drTStingray

You're wrong - he broke the Flea Jazz (or rather it broke itself i believe, but has/had a Status neck following this). @AndyTravis I recalled @hiram.k.hackenbacker has/had one of these - glad he's still got it 👍 suffice it to say if he has some sort of aberration and decides to sell it, I'd be more than happy and willing to pay the proper price plus a multi - pack of Twix or any other biscuit based snack that takes his fancy (PS stranger things have happened - I heard a story I think of a gilded white Stingray Classic, if not other Stingray-based models) 😉😯

As well as the Cutlass 1 (Stingray with Modulus graphite neck) and Cutlass 11 (Sabre with Modulus graphite neck), on 1982/3 (rare - only around 700 made), EBMM issued a Ray in 2001 with various different features including a Status graphite neck and through body, mute fitted bridge as a NAMM 100 model - only 100 made so even rarer - suffice it to say I'm envious of anyone with one of these basses.....😎

It looks like it may be an exact copy (3 bolt, headstock truss rod) - in terms of price, given that Fender charge well over £3500 for the team built Pino Precision, then a similar price for one of these, which is easily as good if not better than a team built CS in terms of quality and comparative level of manual input would not be out of order, if this rather than a Precision tickles your fancy - we'll have to see what it retails for. All very interesting - and talking of Pino, how far from the Cliff Williams 79 to a well known fretless sunburst 79? Mmmm (not that I have any info - just wild day dreaming). I also happened on the spec of the Mike Herrera signature Stingray and mistakenly thought it was a special blue paint job on a standard 2 EQ Stingray - it's not - the electronics are different - wired straight to the Jack socket, bypassing the EQ. So an interesting twist and all these signature models are different from standard (including the John Myung six string).

There was a US Sterling mentioned a few years ago (on the EB forum) that was 7lb 9oz - as with Stingrays (and Stingray 5s), they are out there. The more general weight for the 4 string pre Stingray Special is 9.5 lbs. My SR5 is very heavy (10 lbs+) but it sounds absolutely great. That said the SR5 is a bigger instrument than the SR4. I have an SR4 Special and an SR5 Special from the first year they were built - they are both noticeably lightweight.

That will possibly be with the new registrations and really good deals - there have been vast airfields full of unsold and stored ones as well - still are (I have had two emails in as many days from my VW dealer saying they have a large stock of pre registered 70 reg vehicles with good deals - presumably they're trying to clear the backlogs of vehicles before the next lock down season...) This is because not only were people not buying, those who did months before lockdown were unable to take delivery until May/June - most dealers storage areas are full of unsold cars. Presumably people are taking advantage of deals and it looks increasingly likely the UK will have a second crisis interspersed with the Brexit one....... interesting times ahead 😐

I'm surprised no one has noticed the you tube stuff showing Guitar Centres with virtually no guitars (except high end unsold Gibsons and Fenders). Covid has probably debunked the whole guitar market scam and myth whereby certain major manufacturers store their over production in large stores by insisting they carry certain (vast) levels of stock. It appears if you try and order most popular makes from a shop, depending on the model etc, if it's not in stock or at the distributor you're likely to be in for the lbw!! (Long bloody wait).

Mine's probably 200 times better to me!! But mine has also been discontinued since 2016 - in fact the whole Classic and Old Smoothie ranges are discontinued so you can't get one unless someone deigns to sell their's - not mine btw! OP I hope you enjoy your Stingray Classic 5 style bass 😏 Sounds a good price. I have something similar.

It strikes me this subject could form a good subject for a Scott's Bass Lessons mini course. 😁 We could have the Pino Palladino/ Joe Dart severe head nod; various choreographed ideas; Shadows walk; the Andy Fraser gentle head nod/rock to and fro etc etc 😏

There must be law against such unsolicited bombardment? 😧

Is that the guy out of Biffy Clyro with a comic moustache and hat......

