion) popped up on Talkbass pointing out he had a black one which appears on Canned Heat's performance on the film Monterey Pop - he also said he bought it in a regular shop on the States. Quite interesting because I'd never even noticed before and his story appeared to fly in the face of the written legend on the slab P basses somewhat. Monterey was 1967?

[quote name='Tonci' timestamp='1458199967' post='3005436'] So, where can I find it? Just like this: https://www.google.hr/search?q=black+ice+mm+stingray+pickguard&client=safari&hl=hr-hr&prmd=ivsn&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjrvujqmcfLAhWCxxQKHfh4C2QQ_AUICCgB&biw=320&bih=460#imgrc=DkJbIBhGPV9xeM%3A [/quote] You certainly used to be able to order a range of them from EBMM, via a dealer - however they reduced the range a while ago. You will probably have to get it from an aftermarket supplier (Pickguard Heaven in the States seem to do some of the discontinued Musicman ones).

Active electronics Simple, intuitive controls No extraneous electronic hum (noiseless operation) Humbuckers or single coil with exposed pole pieces Coil selection switch Series/parallel switching Basses with broad response to plucking intensity and position for flexibility Figured maple necks Maple boards Rosewood or ebony boards Shiny chrome hardware Natural or burst finishes Curvy design detail (Such as MM scratch plate - Bongo body edges) Simple scratch plate colours (black, white - the same in pearl format) Capability of punchy, fat bass sound without too much effort Wacky colours such as fiesta red, tangerine pearlescent

I have a slightly different take on this and think the brighter colours actually suit the shape well - mine's a sort of orange metallic colour (lava pearl) 5 string, also with a piezo. The shape makes it massively comfortable to play on a strap. I find the bass hugely versatile and generally fills the room with very supportive bass sound. It works perfectly in the modern blues/funk/jazz setting I normally play in. I don't use mine that often but largely because I'm more comfortable on a four. So much so that im seriously thinking of ordering a 4 string Bongo in chilli red. I wouldn't sell my Bongo as I enjoy playing it so much - it just isn't my number 1 because it has five strings. It makes a nice change from the Stingrays I normally play, as does my very very LE Sabre. Mine has no headstock ding though Wazoo is right, indeed you're also likely to have the drummers eye out with that headstock. I always get very positive audience interest when I use it, based on the sound and looks. People ask what make it is and it the past, people have presumed it's a boutique instrument. The only negative I've ever picked up has been on forums, from those players who seem wedded to the idea that guitars may only be made by two firms based on 1950s/60s designs. The shape is actually quite stunning in the flesh. It's almost all positive - I'd keep it if I were you.

Quite unusual is think - never even seen one - they did lots of short run sparkles around 2000 I think, such as fuschia sparkle (a sort of pink). Some of the guys on the EBMM bass forum could probably be more precise, and indeed one of the members there has rather a large collection of different sparkle coloured MM basses.

[quote name='skampino' timestamp='1457659806' post='3000809'] Thanks sorted! [/quote] Just bear in mind that Musicman parts do not generally fit the import SBMM ranges and vice versa - deliberately for obvious reasons. There must be firms which make pickguards for these - Pickguard Heaven in the US almost certainly.

[quote name='CamdenRob' timestamp='1457618297' post='3000187'] You can purchase the updated version for a mere $35,000... [/quote] Cripes!! Not seen that before but I had the earlier model in mind on my post. I could imagine one of these cropping up on Bargain Hunt or Antiques Road Show and a clever clogs pressing the black button on the top whereupon the top hinges open to reveal a drinks cabinet inside!! Definitely the Bentley walnut picnic table seat back of the bass world. The finish colours are certainly reminiscent of the National Trust cafe coffee and walnut cake.

[quote name='EmmettC' timestamp='1457623687' post='3000304'] All of the above can be improved with a Tort scratch plate, I would have a tort kitchen counter, and a tort dashboard in my car if I had a choice, but then I'd need a sunburst car and Olympic white kitchen cabinets....... [/quote] You're not alone - I know a bass player with a tort toaster!!!

