drTStingray

Happy birthday I will give you my current GAS and agonisation list which may provide some additional ideas!! Number 1) is because I want an EBMM in that colour and the Bongo is most fitting - I already have a 5 but a 4 would be awesome for playability in my mind - number 2) came about from reading about/hearing a pink refin one on Talkbass plus a mate has one on order, plus I'm a big Mark King fan - the Wal has interested me for ages in second hand form but 2) led to 3) and im a big Alan Spenner fan. 1) Bongo 4HH in chilli red - new 2) Jaydee Supernatural Classic - new build 3) Wal Mk1 new build with padauk facings 4) pre CBS Jazz, Olympic White with matching headstock and clay (Lino.....) dots - old 5) as 4) - Precision - no matching headstock - old 6) Stingray 40th Anniversary - new

[quote name='hiram.k.hackenbacker' timestamp='1456100246' post='2985464'] Agreed and hats off to whoever's idea it was. The white LED's are just perfect for it. Little too blingy for my taste, but absolutely right for that bass and it's owner. I've recently come around to the idea that I might like to try a Sterling. There's a lovely looking BFR on eBay right now for ~£2.5k, but it's a bit too far away from me to go and try it. [/quote] Yeah the BFR Sterlings are nice, but a little pricy.

[quote name='EmmettC' timestamp='1456091563' post='2985361'] The John East MM pre-amp is amazing, based on the original MM pre-amp [/quote] I've heard it's very good but not been tempted to swap out the electronics on any of my Stingrays. Which version is it based on - apparently there were several iterations between 1976 and 79 - I think I read somewhere it was based on John East's own Stingray (76 or 77?)

The 3 band gives far more flexibility especially in a live situation, for instance in rooms with difficult acoustics. It's also more refined as the filters take out boomy frequencies which can occur with the 2 band. However the 2 band is also a fine EQ and makes some classic sounds - used my 2 band Sabre Friday night in a blues/funk gig to good effect - would have liked the mid control a couple of times when the guitarists got all crunchy and filled all the space though - I suspect it didn't matter to the audience but made it difficult for me to hear myself at those moments.

I can't get over people moaning about the tone ....... what are you on?? Not really to my taste either, but crikey, that is amazing from a number of angles.

The Stingray looks great. EBMM do custom jobs but only for the likes of Tony Levin and other artists. They've done some nice ones for Randy Jackson in the past (including an HH Sterling with white pick up covers - only available to mere mortals for the single H type Sterling and Stingray pick up, or SR5 single H with a white pick guard)

[quote name='EssentialTension' timestamp='1455994233' post='2984427'] Some of the places Mrs ET and I enjoyed while in Liverpool and environs ... [url="http://www.everymanplayhouse.com/whats-on/i-am-thomas-a-brutal-comedy-with-songs"]http://www.everymanp...medy-with-songs[/url] [url="http://www.saltdogslims.com/"]http://www.saltdogslims.com/[/url] [url="http://www.thegrapesliverpool.co.uk/"]http://www.thegrapesliverpool.co.uk/[/url] [url="http://www.maray.co.uk/"]http://www.maray.co.uk/[/url] [url="http://www.liverpoolmuseums.org.uk/walker/"]http://www.liverpool....org.uk/walker/[/url] [url="http://liverpool.gov.uk/libraries/find-a-library/central-library/"]http://liverpool.gov...entral-library/[/url] [url="http://www.salthousetapas.co.uk/"]http://www.salthousetapas.co.uk/[/url] [url="http://www.johnlewis.com/our-shops/liverpool"]http://www.johnlewis...shops/liverpool[/url] [url="https://en.wikipedia.org/wiki/Hilbre_Island"]https://en.wikipedia...i/Hilbre_Island[/url] [/quote] This is on a par with Mrs DrT and I's visit to Stratford on Avon last year - we did absolutely nothing related to Shakespeare, theatre etc - the Beatles are to Liverpool as Shakespeare is to Stratford as the Black Country Museum is to Dudley. As for the Beatles and their relevance, I was at infant school when Can't Buy Me Love was in the charts - at playtime, Beatles bubble gum cards became legal tender - my friends and I could sing all of the Beatles hits of the time (including the twangy guitar solos) - the only other group I recall having this accolade was the Swinging Blue Jeans. Other bands of that time which were completely off the radar included the Shadows - something from a previous era which my parents and my friend's parents liked so were about as uncool as Perry Como and others as far as we were concerned. Even Gerry and the Pacemakers paled when they did Ferry Across the Mersey at the time!! I would class myself as someone who grew up with the Beatles and therefore they have a big relevance musically for me - I suspect the same for many of my generation and those a little older. I've only ever been to Liverpool once in my life and that was to Anfield, somewhere else which is synonymous with Liverpool!!

