cyoungnashville
Chief Fanboi-ardee
"play strong, play confident, play lawn-darts" works too.
- Thread starter madbassplaya
- Start date
My old band recorded two albums and two ep's, 80% of the songs were played using a Stingray
( precision, Jazz and L2000 finished the rest, just to keep the Leo love going) .............
I've always felt that the Ray, the 'P' and 'J', and most GnL's are all fairly equal in terms of Leo
Love heritage. Yes, the Ray is now BP's baby, but Leo is it's Grampa. My modern Fender P-Dlx
is more distant from its origins than the Ray is from its own origins. The previous P-Dlx [with
the bridge humbucker] is THE P-bass for MM lovers who might happen to 'need' a Fender for
those "cultural situations" where nothing else is really accepted. 3 bands of kickbutt active EQ
and a bridge humbucker ... there's plenty of Fender purists that would NOT even allow such an
ax to play in those "cultural situations" ... but I steer waaaaay clear of that bunch of wackos.
That bunch would say "Hey, if'n you gonna play that bogus 'P', why'nt y'all just show up with
a friggin StangerRee ?" Just to be reeeeellly clear about this, the '08 [+/-] P-Dlx is NOT a Ray,
but of all Fenders, ever, it's gotta be the Ray lover's choice among P-basses. The rest of them
Fenders are for ... well ... Fender lovers [and narrow-minded producers].
bovinehost
Administrator
Rano Bass
Well-known member
A few years ago i recorded some songs on a demo of a local singer, the producer was a blind guy with great ears and he loved the sound of my old 1990 2 band Ray
He asked what is that bass you´re playing?
It´s a Musicman i said.
Sounds very good he said ,can i play it?
He asked what is that bass you´re playing?
It´s a Musicman i said.
Sounds very good he said ,can i play it?
J Romano
Well-known member
I have a complete set of the original "Lawn Jarts" here. They are a blast, but get in the way of one coming straight down and you won't be playing bass any more! Will probably be getting coloring books for the rest of your life though
I have recorded many times with my EB's. If you are not getting a particular sound, modify your attack a bit. I am a big believer in your tone is 90% from your fingers and technique. I have had engineers request that I play other basses, but when I played and tracked a sample, I have never been pushed to change.
madbassplaya
Well-known member
- Joined
- Feb 28, 2010
- Messages
- 200
I agree with you man.
bovinehost
Administrator
Picture this. It's November of 2003. Pterodactyls blackened the skies over San Antonio. Every guitarist within 200 miles is required by law to know every SRV lick, even the ones that ended up on the control room floor. A bar, filled to the brim with bikers and questionable ladies of the evening and the only bass that has ever existed is a Fender Precision. One guy has a Jazz bass, but they all talk about him outside. "Is he from Oklahoma?"
And in I walk, knowing possibly two or three actual blues songs, with THAT.
Moral of the story: carry a gun.
No, wait: play what makes you happy and tell everyone else to kiss your ass.
madbassplaya
Well-known member
- Joined
- Feb 28, 2010
- Messages
- 200
Words to live by.
rutgart
Well-known member
Personal opinions are just that, Personal.
Personally I have only had a handful of engineers/producers/artists ever ask for something other that the Bass I've brought to a session in over 25 years and I've found all of them have had a bass on hand that was to their preference.
Go with what you love to play and you'll never go wrong.
Personally I have only had a handful of engineers/producers/artists ever ask for something other that the Bass I've brought to a session in over 25 years and I've found all of them have had a bass on hand that was to their preference.
Go with what you love to play and you'll never go wrong.
MK Bass Weed
Well-known member
Wonder what happens when Anthony Jackson walks into a studio, with a giant chunk a wood with just an XLR jack...sheesh.
Studio Log File: "getting a sound"
15 Hours to get a drum sound
8 Hours to do a vocal (1 hour to cut the track, 7 hours waiting for the vocalist)
9 hours recording guitars..after changing out amps, putting in the stairwell, cover it with the iso box
BASS: Plug in- Plunk Plunk...Okay..that's good.
If we acted like drummers, vocalist or guitarists, we wouldn't have this thread!
Studio Log File: "getting a sound"
15 Hours to get a drum sound
8 Hours to do a vocal (1 hour to cut the track, 7 hours waiting for the vocalist)
9 hours recording guitars..after changing out amps, putting in the stairwell, cover it with the iso box
BASS: Plug in- Plunk Plunk...Okay..that's good.
If we acted like drummers, vocalist or guitarists, we wouldn't have this thread!
Musicman Nut
Well-known member
Listen to Rod, and Just learn how to Play and go get the job done.
You could not call yourself a chef (or even a cook for that matter) if you said: "I can only cook with wheatflour, I can't make anything with riceflour or cornflour"
How does someone call themselves a studio engineer if they can only deal with one bass sound?
