In a previous thread I asked the question of do you run your 2-band bass & treble controls on full. Historicaly, I've used the Stingay for funk and groove tunes as well as a bit o' slap and poppin. I like the tone with the EQ's dimed as the extreme treble and bass sound (to me) appropriate for this type of music; of course when you have extreme top and bottom, then the mids are shallow or scooped.
If you were to boost the top, bottom, and mids you pretty much just increased the over all volume, then didn't you mate (don't even THINK of coming back with some esoteric, bandwidth / Q / parametric diatribe; I'm talking in very general terms here).
So the point:
Pulled the bass from moth balls for a funk session and it did exactly what I expected and wanted it to as it always has.
Then for the first time ever, brought it to my usual once a week rock rehearsal.
Standard 2 guitars, keys, bass, & drums; sounded kinda thin during rehearsal although great by itself during a break. Did experiment with amp EQ but left instrument controls on full as that's what I've always done.
Nice room with PZM's going to decent mic pre's to compressor to CD recorder; we record every rehearsal. This rehearsal had a very scooped bass sound that did not work for me in this band setting.
Point is, the tone sounds beautiful in my living room (SVT or LMII through TL606 or Berg HT322) with the instrument controls maxed, but horrible in a rock / R&B band setting (IMO / IME )
Compared Mr. Stingray to my trusty early 70's J bass and low and behold I have to agree with many of you that said something like "back the treble down 30%-50% and the bass back 10% to 30%. In the living room the tone is still very vibrant but now has the mids that were lacking from the rehearsal CD. Of course, it can also get scooped, dubby, 1960's flats R&B tone, or 100 places in between.
Mr. SR is also much easier to play even though the neck on this one has a severe ski jump and some worn frets. It has incredible sustain, even volume on nearly every note, big sustain, and can be played one handed; it inspires me to play new bass lines that I wouldn't normaly play; really like that feature.
Can't wait to record this Thursday to see how it holds up.
I've decided that these are dangerous intruments.
They have such extreme tonal variations at the users' fingertips that it would be easy to get a lame tone; especialy when the user doesn't adjust for new situations. (Lame user jokes not necessary
)
If you were to boost the top, bottom, and mids you pretty much just increased the over all volume, then didn't you mate (don't even THINK of coming back with some esoteric, bandwidth / Q / parametric diatribe; I'm talking in very general terms here).
So the point:
Pulled the bass from moth balls for a funk session and it did exactly what I expected and wanted it to as it always has.
Then for the first time ever, brought it to my usual once a week rock rehearsal.
Standard 2 guitars, keys, bass, & drums; sounded kinda thin during rehearsal although great by itself during a break. Did experiment with amp EQ but left instrument controls on full as that's what I've always done.
Nice room with PZM's going to decent mic pre's to compressor to CD recorder; we record every rehearsal. This rehearsal had a very scooped bass sound that did not work for me in this band setting.
Point is, the tone sounds beautiful in my living room (SVT or LMII through TL606 or Berg HT322) with the instrument controls maxed, but horrible in a rock / R&B band setting (IMO / IME )
Compared Mr. Stingray to my trusty early 70's J bass and low and behold I have to agree with many of you that said something like "back the treble down 30%-50% and the bass back 10% to 30%. In the living room the tone is still very vibrant but now has the mids that were lacking from the rehearsal CD. Of course, it can also get scooped, dubby, 1960's flats R&B tone, or 100 places in between.
Mr. SR is also much easier to play even though the neck on this one has a severe ski jump and some worn frets. It has incredible sustain, even volume on nearly every note, big sustain, and can be played one handed; it inspires me to play new bass lines that I wouldn't normaly play; really like that feature.
Can't wait to record this Thursday to see how it holds up.
I've decided that these are dangerous intruments.
They have such extreme tonal variations at the users' fingertips that it would be easy to get a lame tone; especialy when the user doesn't adjust for new situations. (Lame user jokes not necessary
)