[quote name='EliasMooseblaster' timestamp='1457616726' post='3000162'] "They're the band the Beatles could have been!" [/quote] Surely that was ELO....... Back to bass dislikes:- Fanned fret basses Almost anything vintage (with two or three exceptions) Valve bass amps (sorry - slightly OT but they really annoy me) Old valve bass amps 19 mm spacing 5 string basses Bass models which make extraneous electronic noise and hum even when brand new Green basses Stacked pots that don't work properly (even when new) Truss rods which are not readily accessible Single cut basses (especially those which are presentation models - absolutely love the bass player concerned mind)

[quote name='SimonEdward' timestamp='1457557611' post='2999709'] This is 'the one'. A supernatural series 2 by Jaydee, which I've owned since 1995. [b] [size=5]What do you do when you've found The One? [font=arial,helvetica,sans-serif]easy - put some LED's in the front face. BOOM !!! [font=arial,helvetica,sans-serif] [/font][/font][/size][/b] [/quote] Wow that is gorgeous. Did someone get him to make it that colour or was it re-sprayed - I ask because I started gassing for one these recently when I saw pics of a refinished one in pink on Talkbass, also with LEDs. The red is v nice, but he doesn't advertise them in colours on his website.

[quote name='Joebethell' timestamp='1457432458' post='2998392'] D-bird lands and apparently although only a prototype at the moment the aim is to release it after tweeks at combustion level pricing! [/quote] Cripes that's absolutely bizarre - I wonder if they'll have a go at fan fret other famous basses ......... How about a danelectro donghorn - preferably with a Masonite body. Or even a Daisy Dock bass in pink.

[quote name='Grand Wazoo' timestamp='1457429631' post='2998331'] you must have seen a share from my facebook wall i posted those pics which were only an artist impression https://www.facebook.com/francesco.camardo/posts/10153788873750342?pnref=story [/quote] Lol - I had nearly said in my earlier post that this looked distinctly like something you'd had a hand in - I had gone along the line of logic, who would fancy an SR5 made to look like something you'd view in a Blackpool pleasure park mirror - I thought hmmm Grand Wazoo - but then I thought the colour choice would simply not be right. but then I thought no - it's 1st March not 1st April - wrong month. I'd like to see a Bongo!

Like many other things in life, once you've found 'the one' you simply go looking for another - because as we all know, you can never have enough basses!!

I've thought this when it has appeared before but it really ought to be in a museum (if there is such a thing for guitars). B001000 means it's the first numbered bass off the production line but pre-production ones are around numbered X00etc - usually (or always in natural). The bass owned by Sterling Ball on which the 40th Anniversary model is based (Old Smoothie) is B001027 - Strings and Things also have one of the first 10 production ones, which was on their stand at last year's LBGS. That bass at Andy Baxters looks particularly nice though - the woods look fabulous. From the photos, Forrest White's initials are on the neck and neck pocket so presumably he had a hand in assembling it - as one of the partners of the company that's some provenance for an instrument, and a real piece of history.

The body, pick guard and controls bear a strong resemblance to a Stingray 5 - DR5? Nice idea, especially for fans of the Stingray 5 and the fanned fret system. Otherwise I think I'd pass on it!! Ps for those without mwah on their Stingray fretless G string, there's no hope for you - in the same category as a Precision without thump..........

[quote name='40hz' timestamp='1457030675' post='2994691'] I saw this originally but didn't believe the 6 colours are the only ones! That's quite some cull on EB's part. Many thanks DrT. [/quote] Tangerine pearl and sky blue metallic can still be had on the Bongo plus some of the other models have additional specific colours - Stingray Classic appears to only have three..... It's to be hoped they continue to do limited edition (PDN) specials every so often. You can understand their position if more than 90% of all purchases are across a handful of colours. As Sterling had pointed out, they are doing more than comoetitors in the market (until you start getting into special order stuff like Custom Shop for instance) - but yes, a significant cull as you say.