Many bands had their own sound due to the eclectic mix of people that made them up and there has been many distinctive bass players who had their own sound within those bands (we tend to call these bass players our heroes). Many of these bands would not have sounded as good without these players.. Why do these people (who call themselves studio engineers) take distinctive bass sounds and turn them into an undefinable dull thud?
I was once employed as a bass player because I had a distinctive approach and sound. When it came to recording time I wanted to record my parts at home in my own time (so as not to waste anyone elses time).
With the guide tracks I put my lines down in stereo with the right amount of compression etc. I was into 12 string basses at the time, and did my best to capture the gloriously chorused sound.
I sent the files back to be mixed.
When I next heard them all my lines had been sliced and diced with all of the interesting bits taken out and turned into a dull thud... This was to allow the guitarist his 40 thousand overdubs....
I don't get why in so many music fields they look for a distinctive sound so long as the bass is a dull thud. So many said engineers can make any bass sound like an EB-3 with 30 year old flats, compressed to blazes and no dynamics, they funny thing is they all want you to do it with one of Leo's earlier basses (which to me has a lively sound not a million miles from his later basses)
Ah, sorry, too much ranting....
It was the distinctive recorded sound of the Stingray that made me pick up a bass all those years ago..
(It was John Glasscock in Jethro Tull)
emac.
How does someone call themselves a studio engineer if they can only deal with one bass sound?
Many bands had their own sound due to the eclectic mix of people that made them up and there has been many distinctive bass players who had their own sound within those bands (we tend to call these bass players our heroes). Many of these bands would not have sounded as good without these players.. Why do these people (who call themselves studio engineers) take distinctive bass sounds and turn them into an undefinable dull thud?
I was once employed as a bass player because I had a distinctive approach and sound. When it came to recording time I wanted to record my parts at home in my own time (so as not to waste anyone elses time).
With the guide tracks I put my lines down in stereo with the right amount of compression etc. I was into 12 string basses at the time, and did my best to capture the gloriously chorused sound.
I sent the files back to be mixed.
When I next heard them all my lines had been sliced and diced with all of the interesting bits taken out and turned into a dull thud... This was to allow the guitarist his 40 thousand overdubs....
I don't get why in so many music fields they look for a distinctive sound so long as the bass is a dull thud. So many said engineers can make any bass sound like an EB-3 with 30 year old flats, compressed to blazes and no dynamics, they funny thing is they all want you to do it with one of Leo's earlier basses (which to me has a lively sound not a million miles from his later basses)
Ah, sorry, too much ranting....
It was the distinctive recorded sound of the Stingray that made me pick up a bass all those years ago..
(It was John Glasscock in Jethro Tull)
emac.
Last edited:
drTStingray
Well-known member
I think this is exactly right.
A couple of extra points to add to this:-
I read an article in Bass Player a few years ago where one of the cool cats from the mid 70s was interviewed and asked about using a Stingray - he said he went in a shop and tried one and was first caught out that he could for the first time properly hear the difference between say a low F and low F sharp on the Ray - previous basses didn't give that clarity. And in the studio he felt great that when he was asked can you give me a bit more bass he could oblige with the Ray but couldn't with those first generation tools he'd previously been using. As Rod said, the Stingray earned it's studio accolades many years back and has been a standard ever since.
Second point, because the Stingray is a versatile beast, and sensitive to technique etc, it's entirely possible for an unskilled player to make a lot of unwanted noise on one (although surely the Rick is the ancestral home of clank?), much more so than an old piece of passive furniture. This might be especially noticeable straight into the board. Now we all know there are lots of bass players out there with limited skills who basically just thump along to the track - I'm guessing this may infuence what the producer says as the last thing they need is to have to spend time with the bass track having expended all those hours on the drums, guitar etc.
Moving the analogy to guitar players for a moment, it always amuses me to think what would have happened if they'd insisted Hendrix or Ritchie Blackmore played a Les Paul - cos we all know that you can't do blues rock guitar on any other instrument hahahaha
imagine if Andy Fraser had have played all that stuff with Free on a Fender (or Jack Bruce with Cream?).I think there are a lot of sound and production guys around who are either lazy, unskilled or simply lacking knowledge.
I'm guessing if you're in a band that's created a special sound the idea of changing instruments to suit the producer may be counter productive!
cellkirk74
Well-known member
Maybe someone could send me a pm? I'd like to know...
