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Musicman stingray...??


GraemeC
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I got one a couple of years back, traded it in last year against my mates PRS (he payed me back the cash). I dunno, it wasn't that great tbh. I have since discovered that Leo Fender's earlier designs are more for me. I have played ones in shops that were nicer than mine though, so perhaps my one was just a bad example. If you really want one, definitely try the one you like in a shop before buying, don't buy online.

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Yes... thank so far, i'm really not looking for alternative suggestions, I just have this desire for a plain old stingray, thanks for the offer woodyRATM I might take you up on that, which model is it?

My problem is that I have it in my head that getting a sound I like wont be a problem, I normaly play a jazz that weighs about three tons so weights not a big issue the only thing is I dont like maple fretboards so I would need to track down a rosewood model...

G...

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Guest droid
Shame this thread isn't titled, "what is the most versatile bass you've played", because then your post would be of some use.
"shame this isn't a thread about taking the piss from folk stating their opinion, then your post would have been of some use!".Chill dude!

The point i was making is,in my opinion musicman basses are not very versatile sound wise compared to other basses.Only my opinion though.

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Generally what kind of sounds do you get from the HH stingray. is it more warm and punchy like a jazz or abrasive and planky like a P? or something entirely different?

well, it still sounds like a stingray, but better.

In the position i use it, you can get loads of grit, but also has lots of warm lows.

I'm not a big fan of "the" stingray sound, find it to "clanky".

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"shame this isn't a thread about taking the piss from folk stating their opinion, then your post would have been of some use!".Chill dude!

The point i was making is,in my opinion musicman basses are not very versatile sound wise compared to other basses.Only my opinion though.

Neither is a Peavey 5150 amp.

But if someone started a thread saying; "I really want to get that 5150 sound", and then someone randomly pitched in with; "I just bought a Line 6 PODxt and it's got loads of different effects" it just seems a little bit "me, me, me" with no real use or relevance to the topic originator who is clearly just interested in a Stingray rather than hearing about who recently bought a subjectively more versatile bass than what he's after .

Anyway, sorry for being an ass about it - because I'm being an even bigger waste of time by pissing and moaning. Let me apologise by not returning your negative rep points in a playground manner :)

And just so this post isn't completely wasted... I like Stingrays. If I worked for Ernie Ball/Musicman, I'd suggest bringing out the limited edition 'Steve Irwin' model.

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A perfect example of each to their own eh...?

I love the sound, and I think it'll suit the blues stuff (with a rock edge) that i'm playing at the moment....:up:

you could try mine as well if you like, just to see the comparison between the standard and the HH model.

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Guest droid
Neither is a Peavey 5150 amp.

But if someone started a thread saying; "I really want to get that 5150 sound", and then someone randomly pitched in with; "I just bought a Line 6 PODxt and it's got loads of different effects" it just seems a little bit "me, me, me" with no real use or relevance to the topic originator who is clearly just interested in a Stingray rather than hearing about who recently bought a subjectively more versatile bass than what he's after .

Anyway, sorry for being an ass about it - because I'm being an even bigger waste of time by pissing and moaning. Let me apologise by not returning your negative rep points in a playground manner :)

And just so this post isn't completely wasted... I like Stingrays. If I worked for Ernie Ball/Musicman, I'd suggest bringing out the limited edition 'Steve Irwin' model.

Hahaha right on brother,is this not a discussion forum?Any way no need to steam in with negative comments and apologies accepted.I love the sound of a musicman a la Louis Johnson.....peace out D

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I used to play a Stingray for about 6 to 8 months in my old band and despite the fact they are superb in terms of playability, I found it extremely difficult to maintain a consistent sound. Obviously the acoustics of any room you happen to be playing is a huge variable in this respect but I had have to spend a ridiculous amount of time trying to dial in a decent setting everytime I used the Stingray at practise or at a gig. One of the main problems I found was some of the lower register notes didn't resinate as much as the rest and no amount of tampering with EQ on both my amp and the instrument itself seemed to help.

