drTStingray

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.

I guess as a player in a big band, you and colleagues are users of the 'illegal' music stands!! 😬 Back on topic, surely any barrier will just redirect the droplet-laden air back at the people behind, namely the band!! And dependent on the air flow, over the screen and into the audience? Perhaps they need to sing in a 'booth'!!! 😂

Ive got a gig tomorrow pm - outdoor do in the sticks, near Canterbury - I'm actually depping but really looking forward to it. That'll be the third gig since February/ March 😯👍 Looking at taking a bass with new strings for once!! Amazing the things that come to mind with gigs so few and far between.

People (be they drummers, other bassists or other musicians, or anyone else actually) thinking they know what instrument I should play better than me. Instruments are quite personal things, an extension of you, through which you express yourself - to have some random drummer or someone else say 'you should play an xyz bass' is a bit much. If a band says oh you need to buy an xyz bass, I would most certainly say - fine but:- 1) it might sound worse than the one I use 2) Hand the money over then!!! Why should I pay for it. As for producers wanting an authentic 1960 sound, well let's hope they're going to use a 2 track and spend ages bouncing tracks 'to get it authentic' 😂😂 Back in the 70s most bass players (even famous ones) generally had one (maybe two if you were famous). The idea of having an array of them only happened in the highest of musical circles (eg major US studios). Now, it seems, every Tom, Richard and Harry seems to feel empowered to have a view even at the most inappropriate moments and based on something they read some famous personage said in a magazine in 1997 etc etc - and an expectation that people have limitless pockets to buy whatever instruments to fuel other people's desire to get them 'looking right (in their view)'. I don't recall ever suggesting a 'make and type' of instrument to anyone - and can't imagine anyone other than a major producer etc would. Ive spent a lot of time and effort learning to play and sound the way I do - if I collaborate with people id generally want to be doing so because they want my sound and musicianship - that's generally going to come out of one of the basses I already own. There you go - rant over - is it a product of the Internet age or the ludicrous level of consumerism we're encouraged to have these days (translated to GAS). For instance - It seems if every member of the population isn't buying at least three takeaway coffees a week and one takeaway meal, we're guilt tripped into thinking we're screwing the economy up - incredible!! 😩

Apart from her accuracy in this cover - I'm astonished how good that U bass sounds in terms of copping the correct sound 👍😊

Remember to keep the old stuff - as good as the East circuit may be (based on his 76 Stingray - there were two or three EQ upgrades in pre EB days after that) most people buying Stingrays used would want it stock - in other words the resale would likely be reduced. As I said previously, you can buy a replacement circuit on an exchange basis (so a new owner could if you sold the bass with the replaced parts). For those who don't know, the EBMM 3 band EQ mid is largely as the 2 band when cut by around 50% and the bass and treble boosted a bit.

Bernard's Stingray is a 1977 (about 2300 into the production run) and they did indeed ship with GHS flats until sometime in 1978, when they changed to roundwounds. On a Stingray it's possible to cop his exact tone for finger style even with roundwounds, and appropriate playing technique. Those short, fat poppy sounding finger style upper octave notes are a key Stingray characteristic sound (and are difficult to achieve on most other types of bass). However, the popped notes in the chorus of We Are Family need flatwounds (on a Stingray). A Fender Jazz has too much of that Jazz boing in the sound. Roundwounds on a Stingray give more of the Louis Johnson popped sound.

I'm not sure re the change in value - it certainly wasn't priced or referred to with that history - but would it increase value that much unless played by someone extremely famous - it struck me as an odd coloured bass for a reggae band!! The drummer on that was Sly Dunbar (one of his first appearances). I also noticed the Precision being played by Aston Barratt - interesting one of the guitarists had got pink spot stickers all round the outside edge of his apparently pristine Les Paul!! In fact most of the reggae band musicians appeared to have odd things attached to the instruments (eg a large pink hair scrunchy fixed on a headstock, stickers on guitars being very popular). I wonder if the Precision was a loan instrument? Family Man is also shown playing through an Acoustic 370/301 set up - seemingly the rig of choice for some R and B or a reggae players of the period (I had one of these but not till the late 70s - mine originated with the band Mud)! On the reggae programme I watched, the guy in Steel Pulse is shown playing a very smart natural finish Stingray - but Jazzes seem to have been the popular choice for reggae bands 👍