drTStingray

I reckon mine is around 8.5 lbs if not lighter. I haven't noticed anything odd about string alignment - in fact they even line up properly on the HH across the pole pieces on both pick ups - the previous HH were slightly off centre on the poles on the neck pick ups. Do you think it could just be that bass? Im waiting on a Cruz teal 5HH - I was given an update and quoted a new delivery date earlier this week - 25/1/19 😧 a 9 month wait from initial order - good job I'm not in a hurry!!

Sorry but it still looks like a reverse headstock bass V1 to me - not that SC playing a bass V1 would be outrageous - not quite his piccolo tone but if he wanted to get back to a 60s thick twangy feel.......

Maybe the Ronny Jordan version helps? It's the bass figure which is very reminiscent in the riff in Pretty Woman and also in Day Tripper - both of which use upper flat 7ths and 9ths as the upper part of their riff - as per the bass figure in So What. I always thought the Beatles, who toured or appeared with Orbison, had likely been influenced by it in writing Day Tripper. Similar notes and pattern - different timing - a little like Whole Lotta Love and Hoochie Coochie Man. http://youtu.be/lANilh2bLo4

It is true that the synthesiser/ sequencer parts (I can't remember the tracks but there were three or four - probably Stock, Aitken and Waterman ones) came through far more clearly than the bass guitar parts - not sure how the keyboards would have been sent to the desk? Direct or miked from speakers? Anyway it's curious the difference - I suspect those saying the feed to the desk for the bass guitar was from a DI before the amp may be right - in which case they've lost part of the bass sound (which is what the amp produces) - also very dangerous if you're using pedals. I personally prefer to provide the feed from the amp DI (not possible from some valve amps). All that said the bass sound on some of the songs was fine - I agree it was a bit thin on Can't Get You Out Of My Head. On that one it sounded like rock bass mix syndrome to me!! Not enough mid punch. Agreed on Sandbergs - the procession of Fenders can get boring, especially if the sound is thin and low in the mix, as sometimes seems the case.

I like quite a lot of it. http://youtu.be/zqNTltOGh5c So What - whose bass riff has been adapted by many including Roy Orbison (Pretty Woman) and The Beatles (Day Tripper). Miles Davis' Kind of Blue is a wonderful album in my view and highly influential of much jazz and popular music following it. And about 25 yrs later with Marcus Miller on bass - I've borrowed those bass parts in Tutu quite often!! And another great album along with Amandla. http://youtu.be/sAMJy-PHzKE

And there's lots of both (even by my choice!!) - Moondance??!! 😂

Yet another potential artist bass from Fender? I wonder whether this will disappear into the ether as briskly as the custom shop Flea Signature Stingray copy? To be fair, that was pre announced the same time as Musicman's Stingray Special, which appears to have been a great success. The bass with Stanley looks a little like a reverse headstock bass V1?

I watched this and quite liked the overall concert - having found the bass fairly inaudible on the tele I plugged it through a stereo system and that improved things a lot. However to me, the only time the bass sounded really good and prominent (as per listening to a recorded version) was when it was synth bass. Not sure what it is with bass guitar in modern mixes but they always sound late 60s to me and when anything defined and higher in the mix is called for it doesn't get there. I presume the overall mix is geared to bottom end rumble and not enough mid as far as bass is concerned. I enjoyed the bass playing though - very good.

Excellent. My quote related to the Shadows circa 1961 - after they'd taken delivery of their AC 30s. The guitars and bass were played through these live - not sure whether the vocals went through the PAs of the venues they played in at the time. The drums appeared to be acoustic only. Certainly not enough bass power!!!

Reggae was something quite different - as you say from Jamaican origins and clearly associated with that culture - rock steady being a Caribbean origin. I grew up with it to an extent in the 70s and the whole feel and technique was completely different from for instance, R and B. Emphasised by demonstrably incorrect attempts to play it by even the most famous artists of the era. However I was involved with Jamaican musicians in the 70s who were totally soul music fans/ players - there was a programme on BBC Radio called Soul Club which had live bands - early 70s - I never heard them play reggae at all!!

I'm not surprised as a lot drummers tended to sound like redeployed jazz or dance band drummers - nevertheless acoustic drums with sticks can be relatively loud even with a lighter touch drummer.

Id heard Ludwig drums were very loud - my own experience also!!

