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Discussion in 'Basses [BG]' started by ceremony74, Sep 27, 2004.
what´s the average price in the US of 1979 Musicman Sabre in good conditions?
600 to 800. 650-750 is a good range. Great basses. I could get like a chorus type sound on the highs with the righ eq. But I hear the bongos can do all that and more.
But bongos are ugly, I've seen a sabre and it's a pretty bass!
Ya know...there's something to be said about those MM basses of the 70's. Compare an old Stingray w/ a new one, and I think you'll notice an appreciable difference (especially the G-string) - old one's, by far. Wouldn't even consider purchasing anything later than 1980. Bongo...my God, how high were they when they dreamed up that body profile???!!! Quite frankly, I think they could've made a much bigger profit with a re-introduction of the old Sabre. (MO, the best bass MM ever produced.) And PLEASE let me know if you find on in decent shape for $650-$700! My last Sabre was immaculate, but set me back $900...and I felt, worth every penny.
Are you sure it was a Sabre?
Nostalgia's a wonderful thing... often leads to inaccurate opinions.
Modern two band Stingrays are, in terms of electronics, essentially the same as pre-EB Stingrays. The newer ones certainly feel different because of the contoured body, oiled neck and more consistent QC, but I bet you'd have difficulty differentiating between them by sound.
Three band stingrays sound a bit different due to the high-pass filter. I've heard a number of people complaining about having a weak G string on theirs. I had the same problem and cured it by using the eq more intelligently (less of the extreme settings) and by adjusting the pickup correctly.
I've A/B'ed a number of 3 bands vs 2 band pre-EBs and prefer the newer ones.
Well, you're missing out... why don't you try a few?
Whereas I think the Bongo looks great and the Sabre looks ugly...
There is a BIG difference in tone from a true"79 Sabre (like mine) and the Stingray.Although both of then have the 2band eq the Sabre "dominates in the Low/Low mids department and also the G isn't thin,and also it doesn't fall off the side of the fretboard while playing like the EB'S do.It also has cleaner highs than the Stingray.
Of course there is. I was answering this assertion...
The G isn't thin on EB stingrays either.
Never experienced that on any of the Stingrays I've played.
check your PM - there is a local seller located nearby with one for sale
I would never consider selling my '79 Sabre which has been my main axe since I bought it. $600-800 would be a steal IMO; they should command much more based on build and tone quality. To my, it's priceless.
I've never played a Sabre, but the way the electronics are set up is intriguiging.
FWIW, I think the Bongo is by far the best thing MM has ever made, and I love the way it looks. I'm going to get one very shortly, though it may jeapordize my relationship with my Stingray and Sterling.
Oh I know...you might find one on the cheap that someone needs to off in a hurry, but I thought I got a good deal on mine for $900!
#1 Opinions are not designated as either 'accurate' or 'inaccurate'...they're just that - an opinion...based on an individuals experience. C'mon, this is 5th grade common sense stuff...shouldn't have to be explained.
#2 If you've heard 'a number of people complaining' regarding the G string on their EB instruments...let me ask; how many complaints do you need to hear before you begin to conclude that there just might be something indicative? And if you think that EQ-ing an instrument to counter a dead side of the neck is a valid course of action...well, you just go ahead and keep thinkin' that. I'd prefer to have an instrument that acoustically has it together, rather than attempting to cover a flaw using EQ.
Not that eq has much to do w/ a dead G string, but for the sake of argument...let me see if I can get something else straight. For those players who prefer their bass and/or treble in the 'extreme', (I gather from what you've written) you are concluding either they (the players) are un-intelligent OR the instrument has the potential, by virtue of its electronics, of producing un-intelligent tone settings? By that very logic, you've alienated a lot of pro-EB players or have ceded that the EB electronics, are potentially....un-intelligent. Which is it?
#3 Your quote, "Well, you're missing out... why don't you try a few?"...assumes I have not. If you read the post...you should have figured out; not only have I 'tried a few' ; but that I have owned 'a few'.
To conclude; my opinion on the G string mystery: (and for dlloyd...a quick refresher: an opinion is not a byproduct of a reproducable scientific procedure...just a simple hypothesis.)
Wood takes time to settle. That said, I did not own a MM in 1976 to hear/feel what it sounded like brand new, off the shelf. I would venture to say that the same '76 bass sounds better today, vs. back then. Because the instrument has settled in. Same w/ an old Jazz or P. I will say, I DO think the humbucker on the MM's tone center is not as 'forgiving' regarding dead spots regardless of the age of the instrument.
So experiment yourselves...grab down a brand new Fender J or P and a brand new EB and I think you're gonna find a new Fender has a subtle deadness on the G (B flat, B, most likely C or C#)...then try the EB (set flat). And if you thought the Fender's was noticable, you'll should really take notice (same notes) w/ the EB. Oh, and go ahead and try to even things out w/ p/u adjustment...but now you might have a dead E or the thing is screaming at the 12 fret on the D or G, etc.
But don't take my word...it JUST an opinion.
A sabre, isn't that the double pickup version of the Stingray?
this bass is not ugly.
I would love to find a Sabre to make my very own. YUM.
I'm pretty sure cutting all the bass and boosting treble to full isn't the best thing to do in most situations...
Touche` that would be truly unintelligent, BUT...some may consider extreme settings to be, full on bass and treble, yes?
Not that I'm a RHCP/Flea fan, but I remember somewhere reading...he goes 'wide open (including bass and treble)...adjustments are made at the amp'. Louis Johnson said similarly...because he liked to 'squash the hot signal' with a compressor...and running the bass wide open will have the compressor kick in faster, rather than sending a soft signal'. I'd take what I read from these guys w/ a grain of salt, but I do know a fair number of MM/EB players that run full on bass w/ a 1/4 turn back on the treble.
My point in my last post was: EQ is not the answer to a dead spot on the neck. Lloyd thinks that 'intelligent' EQing and a little adjustment on the p/u is the answer. It may make the anomaly minimally less obtrusive...but there's still a problem existing.
Awesome basses. I would love to own one. I think the most obvious point that everyone is missing here is that the Sabre was the precursor to the G&L 2000. As I recall, this was Leo's last design before selling MM to EB. COnceptually, the L-2000 is a very similar bass, and Leo prodiced it immediately after founding G&L.
I played on long ago and loved it. I love my 1991 Signature L-2000. It would be great to do an A/B comparison. Do any TB-er have access to both to do so???
Lets not all knock the Bongo either. I hear Hillary Duff's bassist plays one.
But in actuality, I do think that of all the MusicMans and Ernie Ball's , the Bongo offers the best tonal quality and options.