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Ibanez Prestige vs EBMM StingRay Special vs Sadowsky Satin
- Thread starter Bassist484754
- Start date
I have a Sadowsky Satin and had a Stingray Classic. I get paid to play on records, so here is my opinion from behind the board. The Stingray indeed has a signature sound that does not work on everything. I loved my Stingray a lot but it did not work as well on 90% of the songs I was sent as a Fender Pbass. When it did work, it was glorious. When I took it to gigs I got a lot of comments on it. It was a great bass, but not an ideal "does it all"studio bass . Good news is there is an answer here:
Sadowsky Satin Verdine White. This bass is why I sold one of my Pbasses. It's the best P/J I have owned. I can get a passive p bass sound that was right up there with my Fender with rounds. I can engage both pickups and have that super focused P/J sound that works on about anything. And then I can get the bridge J tone except with the Preamp, I can give it back the low end that is usually missing. And unlike many P/Js I have played, the bridge pickup on this bass actually sounds great soloed and is not just a compliment. I haven't dove too much into the tone control knob here since the post is going to be long enough, but that is also a game changer as well, since you can warm up an active tone - which for me is very important.
If you want to do studio work and only own one bass, I think it is very important to have a bass with p pickup in the front. It will sit in so many mixes. Even if it is only for your music, don't forget you still need to get the right tone and you need to get it fast.
I have checked out the Stingray specials, and I really love those. But I don't like the front pickup as a Pbass replacement. It is more of it's own thing and that's not necessarily what I want in a mix. It doesn't sit like a Pbass, but it can do the job. Based on the original post and your feelings on the Ibanez being possibly a little too much for what you want, I think the sadowksy would make a lot more sense. It's a legendary studio bass. The Stingray is as well, but IMO, it's the second or third studio bass I would have in the rack and not the first. If you do go with a Ray the 2 band EQ version with the bridge pickup only is usually the one guys get.
Another option - you have 3K budget. You can always get two basses for $1,500. One would be a nice Pbass and the other could be a ray. Just throwing that out there. Variety is always a nice thing in the studio.
Sadowsky Satin Verdine White. This bass is why I sold one of my Pbasses. It's the best P/J I have owned. I can get a passive p bass sound that was right up there with my Fender with rounds. I can engage both pickups and have that super focused P/J sound that works on about anything. And then I can get the bridge J tone except with the Preamp, I can give it back the low end that is usually missing. And unlike many P/Js I have played, the bridge pickup on this bass actually sounds great soloed and is not just a compliment. I haven't dove too much into the tone control knob here since the post is going to be long enough, but that is also a game changer as well, since you can warm up an active tone - which for me is very important.
If you want to do studio work and only own one bass, I think it is very important to have a bass with p pickup in the front. It will sit in so many mixes. Even if it is only for your music, don't forget you still need to get the right tone and you need to get it fast.
I have checked out the Stingray specials, and I really love those. But I don't like the front pickup as a Pbass replacement. It is more of it's own thing and that's not necessarily what I want in a mix. It doesn't sit like a Pbass, but it can do the job. Based on the original post and your feelings on the Ibanez being possibly a little too much for what you want, I think the sadowksy would make a lot more sense. It's a legendary studio bass. The Stingray is as well, but IMO, it's the second or third studio bass I would have in the rack and not the first. If you do go with a Ray the 2 band EQ version with the bridge pickup only is usually the one guys get.
Another option - you have 3K budget. You can always get two basses for $1,500. One would be a nice Pbass and the other could be a ray. Just throwing that out there. Variety is always a nice thing in the studio.
The cool thing is the Stingray Special is a lot more mellow than the older Stingrays. I personally think it sounds better and can be used for more genres.
I'd take the StingRay Special HH first and Sadowsky second, though I'd opt for the Modern model if going Sadowsky. I had an Ibanez Prestige five-string years and years ago, but I have no experience with the current Ibanez offerings.