MadMatt
Well-known member
boristhespider7
Well-known member
- Joined
- Feb 13, 2007
- Messages
- 113
I just recorded an entire album with my Sterling HS. If my producer had told me not to use it, I would have told him to pound sand. As a matter of fact, it's being released this Saturday. At the album relase party, I will use my Stringray SLO Special:
The Steel Chops - a set on Flickr
Steel Chops Album Release Party
The Cubby Bear North
21661 North Milwaukee Ave
Lincolnshire, IL
The Steel Chops - Home
The Steel Chops - a set on Flickr
Steel Chops Album Release Party
The Cubby Bear North
21661 North Milwaukee Ave
Lincolnshire, IL
The Steel Chops - Home
Microbaroms
Active member
- Joined
- Oct 2, 2010
- Messages
- 36
Quote: "The Stingray is a great live bass, but it SUCKS for recording!"
A few comments.
1 Such a declamation is quite untrue, thus, I am somewhat surprised to read it hereabouts of all places.
2 Generally if a Bass sounds good when played but unplugged into an amp, it will also sound good when Amplified. Partly this has to do with correct set up, but you can learn a lot, right there.
Personally, I have yet to hear a EBMM Instrument that didn't blow the competition away played either way, in part because EBMM come out of the box superbly set up; but to be honest the EBMM blow the rest out of the water, on every single parameter you could take into consideration. Most especially, Superlative Build Quality and outstanding Customer Service.
3 This type of comment has generally emanated from older school Recording Engineers whose experience one could respect, but one should absolutely recognise that some individuals are definitely happiest in their personal comfort and safety zone, when working with Musical Instruments that are most familiar to them, and that they have had a good result with, in the past.
Some of these people are mentally and spiritually afixed in the Sixties and Seventies. In an Industry where you need to stay relevant to each succeeding generation or fade into oblivion.
What they are really talking about, is NOT actually EBMM Basses in point of fact.
What they are really discussing is that Active Basses, require different Sonic Approaches and Solutions when Recording, than Passive Basses which are extremely basic and simple in design and operation.
So the original comment above should NOT include the words 'Stingray' or 'EBMM', but rather 'Active'. Amongst Top Recording Engineers, when such discussions have taken place, THIS is what they are really talking about.
The range of E.Q. choices and available adjustments in Tonality on a Passive Bass, though quite wide enough for any Great Player to find expression with, utterly pall in comparison to the sounds available on a EBMM Active Bass which provides a Breathtaking Panorama of Soundscape.
THAT presents a formidable array of concomitant challenges, to those disinclined to readily accept a complete shift step in Product Development, Innovation and Progress.
What they really mean, is that a Passive Bass is easy for them to Record, because they have done it many times before.
How utterly pathetic.
It is akin to Mechanics preferring Vintage Cars because they know how to quite simply service them, whereas a Modern car will literally be brimming with electronics and will require a diagnostic computer and software plugged directly into its Management System that will reveal all in regard to the health of the Vehicle.
In point of fact, the soon to be launched Sub Brand BMW i Series, will be capable of electronically themselves parking themselves, at the very push of a button. The Series 535i does it already.
2011 BMW 5-Series Parks By Itself - YouTube
The new BMW i3 and BMW i8 Concepts - YouTube
The Electronic Drive Rolls Royce doesn't even need plugging in the Power Supply to Recharge. You simply drive the Car into your Garage over a Pad on the Floor and it Recharges Automatically.
Rolls-Royce 102EX Phantom Experimental Electric Vehicle - YouTube
The salient point is, the sheer pace of modern technology is such, that it is entirely inevitable that many will feel all to quickly out of their depth, and hanker for the less daunting, and less challenging.
So on a human level, such a reaction is entirely understandable, but let's see the thing squarely as it really is, and not be made a complete fool of, and diverted into blaming StingRays.
Many Great Engineers will often prefer DI to any other method of Recording Bass (Personally I usually Mic the Amp and DI simultaneously, often mixing the two) but the best makers of DI Boxes have entirely different Product Solutions aimed squarely providing the ideal DI Box whether you have a Passive Bass or an Active Bass.
What this tells us, is that Active Basses require a different Recording Approach and Treatment, than do Passive Basses.
That is the simple, essential, fundamental point!
There is a lot that can said in favour of Recording a Good Bass with an entirely Flat E.Q. Sometimes it simply is the best option for a Track.
Naturally, a EBMM can do that brilliantly too, but in addition to all the other Sonic choices and capabilities it brings to the table.
I would like to make one final point.
And it's one where I think we can perhaps appreciate the Recording Engineers point of view, and be a little self critical for a moment.
An expensively equipped Recording Studio manned by Experienced Professionals, is no place for any kind of Amateur Approach whatever.
Poorly Prepared Musicians, with Ill Conceived Ideas, that have not got their own Sound and Playing together, let alone their Material, Musical Arrangements and Presentation as a Group.
I do wonder, whether the kind of comment that actuated this thread.
Actually stemmed in the first place from experience with Individuals that have the finances to own a most Sophisticated and Technologically Evolved Musical Instrument; but have not invested the personal time and energy to properly hone their Abilities and Talent to be able to be a True Exponent of an Instrument of such Quality.