[quote name='Rick's Fine '52' timestamp='1455641510' post='2981022'] I dont think there is any science to this. In my experience in buying vintage instruments, if its 100% original, then its exactly that. So if there are changed parts, then, if known, they should be declared. Its not always easy to tell with screws etc though, but it depends what you are looking for, or what instrument you are looking at. Prices will reflect originality, and some items affect more than others. Its certainly possible to find original, unmolested 50+ year old instruments with perfectly working components, and these are desirable. The exception, from my experience, is original factory strings. I've seen a few instruments claiming to have original factory strings, but personally have not seen this add any value, as its almost impossible to prove, and, its highly unlikely too, especially on a worn instrument. Someone else used the 'car tyre' analogy, which i would tend to agree with, although probably easier to prove an original tyre, than original string on something 50+ years old. If its not a highly collectible instrument, then a changed pot, or bridge, or strap button is unlikely to affect value too much. [/quote] I agree with all of this - also remember that (in the car tyre analogy) rubber perishes over time - I recall having to change 5 yr old rear car tyres for an MOT which were not worn at all but the walls had perished (showing cracks). This type of thing can be true of intruments - I've seen pictures of a pre 57 Precision and also a late 70s Stingray both with totally rusted strings (barely hanging on the instrument) and other parts deteriorated - knowing how old fashioned electrical flex perishes I could see this happening to 60s and earlier instruments. On this basis I sometimes find it hard to believe the alleged 'totally original' status quoted for some instruments, particularly if they've been played and haven't been stored away or on display in climate controlled conditions. Modern materials are far more durable. I would prefer to have a completely original instrument but would not turn away, for instance a bass which has had a replacement tuning peg so long as the new one is of the correct period and supplied by the manufacturer. I would not accept a refin unless I was deliberately looking for one, but even a refret or re shot fretless board (provided done professionally and with the correct materials (fret type) wouldn't worry me too much - if I was paying top dollar for a vintage bass I might prefer something more original if available. In essence, items which are subject to normal wear and tear should be fair game but more extensive mods (eg fret less board when it was built with a maple fretted one), or a different coloured body, would put me off. That's just my perspective though - others may have completely different views.

[quote name='gapiro' timestamp='1455195718' post='2976901'] Just smashing http://www.youtube.com/watch?v=Zz1bJtV4KkM [/quote] Fabulous - would be great to see this line up live. A shame they didn't keep some of the hooks from the original.

It seems to have its advantages and disadvantages - ours is owned by the drummer who is occasionally doing much greater things and is depped. This leaves the lead singer in charge and it has been known to take 15 mins for him and the rest of us to work out how to adjust a mike which is verging on feedback - everyone groans and says what price a manual fader. In other words, as with any IT it takes a while to learn to use it and as there is often the need for an urgent tweak, it can be a hinderence if you aren't skilled with it. An advantage (in a pub) is that someone can take the iPod to the back of the room and mix the sound quite accurately (when the pa mixer would normally be with the band at the front).

Groove (alt) - the music slot on a vinyl record (music playing medium), the width and depth of which is dictated by the level of bass - when filled with other instruments it gets shallow and bass less. Hence bass players are crucial to and control the groove and other people sometimes fill it with fluff .......

[quote name='dincz' timestamp='1455098764' post='2975777'] Muting was my problem with 5 strings. I found floating thumb pretty much essential. [/quote] + 1 - I find it essential (I use my left hand thumb over the top of the fretboard when slapping a 5 for the same reason)

[quote name='TheGreek' timestamp='1455117897' post='2976095'] Space: The thing that Bass players leave to add feel and groove which guitarists then feel they need to fill COS IT'S THERE!! [/quote] Or the keyboard fills with left hand playing because he thinks the bass player has gone to sleep or forgotten the part

Crafted in Japan - made in Japan by a craftsman; as opposed to made in Japan (team built in Japan)

Rare colour - something that looked a good idea on a colour swatch but on a bass looked like a form of human excretion - and thus sold very badly OR was quite nice but sold badly as it was brought to market just at a time when playing anything other than an instrument in sunburst with a tort scratch plate (or black instrument with a black sp) was frowned upon by most forum commentators as liable to frighten off any prospective employer (be they studio, MD or local semi pro band) AND were released when no one had any money cos the bankers knicked it all ........ 😉😬 Mindless noodling - any bass part composed with more than one note variation per four bars, and definitely when played by an acclaimed genius........ 😀 Headroom - the height available to pass under a road bridge. Growl - haven't a clue (but I've heard it used to describe at least three entirely different things, one of which applies to Fender Precision basses and which many sound people try to EQ out by using a smiley face EQ setting).

[quote name='sunburstjazz1967' timestamp='1454255891' post='2967884'] Exactly, the guy with a crap technique at muting the B string mentioned earlier would still have a crap technique muting an E on a 4 string! [/quote] On the face of it this is true - but as someone who doesn't play 5 string 100% of the time, resonating B string is a far bigger issue for me and requires definite concentration to mute it all the time - it can sound like the undertone of bag pipes otherwise (something Which doesn't happen to me on a 4 string bass). So if you're in the habit of leaning your thumb on the pick up you will most likely have to change to leaning against the B string on a 5.