I had mine set up for heavy guage strings as I played in C#, G#, C#, F#. I played with a pick and went through a Boss ODB 3 into the dedicated active instument input on my Mesa 400+ head, which powered an Ampeg 8x10. I concluded that the seperate EQ's on the head, pedal and instrument collectively over-complicated everything and was probably the main reason for the lack of consistency in sound. Not only that but I don't really think Stingrays are really made for the style of music I play and are probably more suited to those who play with their fingers (ie. funk, jazz, etc). I would also add that due to their active circuitry they would probably be more at home with a solidstate amplifier instead of something with valves.

I ended up selling it and bought a Fender USA jazz bass, which has yet to disappoint. A good example of the differences between the two is Joe from Fugazi. He used a Stingray for most of their earlier albums but then changed to a jazz from Red Medicine onwards, which I believe is a far superior instrument in serving their sound.

My two cents.

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I'm assuming because you tuned down, you played/play in a metal band.

Stingray basses are one of the most aggressive sounding basses out there. And coupled with a mesa 400+ head and an Ampeg 8x10, you can't really go wrong...at all.

Rex Brown used a Stingray around the time of Far Beyond Driven, and on the official live 101 album, that track at the end "I Can't Hide" has Stingray written all over it.

Your comment about them being more suited to jazz/blues etc is just flat out wrong, otherwise, many punk/metal band wouldn't use them.

Not meaning to be a dick, so sorry if I'm coming across like I am.

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I'm assuming because you tuned down, you played/play in a metal band.

Stingray basses are one of the most aggressive sounding basses out there. And coupled with a mesa 400+ head and an Ampeg 8x10, you can't really go wrong...at all.

Rex Brown used a Stingray around the time of Far Beyond Driven, and on the official live 101 album, that track at the end "I Can't Hide" has Stingray written all over it.

Your comment about them being more suited to jazz/blues etc is just flat out wrong, otherwise, many punk/metal band wouldn't use them.

Not meaning to be a dick, so sorry if I'm coming across like I am.

Not at all, it's totally a matter of taste and I should of really said that in my previous post. I still think Stingrays are awesome but I realise now that they don't really provide me with the sound I prefer.

The band in question did more angular punk stuff than metal and it was just a three piece. At the time I was trying to get an aggressive, biting tone but coupled with quite a bit of sub, which didn't really work with the bands overall sound. Stingrays really excell in providing killer bottom end I think they work best in bands with two guitars. I know what my gear is capable of and it always left me totally confused and very fustrated that I had so many problems with the Stingray. Like I said, I think the balancing of three seperate EQ's was the main reason things went weird and that simplifying in that respect was the way forward. In the end I ended up just using the jazz through the same setup with a lot of mid and treble and very little bass, topped off with a fair bit of gain and going for a David Simms/Bob Weston sound, which in my opinion are great examples of super-aggressive, punch in neck bass tone.

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Not at all, it's totally a matter of taste and I should of really said that in my previous post. I still think Stingrays are awesome but I realise now that they don't really provide me with the sound I prefer.

The band in question did more angular punk stuff than metal and it was just a three piece. At the time I was trying to get an aggressive, biting tone but coupled with quite a bit of sub, which didn't really work with the bands overall sound. Stingrays really excell in providing killer bottom end I think they work best in bands with two guitars. I know what my gear is capable of and it always left me totally confused and very fustrated that I had so many problems with the Stingray. Like I said, I think the balancing of three seperate EQ's was the main reason things went weird and that simplifying in that respect was the way forward. In the end I ended up just using the jazz through the same setup with a lot of mid and treble and very little bass, topped off with a fair bit of gain and going for a David Simms/Bob Weston sound, which in my opinion are great examples of super-aggressive, punch in neck bass tone.

fair dos.

if i were you, i would have gotten a y split cable, and used both inputs on the mesa. It sounds lush. Thats what I do.

I just bang straight into the amp, no effects or anything and it comes out great.

I also use a jazz bass these days. Which works with the mesa very well imo.

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