Horizontalste

[quote name='Fionn' timestamp='1469133764' post='3096099'] Shame you don't have a Streamer Stage 1. All on the bridge pickup, with the onboard bass boosted to compensate, and you're getting as close as an instrument will get you too the sound you want. Burpy, tight, and fat, all at once. Mega compression too. "Too young to die" was recorded straight into the desk using a 1990 SS1. Glad Horizontalste got satisfying results though. I've never had the opportunity to try a Stingray. Didn't suspect they were so versatile. [/quote] I've always associated Warwick' with the rock genre to be honest, even knowing that Stu Zender & Andrew Levy both used them on records I love. I really should shake the stigma & try one out.

http://eartrainingmethod.com Do yourself a massive favour & spend a little bit of time everyday on your ears.

Just an update to put this to bed. I tried my tube pre-amp pedal (Chinese eBay thing) into the Comp & I was unimpressed. I don't think 9v is enough to get the little tubes working optimally, so I put the MXR overdrive in with a little bit of drive & favouring the clean signal & it's great. Perfect for recording what I want to record. Cheers fellas.

[quote name='stingrayPete1977' timestamp='1469035709' post='3095294'] I've heard that Zenders killer Warwick tone came from a pink Stingray 5 on loads of recordings and live shows. [/quote] I could see (hear) there being some truth in that Pete.

[quote name='Ghost_Bass' timestamp='1469023307' post='3095170'] I'm not sure if that growl i'm listening isn't from a valve amp/preamp. There's a breaking up there that i automaticly associate with a 12AX7. The rest is spot on like previously stated on other posts, digging the bass to cause it to rattle and "fart" the gain stage. [/quote] Initially that's what I thought, the only tubes I have are in a pre & I tried that but without digging in. I'll drop it back in the chain & see what it brings to the party with the Opto-stomp & a heavy hand. I haven't been this horny for tone in a long time :-)

Cheers Painy, I shall give it a try if my thumb allows (Stingray player). Definitely going to work at it, I usually play with a light touch so it does feel slightly foreign but the tone is worth it.

Spot on fella's thank you. I'm trying it out as we speak & I'm very much in the ballpark, more compression than I normally would use & definitely digging in more. Can't believe this was right under my nose all along. Thanks again chaps

I really didn't want to come here asking another "how do I get this tone" question but I'm struggling with it a little bit so here I am cap in hand. I've used Too Young To Die as an example but there are lots of tracks from a plethora of players that all seem to have the sound I crave. It's not so much the whole tone of the bass I'm interested in but the rattle sound towards the end of the notes played. I've always likened it to a cab rattling, that's how I hear it in my head anyway. If anyone knows what the bella fleck I'm on about please enlighten me. I'm not sure if it's effects or a mids boost or similar but I've heard it many times but can't emulate it. I know the funk is in the gunk & tone is in the fingers but I think there's more at play with this. https://youtu.be/mjeWKssl8Ic Cheers

[quote name='Grangur' timestamp='1468509779' post='3091466'] Man I hate those basses... I saw one in Ebay. A Westone Jet. I only bought it because the pics were cr@p and I thought, "I can sell that for more". The colour's not my scene, but it's only to sell it, right? It arrived. I learned it was a bass from the sellers Dad. He loved it. I re-strung it. Cleaned it up from years of dust and stuff... The electrics are the originals and they work like new. Then, the big mistake; I played it. It's still here now!! I it's nothing special, but it's infectious. I doubt It'll be on the market place any time soon. [/quote] Exactly that! I always wanted a Stingray but as a younger man I could never afford one, there was always too many other things to blow my income on. Then five years ago I was toying with the idea of buying a US Sub & my Wife asked what's so special about it, I said "well, it's just a cheaper version of a Stingray, & I've always wanted one". She insisted that we buy the real deal & a few weeks later it was here. Initially I loved it, the looks were right & it was instantly banging out the sound in my head, however, it didn't feel right. I identified that it was the un-finished neck so I had it lacquered & bingo, all is good in my musical world. I've played others but I always come back to the Ray & as the previous poster said about his TRB2p, I'd have happily paid over the odds for it because it's just right.

Nice, will you be busy learning Macca lines now? It'll be well worth the effort.

Another way of looking at it is, your relationship with the thing. For example, if you're a player that just feels that instruments are just tools for hammering out Mustang Sally in the local then anything is capable of that with a decent setup. However, if you're the type of player that looks at an instrument as an old friend or a partner for creativity then you are going to have the one that you connect with regardless of cost. I went through the buy & try phase & I have settled on a mid priced bass that comes from California & wears an impressive humbucker :-) & I fully intend to play the paint off it over the next thirty years & I hope one of my sons will see the appeal of it & continue to use it after I'm gone. Different strokes for different folks.

Yep, great post ^

I think it helps to understand Harmony a little bit (as bassists we generally don't). For me the process goes like this, listen to the recordings lots, pick out the key by ear then work out the chords using a keyboard, then once you know the key & the chords you'll have 90% of the notes you need for the bass line (provided you know a little theory). It all boils down to how good your ears are, a couple of years ago I decided I would learn everything from the recordings & I've stuck to it, it's thoroughly satisfying & as an added bonus what I learn this way sticks, no forgetting.

This one is an original Matte Black MM one & I much prefer them to the shiny three ply offerings. I have however just ordered a single ply parchment guard & white pickup cover for a change :-)

I'm not sure how many of you are aware of Forest & Eric at http://www.jazzadvice.com but for the last few years I've found them to be a valuable resource for tips on tidying up my practice habit's, they also produce some pretty inspiring posts. I'm not a Jazzer by any means but their methods are transferrable to any instrument in any genre. Check them out!!!!!!! Steve ( I am not affiliated in any way, just like sharing useful resources)

[quote name='lojo' timestamp='1466000940' post='3072738'] Looks like its 1994 , with the flea bridge Gonna plug it in and mess around with it later [/quote] Best era in my opinion.

Cracking! Early 90's?

[quote name='Machines' timestamp='1463836513' post='3054461'] Good riddance. The mods on that forum were idiots. [/quote] Lol, you weren't that bad mate :-)

😱sorry missed that post

Wouldn't mind seeing/hearing one of these in the flesh. Wonder what the premium price tag will be.

[attachment=216286:DSC_0154.jpg][attachment=216287:DSC_0155.jpg] Go on then :-p

If you decide to go down the laptop/interface route I highly recommend the Transcribe software.

[quote name='Jimbogubson' timestamp='1459456083' post='3016870'] I think that's the era I'm gonna try for. My brother in laws stingray just feels right. Shame he won't sell it to me, even though I have rescued it from his loft! [/quote] Just get divorced & employ avoidance tactics, apparently possession is 9, 10'ths of the law :-)

Early 90's Stingrays tick all the box's for me, 3 band, figured & lacquered necks, mutes, truss rod wheel & contoured body.

Good score, I really like the concept,