stingrayPete1977

Btw that's a furry bat called Batty keeping guard on the far wall

It does free up a lot of floor space and I'm more likely to play them all if they are to hand

You can do it keep going! I might just keep buying more hooks as an excuse to buy more basses.

I have been putting this off for ages while doing other jobs in the house but the wife is working late, no one is falling out on basschat and I should be doing some reading practice (as you can see from the stand in the pic) but I have finally finished the wall of lovely basses and one token guitar of EBMM decent naturally! [attachment=116345:guitars on hooks.jpg] My acoustic bass is on a stand in our bedroom but I have one more hook left for the back bedroom for my electro acoustic guitar to go on but I have lent it out at the moment so I'm not sure exactly where to screw it yet. I want to swap the guitar for a Classic Ray5 at some point but I'm happy so far

Just put two more of these up, cheap off ebay but so far so good and as you can tell they can be tilted so as you can hang guitars on an angle. [attachment=116344:guitars on hooks.jpg]

[quote name='12stringbassist' timestamp='1338418735' post='1674483'] I would never leave a bass hanging on a wall hanger for more than a couple of hours. [/quote] Why?

[quote name='Dingus' timestamp='1345654368' post='1780117'] Love these clips of Marlowe and his 79 Ray, Pete, but it won't do the same job as a good Jazz Bass. They are opposites, in a way- the Stingray has a scooped midrange with extended highs and lows whereas the Jazz is all about complex mids that scoop out a bit with both pickups on full. Both great basses though . Horses for courses ,and all that. [/quote] For sure I own both The rays are better though

And this shits on any Jazz bass! wait until it kicks in properly.... [media]http://www.youtube.com/watch?v=snezG_RA7GI&feature=relmfu[/media] Such a great player too, and if anyone can find the bit where the single pickup Ray becomes a one trick pony I'd like to see it!

This is a great example of how fat and juicy a pre EB is yet still retaining the cutting highs, I have never heard an EBMM version get this smooth on the lows, its the best example of what people go on about IMO. [url="http://www.youtube.com/watch?v=agVo-xW0MtY&feature=fvwrel"]http://www.youtube.com/watch?v=agVo-xW0MtY&feature=fvwrel[/url]

Im not sure about that first clip you know? I can hear Louis J more than anything else. It would not surprise me if that was a Jazz bass you know although it probably is a Ray, Its almost as if his style is so familar with a Ray that your brain converts it to a Ray sound anyway. It could be the way its been altered in the mix but the lows are not low enough and the highs are not biting enough for me as a typical Ray sound

Btw John deacons pre EB looks cool, burst but with a white plate, it stands out really well check out the another one bites the dust video

I'd hunt down a EBMM 2 or 3 band EQ for it! If someone else here has one then getting them to trace around their plate and pop it in the post to you to use as a template should be easy enough?

Some songs I would play them as they are but a song that has a prominent open E won't sound the same transposed into another key unless you went up a fourth and played it on the open A, that will be really high and sound very different anyway, if the singer wants to go lower then your into detuning or an ERB unless you settle for playing a higher octave note instead which is still not going to be an open string. If that made sense then your as daft as me

[quote name='BottomE' timestamp='1345571521' post='1779009'] - 1 on the not playing open strings. To my ears open strings sound wonderful and allow your hands to go to all kinds of places on the fretboard - even the dusty bit. Learn to transpose the songs - it'll serve you well in the long run. [/quote] What about D or Eb though? If you can get your head around a five all the notes are still there so you can still play songs you know as you always have and getting the open E and 5th fret B string is the easiest bit anyway so its no problem to play the E anyway if you feel it needs it

[quote name='BigRedX' timestamp='1345569880' post='1778989'] Surely not all class D amps use the same power module? [/quote] I think quite a few of them use the Bang and Olufson one and as I presume its a fairly electronic device most of them will be very similar anyway? Like a lot of us here as long as I can get a decent stage monitor I am not that bothered anymore, loads of people still dont understand that a DI bass at a decent size gig has nothing to do with the amp anyway, I was at a Jewish wedding on sunday and the lady bass player/band leader who had also been playing piano at the Shul earlier in the day (very talented) was using an Ashdown combo and it sounded fatastic! It was all root and fifth Slavic stuff until later in the evening once the traditional dances had been done then it got into some more funky numbers and some sloppy love songs etc, how many people would come on here saying how good that Ashdown sounded yet it was all coming from the EV pa system! No mic and no XLR lead from the amp (I checked )

