risingson

Gus sorted me with an exceptionally fresh, virtually new looking Stingray 5 string, one of the basses I've been keen to get hold of for years. He travelled well out his way to get the bass to me and was a pleasure to chat with and indeed to trade with! Cheers matey!

[quote name='clashcityrocker' timestamp='1352480264' post='1863684'] Seems there is a trend emerging here.... So all you 5 string converts,any temptation for 6 string,as if one string made you convert surely 2 extra is the way forward?! [/quote] I don't need the high C. The left-hand positioning aspect of having a low B is handy because even if you rarely use the lower string it does help connect up passages and fills without knowing that you're about to run out of frets low down. The high C would be handy in the same kind of way but I don't consider it as important for what I do, so I'll probably always hold off from buying a 6 string. Aesthetically I might also feel like I'd crossed a line

[quote name='LeftyJ' timestamp='1352470380' post='1863493'] Cool! Can you elaborate a little about the sonic differences? I have a 2003/2004 model so I guess it must be ceramic too? How do the two compare? [/quote] The alnico magnets were the ones that go in the original Stingray 4's. They started off putting in alnico pickups in the Stingray 5's when production started on them in 1988, but swapped to ceramic a few years later. The ceramics apparently give the bass a grittier, harsher tone but with the Ray preamp in there the difference to my ears is negligible. Ceramic magnets are cheaper to manufacture too apparently. [quote name='chris_b' timestamp='1352472138' post='1863530'] I didn't really enjoy playing my SR5 very much, but I've heard others getting a great sound out of theirs. [/quote] My concern with a Stingray was that I would struggle to find a place sonically for it with the kind of music I play but so far it's not proved to be an issue. Already done a bit of recording with it this morning, sounds great.

Just bought a Stingray 5 from our very own Gusto. Only had it a few hours but it's reminded me why I should have bought one of these things a while ago, it's an absolute beast. Looking forward to trying to dispel the idea that Stingrays are one trick ponies as well, something tells me that this 3-band EQ and three-way selector switch is going to give me everything I need from a good 5 string! Very happy, really looking forward to gigging it with my TC RH750 rig, it's going to be huge

Some Donnie Hathaway if they really know their stuff would be a good shout! Willie Weeks's stuff is mind-blowing. [quote name='JTUK' timestamp='1352324352' post='1861806'] Pick 2 or 3 tracks which YOU can really groove to... and if they don't work, you'll not want to join them. If they do work...job done. Stay away from the cliches.... everyone will do them..and that doesn't make you stand-out.. [/quote] +1 to this.

Welcome mate lovely selection of basses and amps you've got there.

Just had a listen to the Soundgarden clip. Don't get what was particularly wrong with the P-Bass, it was just your average run of the mill driven P sound, it suited what they were doing. P-Basses don't sound naturally mid-scooped at all to me. They have a low-middish presence that's hard to get away from for me in a studio and live environment, it's not something I consider a bad thing at all but I pick and choose when I use one for recording for this reason. Works for some stuff, not for other stuff. What I really love is a P-Bass with fresh roundwounds for out and out rock stuff, they have a really forward, almost piano-like sustain to the note, especially when played with a pick.

[quote name='Roland Rock' timestamp='1352294682' post='1861170'] My ears don't agree with that fact [/quote] Nor mine! The opposite to some extent in fact. I didn't see the show so I can't really comment, I did catch one of my old friends from Uni singing acapella with her band The Staves though, that was excellent.

[quote name='Machines' timestamp='1352146237' post='1859417'] Haven't they missed the boat on overpriced Fender copies ? Sadowsky have been experts on this for some time. [/quote] Ouch!

[quote name='RambleOn' timestamp='1352135665' post='1859199'] Thanks. Hotwires don´t seem to be what I'm looking for, maybe DR Flats?? [/quote] What are you looking for? I was totally unaware DR even made flats. If you're looking for lower tension then get the TI's, I don't think you can go wrong.

Tried one of these a while back, it was really quite outstanding, the sound out of it was massive. Agree with BRX that the headstock getting slapped on every Warwick regardless of ergonomics and overall design is incredibly annoying though.

Do you have to read music? Short answer no. Longer answer, no but it helps in a lot of situations, including broadening your musical horizons even outside the notation you end up learning from. You'll find learning to read most effective if you develop it alongside a strong set of ears! This is a topic that's been covered quite a few times before, whilst most people will be fine to offer advice (including myself), a search might be handy to see some of the answers that members have given to this question in the past. I would add that anything that broadens your musical horizon will have a positive effect on you as a musician, even if you consider reading to be a redundant format for the music that you perform.

[quote name='RambleOn' timestamp='1352074685' post='1858548'] How does the HotWire Flats tension compare to the TI Flats and Chromes? Thanks [/quote] I'd say the Hotwires were quite high, probably not much difference between those and the Chromes that I can recall. As Colite says, the TI's are low on the scale of flats, obviously this makes them slightly preferable for people used to using rounds a lot. Personally I prefer the almost double bass-like tension of something like the Hotwires. La Bellas are the highest I've used personally.

I like, very much. It astounds me how great so many of the regular users of this site are.

My dad of all people actually drew him to my attention this morning, he sounds great!

I think I've tried most types of strings now but I always gravitate back to D'Addario. I really love their nickel XL's and unlike many other strings (like DR IMO) they are really decent value for money. I also have one of my basses strung with Status Hotwire flats, which are again excellent value for money. A little bright but they mellow nicely after one or two gigs. Also like D'Addario Chromes and TI Flats for the lower tension.

Absolutely love The Meters and GPJ, one of the very, very few bands I'd describe as 'underrated' maybe.

Never really liked the musical at all but the playing is great, a lot of Toto guys. It wasn't David Hungate, but he is a bit of a wizard, ended up in Nashville eventually where he's still playing today.

What's the difference between this and say the Classic 4? I hope they don't end up doing a Fender, putting out multiple models of the same product with different names and with varying degrees in price! Good news about the Sabre though, nice they're going to bring it back.

[quote name='cheddatom' timestamp='1351588588' post='1852849'] was anyone else using effects on bass like LG before he did it? [/quote] Anthony Jackson's phased part on For The Love Of Money, though I'm guessing it will have happened alongside what Larry Graham was doing also as opposed to being before it.

Time is usually an issue plus my bass is usually in our studio or elsewhere, but yes I absolutely love playing at home between gigging.

[quote name='popoctave' timestamp='1351468115' post='1851614'] Les Paul established the Les Paul, Jaco established the fretless but LG INVENTED FUNK as we know it. [/quote] I think James Brown had quite a bit to do with it as well! I agree that the comparisons are a bit crazy, Jaco always gets lumped in with Hendrix though and it's probably a bit more apt than the LG comparison IMO.

Anyone mentioned Adam Blackstone yet? Ridiculous New Jersey player who is literally MD'ing for everyone big right now. Done a lot of work with some of the bigger hip-hop guys. http://www.youtube.com/watch?v=1GcWhIb7Hpw

Raking made it into my technique without me even really noticing. James Jamerson did it a lot, or at least a kind of rake where he'd follow through an open onto a fretted string below, presumably a way of tying together parts as he only ever played with his index finger on his right hand. It's really handy to have the ability to offer a phrase in a different way like that for me.