[quote name='ambient' timestamp='1454890946' post='2973997'] They're definitely not like 'normal' flats. There's no thump, they're mellow, that's how I would describe them. [/quote] I disagree - I guess it depends on the bass you're using and your playing style but I get as much thump as I need from TIs - they do have a lovely tone as well

I have them on my Stingray Classic - they are absolutely great. I absolutely hate flats with high tension as they make basses a chor to play for me - I'd prefer not to feel I'm in training for an arm wrestling match - these strings have tension similar to round wounds and fabulous tone - pure Bernard Edwards tone on the 2 band Ray - so they're superb in my mind. I have EB Cobalt flats on my fretless Ray - slightly different tone but similar tension and an excellent alternative to TI. Can also be brighter when required without losing that flatwound thump.

I have lots of Musicman basses - I would suggest you go for a single pick up 3 band 4 string Stingray with a maple board - for the simple reason that whichever one you get you'll be lusting after one of those. Does all the Musicman sounds, but the mid range control on the EQ helps a lot in rooms with dodgy acoustics or if the guitarist or keyboard player suddenly start playing in your sonic space. The high pass filter also cuts some of the nasty boomy bass sounds. A rosewood board makes a Musicman Stingray sound slightly different - darker and sometimes more refined - believe me, if you buy one you'll want a maple boarded one simply because that is the archetypal Musicman. Remember, these basses react massively to nuances of plucking position and style - watch Ed Friedland's video to see this. An HH Stingray gives the standard sound but 4 others by coil tap switch - these basses are hugely versatile, but once again, if you buy one you'll probably lust after the original H version. The Classic gives you the 2 band EQ and highly figured maple neck and but a slab body - beautiful basses though and great for everything you want from a bass - even if you just sit and admire it!! I already have one but am lusting after a natural finish one (and a 40th Anniversary one). For me, this is an addiction that started in around 1979!!

I love both of their technique and playing and both have influenced my own playing. Im afraid I hate their tone - would describe as abysmal - but that is just my taste. However without it neither Yes nor The Who would sound the same. There were times with JE (live) I hadn't a clue what he was playing.

[quote name='JTUK' timestamp='1454438741' post='2969778'] History lesson outside of the standard (Stax/Motown AND Chic) IMO has to include Headhunters, Meters/Neville bros and people like Alan Toussant and Fred Wesley...to name just a few. [/quote] Agreed - James Brown and George Clinton are others who are essential listening for any aspiring funk players - rarely mentioned on this forum.

[quote name='blue' timestamp='1453852399' post='2963556'] I have been involved in many of the threads about gigging. Based on the comments and responses; 1. Many bass players don't gig. 2. Gigging is not as popular as it once was. 3. Many feel it's not worth it. 4. Good gigging opportunities are drying up, especially in the UK. 5. Playing bass has become a solo at home hobby for many. 6. Bass players are no longer will to put in the effort to gig. So what's the future guys, should we all just stay home and noodle? This thread is not posted to initiate a " troll fest" just an exchange of opinion and thought. Blue [/quote] I've been in and am in more than one band where some of the musicians are in their mid 70s. The only rule seems to be, don't do more than one gig a day - and the level of arrangement fog ones seems to increase at times!! One of them plays One Step Beyond and another plays I Feel Good and one or two other James Brown songs (songs of their youth!!) You'll find particularly (but not exclusively) the older age group in the Shadows music scene - there are a surprising number of fans who also play - I had quite fun playing in a tribute band for a few years. I think this is often true of sixties era fans/musicians as well. So I don't plan to have my feet up watching Strictly or the Voice every Saturday night any time soon, but I most certainly won't be helping to manhandle Hammond B3s and Leslie units (or refrigerators) up and down fire escape stairs either, as I did 30-40 yrs back!!

[quote name='Musicman20' timestamp='1453980914' post='2964850'] It doesn't let me quote for some reason (might be the work PC) but I also agree with you! If they hit the price of around £1100-1200 they could compete...hmmm. [/quote] I think they're quoted at around $1600 in the USA. What is exciting about these is that most people who picked one up at NAMM said they are great - feel, playability etc. They obviously know how to make a great P bass sound as well as my Classic Sabre, in single coil neck pick up mode really sounds the part. And the SSS Big Al was a pretty decent bass. So the combination of EBMM quality, playability and engineering should mean these things are quite special - love those cool blue and red colours as well. It appears the Valentine guitar made best in show as well. Now call me daft but I'm gassing for a 40th Anniversary Old Smoothie - but I was already gassing for a natural Classic Ray as well - do you think they'll give me a good deal if I order both - whichever - it'll be cheaper than if I arrange a visit to Mr Baxters - as has also been on my mind .......

Another manufacturer recycling a previously used model name.