stingrayPete1977

[quote name='pete.young' timestamp='1425503408' post='2708053'] The Tony Levin has a preamp, the MM3 does not, it has one tone control and two volume controls. There is a thread somewhere on here by neepheid who put an Artec preamp into an olp, it is called something like "pimp mah olp". [/quote] I mean if he fits a Stinger to it.

I really wanted to go after my mate text me yesterday, I'm away on holiday that week

Is this still available?

Do you have a two or three eq stingray? The two eq needs more effort to get in the mix ime, boosting the mids on the the eq works in most cases but cutting your bass and treble should have a similar effect without pushing the mid too much. Good luck.

Cutting through really, sounds great when it does though! The trick is to use the bass and treble to alter the mid, if you cut both you are left with just the middle so cutting some bass gives a similar outcome to boosting the mids on a three band version. The original pickup can probably just be rewired as one in parallel to give an authentic stingray tone but you could put a switch in for series parallel, maybe on a push pull knob with the volume?

Great news mate! Finding a drummer should be a lot easier now they have you on board IMO, you won't be the new boy then either

Yes it's all good mate, I'd like to try some other passive jazzes with my amps/cabs to see if adding the active preamp is what I want but the bdi box is ok for now to fatten it a bit, I cant fault the bass as it feels like a proper workhorse with the right number of strings! The wider spacing is a bit tricky for some more intricate stuff but thats mainly from being used to Ray5s, the clarity of a genz shuttle and narrow spacing has probably improved my playing loads to be fair, nowhere to hide!

That's a very pretty bass!

Where is EBS_Freak with a joke about using an inert gas when you need him

A great choice of instrument I'm getting better now I've moved the lot right up the neck and brought the B string into play fully, the timing is key to that lick I think, if you dont leave the small pause before in descends it ties you in a knot!

[quote name='bubinga5' timestamp='1425338033' post='2706425'] with all respect Pete, imo there aren't so many avenues that a bass builder can take to make the perfect headstock. just so happens that Fender and Music Man make great headstocks, that work very well. imo they invented the perfect ones especially the 4 top one underneath 5 string. why make a wheel that is the same as the rest of the wheels and then get criticised because you do so. the best way to look at any design in that respect, is maybe not "stolen" but perhaps respectfully used and embellished on. change in electric bass is overrated imo. i think good basic design was established many years ago with bass. when did you ever see double basses change in design.?? instruments are instruments of the music that change around them. just saying. [/quote] I get what you are saying but at the same time he totally just used the Musicman headstock shape but left the one corner sharp.

[quote name='markorbit' timestamp='1425381120' post='2706649'] I played one of these Lakin P basses recently and was very impressed with tone, fit and finish. All USA hardware, bone nut and nothing wrong with the headstock IMO. It has it's own appeal. [b]A big plus is you can get at the truss rod[/b]. All basses should have easy truss access. I see these as a modern, practical and in some ways improved version of a classic design. [/quote] Another bit Lakin has borrowed from MM TBH all basses should use the wheel of fortune system IMO, the Fender ones suck massively and I say that as a Fender lover.

I have concentrated so hard on the awkward bit of Master Blaster that I have it nailed 75% of the time but now I suck at the meat and pototoes parts of the song, Lol, back to the practice room........

Is it active or passive now? The Tony Levin OLP5 I think is actually fairly good as is so the pickup must be alright, the 2 EQs (Stinger or John East or MM)are good but trickier to get to sit in a live mix as easily IMO.

You still have most of the notes on the G string, just higher up the D string or in a lower octave.

[quote name='juliusmonk' timestamp='1425332532' post='2706371'] What's wrong with the headstock? Probably it is lighter and reduces neck dive.. Just guessing Love the hard case! [/quote] I think he ran out of ideas now Lakland have his already stolen from Musicman one! I dont mind it, wouldn't stop me buying one same goes for the Alleva 'paddle', sometimes they look much better in the flesh?

The guy I traded my SR4 with what is now my SR5 had all his gear stolen, turned up at crack converters Sheffield, he had a thread on here at the time, proved it was his to the police as he knew the song titles he had stored in the multi fx before they plugged it in. The seller to the store was well known by the shop and the old bill.

I'm looking forward to listening to this when I've got some proper speakers hooked up

Ultimately that is the real test, I've played a few super jazz basses and felt a bit meh, I've played a few that were wow, same goes for the more run of the mill fender lakland etc and found some great and others less so. Report back

Good luck Tony and how's the mg coming along these days?

It's a bit of a shock switching between my US Jazz V and any of my Ray5s, as I was used to the more cramped Rays first the wide Jazz can feel a bit of a stretch for trickier stuff, the Jazz is a bit of a plank though!

Ta mate

I had a full blown ABM and extension cab for years and you know what, the cheaper Ashdowns sound better IMO, The Gate in Sutton use one as the house amp and it sounds great, that said a mate of mine and EBS_Freak had one that really did set on fire so for all the nay sayers we have based our propaganda on an actual event.