Better to do a little soul searching.
Than blame the Instrument.
I love my EBMM.
And I also love my P Bass.
But a bad workman blames his tools.
P
A few comments.
1 Such a declamation is quite untrue, thus, I am somewhat surprised to read it hereabouts of all places.
2 Generally if a Bass sounds good when played but unplugged into an amp, it will also sound good when Amplified. Partly this has to do with correct set up, but you can learn a lot, right there.
Personally, I have yet to hear a EBMM Instrument that didn't blow the competition away played either way, in part because EBMM come out of the box superbly set up; but to be honest the EBMM blow the rest out of the water, on every single parameter you could take into consideration. Most especially, Superlative Build Quality and outstanding Customer Service.
3 This type of comment has generally emanated from older school Recording Engineers whose experience one could respect, but one should absolutely recognise that some individuals are definitely happiest in their personal comfort and safety zone, when working with Musical Instruments that are most familiar to them, and that they have had a good result with, in the past.
Some of these people are mentally and spiritually afixed in the Sixties and Seventies. In an Industry where you need to stay relevant to each succeeding generation or fade into oblivion.
What they are really talking about, is NOT actually EBMM Basses in point of fact.
What they are really discussing is that Active Basses, require different Sonic Approaches and Solutions when Recording, than Passive Basses which are extremely basic and simple in design and operation.
So the original comment above should NOT include the words 'Stingray' or 'EBMM', but rather 'Active'. Amongst Top Recording Engineers, when such discussions have taken place, THIS is what they are really talking about.
The range of E.Q. choices and available adjustments in Tonality on a Passive Bass, though quite wide enough for any Great Player to find expression with, utterly pall in comparison to the sounds available on a EBMM Active Bass which provides a Breathtaking Panorama of Soundscape.
THAT presents a formidable array of concomitant challenges, to those disinclined to readily accept a complete shift step in Product Development, Innovation and Progress.
What they really mean, is that a Passive Bass is easy for them to Record, because they have done it many times before.
How utterly pathetic.
It is akin to Mechanics preferring Vintage Cars because they know how to quite simply service them, whereas a Modern car will literally be brimming with electronics and will require a diagnostic computer and software plugged directly into its Management System that will reveal all in regard to the health of the Vehicle.
In point of fact, the soon to be launched Sub Brand BMW i Series, will be capable of electronically themselves parking themselves, at the very push of a button. The Series 535i does it already.
2011 BMW 5-Series Parks By Itself - YouTube
The new BMW i3 and BMW i8 Concepts - YouTube
The Electronic Drive Rolls Royce doesn't even need plugging in the Power Supply to Recharge. You simply drive the Car into your Garage over a Pad on the Floor and it Recharges Automatically.
Rolls-Royce 102EX Phantom Experimental Electric Vehicle - YouTube
The salient point is, the sheer pace of modern technology is such, that it is entirely inevitable that many will feel all to quickly out of their depth, and hanker for the less daunting, and less challenging.
So on a human level, such a reaction is entirely understandable, but let's see the thing squarely as it really is, and not be made a complete fool of, and diverted into blaming StingRays.
Many Great Engineers will often prefer DI to any other method of Recording Bass (Personally I usually Mic the Amp and DI simultaneously, often mixing the two) but the best makers of DI Boxes have entirely different Product Solutions aimed squarely providing the ideal DI Box whether you have a Passive Bass or an Active Bass.
What this tells us, is that Active Basses require a different Recording Approach and Treatment, than do Passive Basses.
That is the simple, essential, fundamental point!
There is a lot that can said in favour of Recording a Good Bass with an entirely Flat E.Q. Sometimes it simply is the best option for a Track.
Naturally, a EBMM can do that brilliantly too, but in addition to all the other Sonic choices and capabilities it brings to the table.
I would like to make one final point.
And it's one where I think we can perhaps appreciate the Recording Engineers point of view, and be a little self critical for a moment.
An expensively equipped Recording Studio manned by Experienced Professionals, is no place for any kind of Amateur Approach whatever.
Poorly Prepared Musicians, with Ill Conceived Ideas, that have not got their own Sound and Playing together, let alone their Material, Musical Arrangements and Presentation as a Group.
I do wonder, whether the kind of comment that actuated this thread.
Actually stemmed in the first place from experience with Individuals that have the finances to own a most Sophisticated and Technologically Evolved Musical Instrument; but have not invested the personal time and energy to properly hone their Abilities and Talent to be able to be a True Exponent of an Instrument of such Quality.
Better to do a little soul searching.
Than blame the Instrument.
I love my EBMM.
And I also love my P Bass.
But a bad workman blames his tools.
P
