I've got a EBMM Stringray 4 HS - love it.
I play a lot of jazz and old school blues/RnB so I've got it strung up with GHS pressure wounds and play mostly solo off the neck pup or with the neck pup and half of the bridge HH (two top positions on the 5 position switch). I keep the treble off, mids at about 3, bass at 5. With this combination I get no zing or clang at all - nice deep smooth sound. I play small venues at lower volumes in an acoustic trio or quartet with a Roland combo - controls flat, a bit of compression - bars, restaurants etc - this sound works great for me.
Now I happen to be gassing for an Old Smoothie. It's got only the bridge pup, but with strings through body and the mutes, I'm wondering how it might work with GHS pressure wounds or maybe EB cobalt flats. How would that compare to what I get now with the Ray HS?
I play a lot of jazz and old school blues/RnB so I've got it strung up with GHS pressure wounds and play mostly solo off the neck pup or with the neck pup and half of the bridge HH (two top positions on the 5 position switch). I keep the treble off, mids at about 3, bass at 5. With this combination I get no zing or clang at all - nice deep smooth sound. I play small venues at lower volumes in an acoustic trio or quartet with a Roland combo - controls flat, a bit of compression - bars, restaurants etc - this sound works great for me.
Now I happen to be gassing for an Old Smoothie. It's got only the bridge pup, but with strings through body and the mutes, I'm wondering how it might work with GHS pressure wounds or maybe EB cobalt flats. How would that compare to what I get now with the Ray HS?