drTStingray

He clearly says 'no active preamps' - an asterisked extra item to the 'seven pillars' - that immediately is in conflict with everyone who uses one (either on board or outboard). It's also unnecessary to say that in what appears to be a beginner's guide to getting a bass tone. And frankly, like an amp, its usual to start with a bass preamp at centre. Pretty simple to say that rather than diss the entire thing. And frankly it's debatable - in my hands, a bass with a pre amp (preferably of a particular make) sounds far better than one without (to my ears). Ive said before - I prefer Bernard Edwards to 60s Motown bass sounds.

Unfortunately this video, which is generally good, is ruined by this assertion about active preamps. As noted by others, it's a personal preference of Scott's. For a guy who has so much knowledge and ability I find it astonishing he doesn't know that lots of famous tracks played even on the twin pillars of passiveness, the P and J often had their sound beefed up by an Alembic pre amp here and there, or even the famous 'Motown interface' - now commercially available as a preamp to enable you to get the correct sound. And what about string mutes - completely overlooked. But then again, what about metal, the bass beginning with R, pedals etc etc - all seemingly absent.... Arguably, there are a lot of people who do get a better tone (that musical noise that comes out as a signal) from an active bass than a passive one - certainly through an amp and speaker cabinet. So I'm afraid I thought it was a good video spoiled by a few bits of complete tosh. Regrettably, there will likely be impressionable newbies who take this stuff as gospel - which of course it isn't. After I watched it I got the feeling I was being 'radicalised' into the passive religion!! 😂😂 thankfully I'm immune 👍 Did the lack of an R in the 30 basses exercise emanate from that company not generally paying to advertise? I guess they don't need to anyway and their absence was probably more notable than if they'd been there (for 10 seconds). That's the only reason I can think unless the store didn't have one - I'd be shocked if they didn't or it was beyond the wit of the SBL back room operation to get hold of one!

To be honest neither does a lot of music from that era - as another example, when did you last hear Johnny B Goode on the radio? I'll bet you've heard a few pub bands do it though!

It's only very recently I've cone to realise how crucial to that tight rock and roll sound in the early years Ringo was - some of the high quality Beatles film of the early 60s around shows it very clearly. Majorly underrated. McCartney has said part of the freedom for him to be creative on the bass stemmed from Ringo's approach.

I recall someone saying he used a pink Stingray in the very early days also. Which is the Streamer with P and J style pick ups? I'm presuming the P one sounds a bit P like but with a Warwick flavour from the construction and pre?

Move It is certainly a great and very powerful rock and roll song - one of the true classics in my view - but there are a lot of great rocking songs after that. Surprisingly The Shadows didn't play on the original recording of Move It - recorded in 1958 - I would guess they joined together initially as a live performance act straight after but became part of the recording and in quite a few instances, writing team. Like most bands of the time, they performed really good cover versions of the likes of Willie and the Hand Jive etc etc. I always particularly liked their version of Mean Woman Blues (having spent a few years playing in a tribute act)! You can see why they influenced every young aspiring UK rock and roll musician/band of the time (including The Beatles).

The Ventures' big hit, Walk Don't Run was released in June 1960 - The Shadows' first solo hit, Apache was recorded in June 1960 and released just after. However the Shadows were also Cliff Richard's band before that - and also after - making famous films as well as records with him whilst concurrently doing hit instrumentals. So most certainly not a Ventures tribute act - maybe both groups took inspiration from Buddy Holly and the Crickets and other US acts of the 50s such as Duane Eddy. Cliff Richard and the Shadows were successful worldwide but especially in the UK (except in the US) whereas the Ventures were successful more in the US as you said. Like The Beatles, they were a sh*t hot rock and roll band - there is a lot of power in those early live performances. The Ventures and The Shadows covered each other's major hits.