I currently own and gig three different StingRay 5 basses - 5H Special, 5H 30th Anniversary, and an '88 5H. I had and sold a pre-special 5HH and also a Classic 5. The 5H Special is my go-to bass. My bread-and-butter is country music and I can get every tone I need with the 5H configuration. Adjusting plucking hand position and style when necessary, coupled with EQ adjustments, can get me where I need to be to play anything from older country standards to modern sounds. While all three basses will give you an undeniable StingRay tone, the 30th and '88 will get much more aggressive sounding, while the Special can get much more round tones than the other two.
The redesigned special's preamp and pickups are much smoother and rounder sounding than previous generations and, to me, can get closer to the two-band Classic sound (based on the sound of my Classic 5, I've never put my hands on a pre-EBMM bass or an older two-band EBMM). With that, the specials can still get into the typical snarly, growly territory that we all expect from a StingRay, but there's not that harshness to the tone that you could get with the previous generation of StingRays. The 5HH configuration has many sounds in its toolkit including those that can get you into P and J territory, though not exact. It's a jack-of-all-trades type bass, but if you're working with someone that demands P or J exactly, you're still going to want a P, J, or PJ. The 5HH will get you close, though.
I had a Sadowsky NYC Modern several years back and it was a fantastic bass. I've actually been eyeing them here recently, but I know that's just GAS trying to creep in. Their main tone is a very burpy, Ken Smith like tone, but like the 5HH StingRay 5, you can get a lot of tones from them with EQ adjustments and pickup panning. From my recollection, I could get a somewhat close P tone out of just the neck pickup, but that particular bass really didn't get that close to a jazz bass with both pickups on tone.
I've also had two other Sadowsky basses, both five-string Metros, a JJ and a PJ. Again, both great basses, but I think I preferred the PJ configuration in that particular bass ever so slightly. With both pickups on full, they sounded similar, but the PJ had a thickness to it from the P pickup that the JJ couldn't get. PJ could get just as burpy as the JJ to me when panning toward the bridge pickup. Once I got the modern though, that quickly became my favorite. If going with a Sadowsky and not the Modern, I think the PJ is your best bet.
I'm not sure what your particular situation is for recording, but a lot of engineers/artists are going to have preconceived notions about whatever bass you pull out of the case. While not always the case, you run into those that have worked primarily with a P bass and know where that tone fits. If you pull a StingRay out, they may not be happy with the tone no matter what you do. I've been fortunate to have worked with some great folks over the years who didn't listen with their eyes or have a my way or the highway mentality. Unlike many, I've never been asked to use a P bass (or even a different bass than I wanted to) and have never used a P bass on any tracks I've recorded for an album. Even though I love the StingRays and would take that option over the others, the safer bet is likely something like a Sadowsky PJ if you're aiming to please the eyes and ears of engineers/artists.
Last, I assumed you were talking about four-string basses. If looking at five-strings, the necks and string spacing on all three are going to be very different from each other.
Good luck!
I currently own and gig three different StingRay 5 basses - 5H Special, 5H 30th Anniversary, and an '88 5H. I had and sold a pre-special 5HH and also a Classic 5. The 5H Special is my go-to bass. My bread-and-butter is country music and I can get every tone I need with the 5H configuration. Adjusting plucking hand position and style when necessary, coupled with EQ adjustments, can get me where I need to be to play anything from older country standards to modern sounds. While all three basses will give you an undeniable StingRay tone, the 30th and '88 will get much more aggressive sounding, while the Special can get much more round tones than the other two.
The redesigned special's preamp and pickups are much smoother and rounder sounding than previous generations and, to me, can get closer to the two-band Classic sound (based on the sound of my Classic 5, I've never put my hands on a pre-EBMM bass or an older two-band EBMM). With that, the specials can still get into the typical snarly, growly territory that we all expect from a StingRay, but there's not that harshness to the tone that you could get with the previous generation of StingRays. The 5HH configuration has many sounds in its toolkit including those that can get you into P and J territory, though not exact. It's a jack-of-all-trades type bass, but if you're working with someone that demands P or J exactly, you're still going to want a P, J, or PJ. The 5HH will get you close, though.