I think I've avoided the algorithm or something recently as I haven't had any of this stuff for ages - however I did get a notification about the 10 best bassists in metal the other day. So maybe Scott is branching out, or maybe has saturated the previous market he was aiming at to an extent. I too used to get heartily sick of the constant notifications (and some of the views and statements made) - however I've sort of got past this and am happy to dip into his free stuff every so often and ignore the rest - as everyone has said, a great resource but certainly not for me as a permanent thing - he is a very affable guy. Im equally at home watching people like Guy Pratt going through a classic bass part (interesting he's given kudos to Scott and all the technique stuff etc he does, but said he doesn't do all that!!). This sort of makes me feel a little better about it all and not guilt tripped because I can't remember, for instance, which minor scale is which except by ear sometimes (much as I've read about it, watched videos, including Scott doing modes)!! I guess it's what turns you on really - if you ignore the algorithm generated stuff it packs up eventually!! Hey these threads are great ads for Scott eh 😏 I'm surprised @pedand co aren't developing deals with Scott 😬

I've played in bands where choreographed unison moves are required - it takes practice and even then I'd liken it to singing whilst playing a bass part - you have to at least have one as automatic - I can't focus on both at once (but that might be just me). That stuff at the end of the live version of Sledgehammer by Peter Gabriel always amazes me where he, Tony Levin, the guitarist and sometimes the keyboard player (if using a hand held synth) walk forward with absurdly comic exaggerated steps in half time and then go backwards in 16th beats after a set number of bars and then start again - how Tony Levin does that but keep one of the best bass grooves ever going at the same time amazes me - I guess it's practice (bands I have had to do these set moves with practiced relentlessly). Sledgehammer with said dancing here - moves start at about 4.00 - fabulous 80s sound as well 👍 https://youtu.be/05TVDCWRBog

I always liked the Steve Hillage version of Hurdy Gurdy Man - having been introduced to acts like Hillage, Gong and Todd Rundgren by some prog mates. You could be forgiven for thinking the intro is on some form of bag pipes!!! 😂 This whole hurdy gurdy thing seems to have been a by-product of the mid/late 60s infatuation with transcendental meditation and everything Eastern and mystical - led by the Fab Four (and them in turn led by Harrison. Donovan followed their lead a bit later. https://youtu.be/DKTpKG5jQIo

I must say id never even considered one of these until I saw this video - sounds very authentic (playing and bass sound) to me 👍 https://youtu.be/FexkbCCsvDs She also plays normal bass - extremely well - I now really like the original of this when it comes on the radio but then miss the tasty bass parts on this cover!! https://youtu.be/f40HDIwho_E I know I shouldn't really comment on people's avatars but @ped is that a shell pink accordion in yours? 😯

I got a notification to say the tabs of all her covers are available on her Patreon site also.

I think this is correct (I also do it although I pull the treble back a little) and whilst the sound FOH is great, both bass and treble fully boosted creates a reasonable mid range scoop which happens to coincide with the frequencies of the G (string) - if you are playing in a band where other players are saturating this frequency, and dependent on the characteristics of your amp, you (right in front of your amp) may have issues hearing those notes as prominently as the lower strings. The simple way around this (something I do when using a 2 band MM and especially my Sabre, which has dual pick up settings which can provide scoop as per a Jazz bass) is to boost the upper mids on the amp slightly. This is why the MM 3 band pre amp is v useful and the East with the sweepable mid control also is. All of these things are a compromise. If you like the MM sound, the Stingray Special has a revoiced preamp with different mid range characteristics, which when combined with neo pick ups and an 18 volt preamp can create the warmth of the 2 band with a lot more control, whilst retaining all the other strengths of the Stingray bass.