Are you talking a Stingray with an 18 volt preamp and neodymium magnet pick ups? This is what the latest Stingray Specials have. If so, and from my experience, the Stingray is very powerful (more so than a Streamer I played), but as mentioned above, the Warwick has a certain signature sound and so does the Stingray. The voicing of the pre amp on the latest Stingrays is slightly different and can be less 'in your face'. However the pick ups and EQ are extremely powerful and especially if the bass is cranked. I played some reggae on my SR5HH at a recent gig and with the bass EQ cranked and the neck pick up selected, it rattled the fixtures and fittings - and floor greatly - whilst remaining focussed!! Sounded great.

He's very affable and knowledgeable. Nice hats 😊

Yes they sound great. I remember seeing Horace Panter using a Stingray Classic a few years back on live performances so not entirely out of the question on ska - a liitle off piste but do you reckon drummers would use a drum kit from the era or something more modern - or keyboard players? I've got the feeling they're slightly less bothered perhaps. The vid with Babbitt is demoing a cable - but it's on a 30th Stingray. https://youtu.be/NNENWcEwazk

Yes I know he said that - he may be wrong because some people do get a better Bass tone with an active Bass. But I was objecting to him saying, in the 7 routes to a good bass tone - asterisked - no active circuits. He also said he never uses the active circuit on his Overwater and asked that all makers of active basses provide a means for him to bypass the active circuit. If that little lot is not tantamount to saying active circuits are no good then I don't know what is!! Anyway I know they're better because Bernard Edwards got it right first time 😏 😀 I noticed the comments about luthery - I did think the idea you'd get a good sound by turning all the controls up on an active bass would get you a representative sound let alone good one was somewhat misguided - anyone tried turning all the tone controls on their amp up full? You get full volume (well my Ashdown does!!). Instead of demonstrating an ignorance of the dark art of basses made in the 70s on, why not get someone who does and is famous to demonstrate. I remember Jaco explaining why Precision basses were no good for his style - except the necks to stretch his hands (they were already absolutely huge from what I could see)!! That said I enjoyed the thirty Bass try out - the Warwick sounded bizarre though - and as I said, now I know to take or leave the ideas I really find it all quite affable and certainly informative from time to time! 👍 The lack of rock music/metal is indeed bewildering - not sure why that is. I've been lambasted on TB for even mentioning the likes of Andy Fraser in the same breath as Kaye/Jamerson - perhaps the sort of people SBL is aimed at aren't keen on rock. It could be argued bass players and educators are far too focussed on a narrow group of players and genres (especially studio pop).

Those making the comments probably don't realise that many sole trader limited companies include their wives in it - that way they can claim far more expenditure against tax, such as vehicles - they often pay themselves in company dividends because it's a much lower tax rate than paying a salary - or even capital gains from profits - it's all about financial efficiency. Now my take on the taking leave of his senses is he does sometimes say some very silly things and holds some rather erm focussed views. He certainly will have alienated most players of active basses. When you're an educator I believe there is a level of responsibility to be unbiased - otherwise people will think they are being brain washed into believing certain, in some cases rather biased views are the truth. A bit like going to an English literature teacher and being told as Shakespeare invented aherm Shakespeare, got it right first time, all other subsequent literature is wrong or irrelevant. Or going for religious teaching only to be brainwashed by an evangelist (other religions are available for brain washing) into holding extreme views and being encouraged to offload tons of cash. The original OP clearly felt he was being asked to pay too much when he already had paid - perfectly reasonable, and perfectly reasonable colloquially to suggest Mr Devine may have taken leave of his senses to ask for such payment (the phrase you must be out of your mind) - he's certainly upset a few people including me occasionally!! I don't think anyone is really questioning his sanity 😏 The marriage comments are utterly bizarre - but this is Basschat 🤔

Id go for a combination of 2) and 3) - fit it to a Jazz body as another bass. If you ever sell the 61 refit the neck. Im glad Fender sorted out correctly for you 👍

Oh bugger (whoopee no profanity substitution 😂) and there was me hoping you might sell it - I have the mahogany Sabre to go with a 30th SR4 - if I could find one!! Oh well!! Have you seen the You Tube vids with Bob Babbitt playing a 2006 30th Stingray? The ska band I play in get a Stingray Special or Old Smoothie - they both work really well in that setting.

