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EBMM StingRay Special Club

Wanted to drop a few thoughts on that Special 5 HH after a few nights of playing it:

First off, all it took was a bit of truss rod adjustment to have it feeling great after being shipped across the country. I immediately understood what people mean when they say the G string is closer to the edge of the board than usual, but after five minutes that wasn't an issue. The neck is fast and this thing sounds killer unamplified. But then you plug it in and ooooh boy... I can't wait to hear it in a live mix. I feel like it will absolutely destroy and am really looking forward to my gig on the 11th. The one thing I'm not confident about it using it on the smattering of Reggae tunes we have, but I think those are mostly in the first set so I'll probably start the gig on my Spector RST 5 with upgraded LHZ pre-amp and then switch to the Stingray. From playing quietly through my Genz Benz 1x12 and also through headphones I can tell that the pre-amp on this is HOT, putting out way more volume than the Spector, so I'll likely spend the small soundcheck getting those volume differences dialed in. My immediate thought is that I see myself primarily keeping the pickup selector on the HH at the bridge or middle settings. I haven't put it through pedals yet but I'm really curious to hear how it plays with my Iron Ether / Source Audio boxes, as well as the Empress Bass Compressor.

Okay - back to work, and looking forward to playing this bass more afterwards!
 
The closest we come to doing any reggae is Clapton's version of I Shot The Sheriff. For that, I typically use Position #3, both pickups, with a little bass boost and a little mid cut, treble typically flat so I still get some note definition. Works well for my purposes. FWIW, I use that kind of setting on our ballad-y types of songs as well and it sounds great when I want a warm, kind of in the background, feel it more than you hear it tone.

Most of my tone knob setting are relatively minor. I find small adjustments do a lot on my Stingrays.
 
Been looking for a new bass for a couple months. Thought I was going to get a used G&L. Then the Marcus Miller Z3 since it’s only 400 some odd dollars. dream base is a specter era for or the Doug Wimbish model but we’re looking at over 3 grand. Then I was like you know what just be good to yourself. I am so close to pulling the trigger on a “used” Earnie Ball music man special. Says and looks like it is in mint condition. Still has the plastic on the pick guard for $2000. Its even in the color that I want. I don’t know what’s holding me back? Last time I waited on something I wanted it got sold from underneath me!
 
Obviously cost is an issue. If you can't afford it or have other reasons not to spend the money, then don't do something you'll regret.

But, if spending the money is NOT an issue, then I don't see anyone here talking you out doing of it. That's not something club members do, regardless of the TB "club" you're talking about. We'll give lots of reasons TO buy it!
 
The closest we come to doing any reggae is Clapton's version of I Shot The Sheriff. For that, I typically use Position #3, both pickups, with a little bass boost and a little mid cut, treble typically flat so I still get some note definition. Works well for my purposes. FWIW, I use that kind of setting on our ballad-y types of songs as well and it sounds great when I want a warm, kind of in the background, feel it more than you hear it tone.

Most of my tone knob setting are relatively minor. I find small adjustments do a lot on my Stingrays.
I love Position 3. Especially for more mellow, less rockin' songs. One of the guitarists I jam with absolutely loves it, and always wants me to play that bass (Special HH) on that setting. :roflmao: I do mix it up a lot with the settings, but #3 is definitely one of my favorites.

I don't play a lot of reggae either, but another fun one (that also sounds great on Position #3 is "No Woman No Cry" (Bob Marley).
 
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The closest we come to doing any reggae is Clapton's version of I Shot The Sheriff. For that, I typically use Position #3, both pickups, with a little bass boost and a little mid cut, treble typically flat so I still get some note definition. Works well for my purposes. FWIW, I use that kind of setting on our ballad-y types of songs as well and it sounds great when I want a warm, kind of in the background, feel it more than you hear it tone.

Most of my tone knob setting are relatively minor. I find small adjustments do a lot on my Stingrays.

Thanks, I'll keep that in mind!
 
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I'm in the club... Big Stingray and Sandberg fan here!

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Great collection!

Not to detract from the Stingray-ity of this thread, but how do you like the EHB? Don't know if I'd buy one, but they seem really interesting for the price and a great way to try out a multi-scale bass for a relatively reasonable price. Plus, I know Ibanez basses tend to punch well above their weight class (I have an AGB-205 semihollow that cost me next to nothing and it's a fantastic bass) so they're often great values.