I played an outdoor gig yesterday afternoon - nice venue next to a river with boat traffic moored or passing by. Plenty of social distancing between tables and from the band to the nearest tables - and plenty of room for the band. I used my Stingray Special 4HH through LM3 and 2 X 10 Traveller cabinet (elevated on packing crates) and got a really good sound - surprisingly one cabinet was sufficient in what was a very large beer garden, being plenty loud enough at the back, the sound guy said - the set ranged from classic R and B through to blues rock. I used my ceramic SR5 for two or three songs, mainly because we did Higher Ground, in Eb, which is a pain on a 4 string with standard tuning! A great gig, the band sounding excellent - outdoor gigs are my favourite as the bass sound is always good - however, no more gigs for the foreseeable future though - all indoor ones are cancelled currently 😕

Not entirely sure but I do something similar with my ceramic pu SR5 - cut the mid and boost the treble and bass slightly - I bring up the mid dependant on how punchy I want the sound, and the treble for top end sizzle - the EBMM Sterling, electronically, is effectively a 4 string version of the ceramic pu SR5.

Her versions of Hallucinate by Dua Lipa and Hair by Graham Central Station are also really good. Everything I've heard her do is, she has great timing and groove - can't be bad when Joe Dart, Stuart Zender and Flea have all commented favourably on her covers of their work 👍

Cheers guys, thanks for that info. In my view the first version of the Musicman 2 band EQ is a bit tamer than the subsequent ones (there were, apparently two more up to 1979). The 2 band from 79 on is essentially (with V minor variation) the same circuit etc right up to recent stopping of production (owing to production limitations because of Covid - stated by Scott on the MM forum - he has said they will be issuing a limited version soon and probably nothing further until a revamp in 2022 - apparently they sell tens more Specials for every Classic/Old Smoothie). The three band East with the stack pot and mid sweep sounds useful - although the filter on the EBMM is also useful because it does cut out boomy low frequencies. I have an old SR4 3 band which I might experiment with (carefully keeping the stock bits to retro fit if needed) - it's quite a tatty bass though it's in a really nice colour - although I have a feeling a new set of strings would help it a lot. I might try an East with the Aguillar pick up if the string change doesn't give me what I'm after - I really like the EBMM 3 band in my SR5 and other SR4s (especially the 2 pick up variants).

I think you'll find they're still illegal 😏 Having done both, (and needed to on standing up deps with massive set lists - I did avoid it stood right in front of me so it wasn't a visual barrier) I don't have a problem with either but tend to agree with you, sat down is more acceptable visually. Do you guys have those colour coded stands all the same across the orchestra/ band with the BL's initials on the front? That's very showbiz if so 😬 😂 I remember seeing the Buddy Rich Orchestra in the mid 70s and they had those across the whole band - somewhat incongruous when they were playing a lot of jazz/funk and jazz/rock as per Weather Report/ Return to Forever/ Miles Davis, but more in a Blood, Sweat and Tears format - they were extremely good as well. I couldn't imagine Jaco having a stand with JW on it for instance. I suppose it was a collision of two eras really!!

Does the JE 3EQ have a high pass filter? And does the mid control simply alter the mid of the 2 band as in mid sweep (as opposed to cut and boost around a specific frequency?)

The logo was changed on all of the instruments so it was bigger and could be read more easily by people watching on television screens than the previous versions (especially the model name, which was in very small font) - so basically for advertising reasons. The Strat headstock was enlarged to achieve this.

Absolutely my experience as well. And it's the same in a non-music situation.

One of the gigs I did (both have been outdoors) had reasonable social distancing - the audience were far enough away, sat in groups at spaced out tables and there was space to separate the singers, brass and remaining band members sufficiently. We were under an awning - which was just as well as it poured with rain!! The second was not properly socially distanced as far as the audience was concerned - and the audience members didn't seem to care (rather like the non socially distanced mele of a queue outside our local Wetherspoons every weekend). There was only one singer who was far enough from me to not concern me and although there wasn't much space for the band, the nearest other person was the drummer - who was also far enough from me - however the front tables were probably less than 3m away, so an issue for the audience rather than us. It was, however a very good gig with excellent feedback. I have one tomorrow and will be interested to see how the organisers deal with it.