Yes I realised he'd gone completely bananas a few weeks ago when I received the You Tube notification for 7 elements of a good bass tone and the eighth unnumbered but asterisked one was NO ACTIVE PREAMPS. Well how very dare him - I'm quite happy for people to play rudimentary 60s planks with a pick up (a lot of passive basses) but I'm afraid I don't care for it - each to his own but I thought that just smacked of someone with a personal preference which is arguably counter productive - I mean who plays through an amp with only one adjustable tone control or listens to music anywhere without some means of controlling the output via an EQ (except a smart phone)? I just prefer Bernard Edwards or Pino to James Jamerson or Duck Dunn (60s version). It's a personal preference! Anyway after I'd concluded he had become barking I've been enjoying his videos once again. I loved the Stingray competition giveaway one where he didn't show even a picture of the giveaway bass but rattled on about some other Ibanez (Gary Willis?) bass which he held throughout the Stingray competition winning selection!! I also enjoyed the 30 bass quick clips video where he turned all the controls on full (even on active basses)!! That many sounded great was excellent - the Warwick sounded utterly bizarre (when they are known for a full bodied woody, bassy sound). As I say, since I've realised I can take it all or at least some of it with a pinch of salt and realise he's barking some of the time I do quite like his stuff. I've actually learned quite a bit from it. As for Gary Willis, I'm pretty sure Scott himself took lessons with him (I think he mentions it in one of the videos). Anyway if I was a young impressionable type I might have signed up - I haven't and I'm glad because the anti active bass stuff would have led me to ask for my money back and id have probably have got stressed!! 😕 He must be making a fortune and good luck to him 👍

The popular information (all approximate, gleaned from people far more knowledgable on these things than me):- Besson/Framus - till late 1959 Sunburst Precision - late 1959 to early 1961 Fiesta Red Precision (with JH initials stuck on the body) - circa March 1961 to circa May 1963 (Jet Harris and then Brian Locking) May 1963 to late 1963 - White Precision (Brian Locking and then John Rostill). From 1964 - White Burns (John Rostill). The three matching rosewood board FR and white instruments were part of endorsement deals along with amps etc. NB the original FR Strat imported by Cliff Richard for Hank Marvin, which appeared in mid 1959 was replaced by a rosewood board one from 1961 and given back to Cliff - who had it resprayed white - apparently had cosmetic damage to the paint. The basses appeared with the bassists in the feature films (such as Summer Holiday) and promotion for single releases etc (eg white instruments for the single Atlantis) as well as in live performances and the many TV appearances.

Great picture. Jet had another Precision (sunburst) for a while before that (as seen on the first album cover, along with casual jumpers...) - bought after his Framus was damaged in a dressing room. The Strat is not the first one in the Uk (as used by Hank originally but that has a maple board - an early commentator on the importance of neck wood to tone - Hank preferred the mellow quality of a rosewood board). The FR Precision featured with Jet's replacement, Brian Locking also - presumably owned by the band or management until they went all white instruments - amazingly, considering everyone associates Cliff Richard and the Shadows with it the all FR look only lasted about 2 yrs - Mo Foster's book refers to Hank Marvin's original Strat suffering from rattly strings at the nut/headstock - and he used to pack it with paper to try and stop it!! The Shadows were a relatively rare famous user of the Fender Precision in those 60s days in the UK.