I had a Sadowsky NYC Modern several years back and it was a fantastic bass. I've actually been eyeing them here recently, but I know that's just GAS trying to creep in. Their main tone is a very burpy, Ken Smith like tone, but like the 5HH StingRay 5, you can get a lot of tones from them with EQ adjustments and pickup panning. From my recollection, I could get a somewhat close P tone out of just the neck pickup, but that particular bass really didn't get that close to a jazz bass with both pickups on tone.
I've also had two other Sadowsky basses, both five-string Metros, a JJ and a PJ. Again, both great basses, but I think I preferred the PJ configuration in that particular bass ever so slightly. With both pickups on full, they sounded similar, but the PJ had a thickness to it from the P pickup that the JJ couldn't get. PJ could get just as burpy as the JJ to me when panning toward the bridge pickup. Once I got the modern though, that quickly became my favorite. If going with a Sadowsky and not the Modern, I think the PJ is your best bet.
I'm not sure what your particular situation is for recording, but a lot of engineers/artists are going to have preconceived notions about whatever bass you pull out of the case. While not always the case, you run into those that have worked primarily with a P bass and know where that tone fits. If you pull a StingRay out, they may not be happy with the tone no matter what you do. I've been fortunate to have worked with some great folks over the years who didn't listen with their eyes or have a my way or the highway mentality. Unlike many, I've never been asked to use a P bass (or even a different bass than I wanted to) and have never used a P bass on any tracks I've recorded for an album. Even though I love the StingRays and would take that option over the others, the safer bet is likely something like a Sadowsky PJ if you're aiming to please the eyes and ears of engineers/artists.
Last, I assumed you were talking about four-string basses. If looking at five-strings, the necks and string spacing on all three are going to be very different from each other.
Good luck!
I agree. I'm not a huge fan of the Ibanez, and the Sadowski basses are...well...they're well made and all that jazz, but I suppose they just don't speak to me. The StingRay Special HH covers ALL tasks and does it well. My S'Ray Special 5 HH is the best bass I have played that retailed for less than $4,000 and it's definitely the best bass I've ever owned! It requires that you take time to get to know it (with all the different p/u configurations) but it is FAR from a 1-trick pony. And in that light it reminds me very much of my G&L 'L'-Series Basses. It's the perfect axe for my corporate gigs, particularly with it weighing in at a 'svelte' 7lbs-8ozs. THAT makes those 3-4 hr shows much more bearable! I can go from vintage Motown tone and all across the board from rock to jazz and R&B to country and other more (current trends) My 'only' gripe-(way too strong of a word) is the white Pickguard. I saw a member a few weeks ago with the same "Dropped Copper" finish as mine but he had replaced the pickguard on his with a dark pearloid (would LOVE to speak with him. I have been getting LOTS of attention with it when I play out due to the unique color and most of the ladies LOVE the combination. We'll see.
Mine with black copper sparkle
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Well I mainly play pop, rock, classic rock and 80s and I think I'll be fine with either one. However, the bass will also be used by others for different genres (I'm building my home studio) so that's my main concern.
A buddy who is a mixing engineer and a bassist, he got rid of his standard SR because of its sound.
Yeah I've met guys who don't like SR because they thought they needed a J or a P. I'm worried that no matter how good and versatile the new SR special is, they just don't care and you don't even have chance to convince them.
I don't really understand this post. A Stingray doesn't have a "signature" tone? There are 4 unique bass sounds in the universe: J, P, Rick and Stingray. Pretty much everything else is a take off on one of those.
NicJimBass
Flossin'? I thought your name was Munson!
Having owned a StingRay 5 since new (2000) and having tried a handful of the new H Specials, the new ones are definitely more versatile, IMO. You can get the signature SR tone with some EQ tweaks, but it's naturally a bit more mellow, and can cover a bunch of territory. I imagine the HH would be even more versatile.
That's exactly what I said. An Ibanez SR is typically thought of as not having a signature tone while the stingray does. Which is opposite of what the OP was saying.
Perhaps we are all confusing what the other means by SR. I think Ibanez since the model is literally SR300, SR1000, etc.
I hate to say it but if you're starting a studio that needs clients, something that says Fender on it might be as important as anything.
In that case then, I absolutely agree! I would never say that an Ibanez has a signature tone. Nothing really against Ibanez, as I said, there are many brands that have no signature tone.