[quote name='chris_b' timestamp='1457007623' post='2994383'] That's explained by "Shadows tribute". I know a band who have decided to move from playing Cream covers to becoming a Cream tribute. This seems to have been achieved by just buying all the right gear. For me (and I suspect the audience) there is no difference except they are each several thousand pounds the poorer. It's interesting to see what successful bands do when they replace an original member. Nile Rogers doesn't require Jerry Barnes to play the exact BE bass parts, Craig Fuller didn't try to copy Lowell George when Little Feat reformed and gong right back to when Peter Green joined John Mayall, he didn't play any Clapton lines at all. [/quote] It's quite strange also that the Shadows guys could be seen with a range of guitars from Hank Marvin signature, to Custom Shop to the lower priced Mexican etc. Seemingly the idea of an 'authentic' guitar was simply too much extravagance for some of the thrifty minded. My own was totally unauthentic - a coral red Stingray played through a Mark Bass set up - some of the actual ex Shadows bass players don't use authentic amps or guitars - even Hank Marvin doesn't/ didn't use an authentic amp (boutique rather than an AC 30.

Yeah they've changed s little. Shown on their website (note different, and less colours for the Classic version - has its own model section) http://www.music-man.com/instruments/basses/stingray

[quote name='chris_b' timestamp='1456966555' post='2994164'] I've only played this once and I didn't include the mistake. Sounded much better to me. [/quote] Apparently it was Mr Bowie's decision to keep it on the recording, allegedly because he thought it sounded good (to the annoyance of the bass player). I did tend to play it, along with the high note 16ths in the solos, which all signal changes on the original - needless to say predicting when the soloists would finish required clairvoyance rather than musical skill so there was mixed success!!

I think this is a very complex subject. Many bass parts have hooks in them that cleverly form part of the allure of the song. If you don't play them you can lose part of the effect - as previously stated, this may be something quite complex (listen to the elaborate bass fills in Wake Me Up Before You Go (Go) by Wham) or something as simple as playing the upper octave of a 5th rather than the lower one played on the previous seven patterns, on the last bass pattern before entering a chorus, middle eight or even instrument solo. If you don't play them the song loses, sometimes a minor element, sometimes a major one. I'm as guilty as anyone - I do quite a lot of depping and people are in the habit of asking me to cover, then at the last minute saying, for instance, oh by the way we've added Kid Charlemaine by Steely Dan (usually something much simpler but you get the drift) to the set....... which I then listen to and work out but don't have time to do it thoroughly!! In other instances I just don't pick up the nuances until I've listened very carefully several times. So I end up approximating, or possibly interpreting (playing additional fills I've made up) sometimes. Now there's approximating and approximating - I was once in the habit of playing with a jamming band which was good fun, often doing standards, which taught me a lot but one day they played Lovely Day by Bill Withers - the guy who led the band asked me why I played that strange set of notes in the verses - insisting that their incorrect and simplistic version was copied from sheet music - well if it was, the sheet music was not based on the original!!! I then realised this band did not actually learn songs but made them up often from memory and ranged from fairly close to horrendously inaccurate!! Whether more than a couple of people in the audience would have noticed is a debatable point. I think there are elements of laziness, interpretation or simple errors across cover music - even in tribute bands. If you think the example of Pink Floyd discussed is anal, try playing in a Cliff and the Shadows tribute (I don't any longer) - it was good fun but rather worrying having the accuracy of one's playing scrutinised not only by bass players, but drummers, singers and horror of horrors, guitarists or even non musician aficionados. I saw Pino interviewed once and talking about his fabulous work with the Who, he was saying he noticed in one part of a specific song the air bass players in the crowd were playing high notes - so he re listened to the original and picked up something he'd missed - so it happens to world greats as well as mere mortals! And finally, does anyone else play the bass balls up in Jean Genie - I always do and it sounds wrong any other way to me!! I'm now a firm believer that you should play what you and the band are happy with, and not get too hung up. It may be as or even more important to get the groove, feel and instrument interaction to work rather than an exact note for note replica - something that really dawned on me during my foray into the Cliff and the Shads scene. Some people strive for complete accuracy but lost any shred of excitement in their playing in so doing.