Not true when it comes to the 3 band only Stingray Special - the 18 v electronics with Neo magnet pick ups, result in a bass EQ with much more bass potential than the 2 band - more reminiscent at the upper end of the Bongo bass or low mid EQ controls. The pre 2018 3 band has a HPF. I suspect the new one does and is a component of the clever revoicing of the Stingray. Nice playing on that video - my favourites - Stingray, Fodera, CS Precision and did I miss it - Where was the Rickenbacker. 😯

Great stuff - and great to see he quotes his main influences as Jet Harris (The Shadows) and none other than Paul McCartney - definitely well crafted but as with much of the similarly well crafted output of the Wrecking Crew, no self respecting rock, R and B or jazz funk fan of the 70s would give it living room space!! Now McCartney even then had crossed lots of genres gaining national treasure status (quite rightly - and his bass parts were pretty nice as well). 👍

Absolutely - Amen to that. Not a single one of them rock bassists really - as a who's who of bassists who influenced ongoing R and B in the 60s and 70s maybe - to a lesser extent pop and rock. Pop and rock were surely influenced much more by the British Invasion type bands (several with their Epiphone Rivoli basses). However I'd rate a lot of R and B bassists of the late 70s as better - the likes of Nate Watts, Bernard Edwards, Louis Johnson, Norman Watt Roy and Pino Palladino were developments of the earlier R and B bassists but picking up other crossover influences of the time such as Jaco, Stanley Clark etc. I saw an interesting intrview with Mickey Dolenz who said Peter Tork turned up at the studio with his bass guitar - he obviously hadn't been given the script and thought he'd be playing it like the Beatles did with their instruments - it would be a while in the US before most groups played on their own records........ relying on studio orchestras - rather like Mantovani and James Last records in the 70s - who were the bass players on those?!!?

Also called Squier II outside of Europe (at least some of them). Half decent basses by all accounts. Seriously the first looks ok the second looks hacked about and not as good even allowing for that. Is there not a difference in model or something? £300 does sound a bit steep but then again so do some Squiers. I agree regarding Warwicks - especially when you consider the cost of other basses, which are entry standard and very basic in comparison. Daft times eh?!

From where I'm standing - first one looks half decent, second one looks like a dogs dinner - is that part of the reason for the price differential? Rather like a refin pre CBS compared to one with more originality (incorporating .... aherm - mojo)?

There's no special reggae bass however there's reggae feel - and the bass sound needs to have enough definition to hear the pitch of the notes - not boomy blubber - otherwise you might as well have a second bass drum booming playing the bass guitar beats. In the 70s, the guy in Steel Pulse used a very smart natural Stingray. Family Man used an Acoustic 370/301 stack in the 70s. I use Stingrays through a Markbass LM3 and combinations of MB 2 X 10 speakers. Plenty dubby enough played over the neck joint. The HH Stingray 5 Special with neck pick up only engaged is very dubby but still defined enough. The Stingray has ample bass booty both from the construction and from the EQ - even more so the Special with it's 18 v preamp. IMHO feel, bass response and note definition are the key ingredients.

Not so - the Sterling by Musicman Ray 34 and 35 can be had with roasted maple necks, figured tops and HH pick ups with single coil settings. As for the Sire basses, I recently saw the 360 Band (Hamish Stewart, Mollie Duncan and Steve Ferrone of AWB plus sessions players) and Steve Pearce played a Sire (V7 MM I think) all night and it sounded excellent - well almost all night as Hamish Stewart played a Fender Mustang on one song. Good recommendation for these basses - he's a top sessions bassist.

Yeah I remember you saying that was your plan and going ahead with it. I wouldn't accept anything less than a fully serviceable neck of the same model or equivalent. And no the bodies and necks are done separately - I can't imagine them attaching a fully painted and finished body to a blank neck and then fitting the nut and frets etc - these are mass production instruments!! You could argue they want to fit your tuners but if they're that cheapskate that they can't afford to send you a fully finished neck then I'd be amazed. Car dealers have been known to take unobtainium parts from new showroom cars to deal with existing customer's cars promptly - then get the replacements for the showroom cars as there's less hurry. It sounds like they're not trying very hard (and I'm sure if HQ Fender customer services knew, they'd sort it out much quicker).