Crikey what a bummer. Sorry to hear about that but you appear to have sorted out a solution. It sounds like the change in humidity/temperature has highlighted a fault in the bass. Whilst you'll be sorted with the bass I would definitely be taking Fender to task on this. Nothing to lose and you may get a replacement neck from them - you'll also be in a position to send the part back to them. However I guess there's one saving grace - at least it isn't an original stack knob shell pink Jazz bass - that really would bring tears to the eyes 😬 PS I use a Stingray HH for the ska band I play in 😉

Looks great - the whole package including the ebony (?) and roasted neck and especially with that SR5 scratch plate - you have some other interesting looking basses in that rack!! I was at an outdoor gig the other day and a guitarist/singer was plagued by a vicious wasp - I hope that bass colour doesn't attract such insects this time of the year 😯

That's interesting. Ive generally used position 4 (away from the bridge) for that type of sound (inner coils only) - probably need to boost the mids though. I've found the neck hb soloed can get towards an Alembic sound with some judicious tweaking of the EQ (on my regular SR4HH) - have yet to try with the new bass - I'm generally using bridge hb or both hb currently. I have Thomastic flats on my classic Stingray and that sounds excellent - I can only imagine what the higher output revoiced SR Special must sound like with flats - quite an eye opener I'd think. Im finding mine has very strong resonance played acoustically and particularly harmonics.

I am very keen for someone to explain to me the link between Carol Kaye, Joe Osborn, the Motown bassists and genres such as reggae and metal. That they are/were good players and played on and influenced pop music is undeniable, and Motown clearly influenced subsequent R and B, I really struggle to see their significance, other than playing bass guitar to some of these other genres.

And who could forget (we did....) Hugh Hopper of Soft Machine - early jazz rock - Canterbury sound bands are often associated with the 70s - Egg with the rather excellent Mont Campbell on bass, introduced me to the intricacies of 9/8 time signature!! Probably after 1969 though!!

V interesting - he's quoted as moving from dance bands to a smaller group doing pop and other things owing to the tail off of demand for dance bands.

So once you've come by your Fender Precision, no mean feat and extremely expensive (comparatively) imagine the lot of the famous bass player in the early 60s, having to play live through a Vox AC30 whilst the rythmn and lead guitarists both play though amps of a similar output, there is a drummer (and we all know how loud they are) all with no PA support - so your hard earned Precision bass will likely sound like a hive of demented wasps owing to the level of unintended distortion and sound break up.... Indeed the reason quoted for non release of a Shadows live recording from 1962.

I'm concious we didn't cover folk rock (though Danny Thompson got a mention). Folk rock was quite a crossover genre especially for rock music fans in the 67-69 period. Probably the most influential bands were:- Fairport Convention - bass players were Ashley Hutchings (1967-1969) and Dave Pegg (1969 on). Steeleye Span - bass player Ashley Hutchings (founder member of both bands). He left and was replaced by Rick Kemp in 1972 (out of era 😏) Their bass parts were quite up front in the music and formed quite an important part of the 'rock' element of the folk rock thing.

Thanks for reminding me of this book Trevor - I don't have it but am placing an order. I associate Mo more with the 70s but I'm sure this is a good read and crosses the decades. The pertinent early 60s period for The Shadows (and with Cliff Richard) for basses, for those interested was:- Jet Harris buys sunburst Precision (probably to replace Besson Star semi acoustic (made by Framus) damaged in a theatre dressing room) - late 1959 (nb Hank receives his fiesta red/maple Strat privately imported by Cliff Richard - March 59). Replaced by fiesta red Precision/ rosewood around March 1961 - the 'all three matching guitars' look appeared a little later in 1961 (all with rosewood boards). Jet left The Shadows in 1962 replaced by Brian 'Licorice' Locking who used (likely) the same fiesta red Precision until mid 63. Mid 63 the band changed to white Fenders in time for the release/promotion of the single Atlantis. Nov 63 Locking leaves and is replaced by John Rostill who uses (probably the same) white Precision. 1964 - the band change to white Burns guitars and appear with them for the promotion of the single The Rise and Fall of Flingel Bunt. The all three FR Fenders, all three white Fenders and all three white Burns appear to have been part of endorsement deals. The astonishing thing about this is that the FR P bass was only around from early 61 to mid 63 - an amazingly short time given the power of the three FR Fenders image/legend.

The John Barry 7 - there's an interesting thought! John Barry being responsible for some great film and TV theme music.

Glad you enjoyed your day out. Love that yellow - as you say it's bright but doesn't stand out quite so much in the flesh as it were. I'm thinking a 5 would look stunning in that with black scratch plate.

Fabulous - congratulations. These are really very fine instruments.

So what was the bass of the UK player between say 1955 and 1965 - there seem to be big shouts for Hofner and Framus from what I've read - anyone any views/knowledge? I know Jet's appearance with a Precision was highly influential. When did Herbie get his Jazz - although it won't have had quite the exposure of Jet's P bass (and subsequent Bass V1).