[quote name='keving' timestamp='1345550474' post='1778649'] I find that it also helps if you try not to use any open strings when learning the song, that will make it easier to transpose later as you can just move up and down the fretboard. Using software to change the pitch is a great tool, but when you play the same song in different bands in different keys it really helps if you don't need to learn it twice. Here a trick that I sometimes use. particularly if I have a chord chart in one key but the band then tells you it's in another is this. If the chart is in C, but the band want it in D, put you hand at the D position, look away and tell your self that your finger is playing a C. So long as you are now moving everything relative to your current position and don't look down you can continue to fool yourself that you are playing in the key that the chart is in. [/quote] This ^ and this is where a 5 string bass comes in for me, Even songs using open E strings which lets face it is loads of them can be done like this, I purposefully learn any new tracks for function band type gigs on a five all played off the E on the B string, up or down key changes are a breeze! Its not all about the extra notes you know

Obviously there will be lovers and haters of all sorts of gear but the amp choice was totally wrong for you in the first place, Its like someone saying they have used a Land Rover for 30 years and replaced it with a Micra then complained that it was to small and no good for towing, If that person had say bought a Nissan Nevara or a Toyota Hilux they might of been happier. If you had gone for something like a Streamliner, Orange or even Ampegs own offering you might not of come to this conclusion IMO.

[quote name='LemonCello' timestamp='1345382389' post='1776859'] The sound engineer at our first gig commented that my Markbass R500 and 151H cab had the cleanest signal he'd ever come across. [/quote] How did he get this signal, especially concerning the cab?

[quote name='Prime_BASS' timestamp='1345370232' post='1776636'] Markbass for definite [/quote] Compared to my Shuttle 3.0 any Markbass gear colours it loads, in fact I would say Markbass is one that colours your sound a lot, not in a bad way dont get me wrong but as for a clean uncoloured sound no chance

I love the way the truss rod adjustment time creeps up on you until one day you think what the funk is going on, little tweak and it feels awesome!

[quote name='iconic' timestamp='1345317450' post='1776289'] If you mail Messers E ball, they can tell the build date (birthday!) of the bass, options if any, and where it was sent to, as in what dealer worldwide...all free of charge. [/quote] Not for pre EB, it's a seperate company. Someone could of been sneaky by rubbing the '77 neck date off making it essentially a full on '76, it's quite common to have no neck date and as its got (I presume) the TM logo etc it would be taken as '76. Not that I'm suggesting that! No one is 100% certain about the preamps as they are covered in epoxy goo, John East's mm circuit is based on a '76 he has tested using a scope and measuring all the values carefully but (and me and mcnach fell out over this which actually made us best mates after but that another story!) it does not allow for any tolerances of the components at the time, even now basic electronic parts are listed as +/- 10% plus Leo might of bought boxes of bits from here there and everywhere, I don't think they were made under ISO9002 regulations if you know what I mean?

Am I right in thinking you bought a Streamliner over a Shuttle recently? You need both and like Musicman20 says one with a FET channel, it's lurvely!

[quote name='Musicman20' timestamp='1345279363' post='1775752'] Its crazy listening to the normal Stingray tone, because my current goto Ray is strung with EB Flats, and not only is it harder to play (but good for buliding my finger strength) but the tone is changed a lot. Its still a Ray, but you lose the clank, the fret buzz and rattle, the aggressive bite, etc. [/quote] My pre EB had flats on when I bought it (it was Nicks from Nicks guitars gigging bass at the time and he is a flats man), the thump was second to none! Do you have any Rays with mutes fitted Gareth? They do get you very close

[quote name='iconic' timestamp='1345273420' post='1775709'] [media]http://www.youtube.com/watch?v=__w6tWywgLg[/media] [/quote] For me this sums up the 2 band and pre EB in general, they just tend to have more top and more bottom at the same time! It also high lights why I am warming to solid state pre amps for Rays too, it has plenty of dirt when you drive the on board preamp even when played through what sounds like a fairly clean amp of some kind, they do not rely on the amp to put back in what the bass guitar itself is lacking

[quote name='iconic' timestamp='1345273420' post='1775709'] [b]a P bass, a Jazz bass...and a StingRay....4 string of course![/b] [/quote] The Holy Trinity as it were Add a B string for even more goodness