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Stingray vs. P or J bass... Which and why?
- Thread starter Joe Bennett
- Start date
[insert your favorite bass here] is the best one!
Seriously though, I'd probably answer "all three". I have Stingrays and J-basses, and am shockingly considering a P. They do different things and I pick up one or the other depending on what I want to sound like that night.
Seriously though, I'd probably answer "all three". I have Stingrays and J-basses, and am shockingly considering a P. They do different things and I pick up one or the other depending on what I want to sound like that night.
It's kind of like asking whether I prefer a bit driver, a box wrench or a socket. They all ultimately do the same job of tightening/loosening screws or bolts, and in many of the simplest cases you can use any one you like, but each of these still does things that make each option the best and sometimes only option for various common situations. There are also other common tools (i.e. adjustable wrench, slip-joint pliers) you're not even mentioning that are as useful or more so in many of these same situations.
So it is with an MM, P and J bass; while each will ultimately do the basic job of holding down the low end, and in your simpler everyday musical territory any of them will work, they exist and are popular apart from each other for good reason; each occupies a tonal space with different qualities, that make mixing it into various ensembles playing various genres easier or harder. So while any bassist should be able to use any pickup configuration to play any gig (number of strings, scale length etc are different considerations regarding physical comfort and familiarity with an instrument), choice of instrument can make that easier or harder to manage.
Further, those three barely cover the bases (pun intended); you are leaving out the entire sizable realm of soapbar basses, which cover a pretty vast sonic territory heavily overlapping all three of the ones you did mention and carving some unique territory of their own. There are other pickup styles, less commonly seen, especially over on the Gibson side (EB0/EB1/Grabber/Ripper) that again cover a wide range of what bassists do and a few sounds no other instrument can really nail.
That said, what I have of those three you mentioned at the moment is a J, and I do not currently own a P or MM-pickup instrument (I do own a dual-soapbar). That J is loaded with DiMarzio Ultra Jazz pickups, which can give you a somewhat beefier tone than your standard vintage-voiced Js, but it still is what it is, and a true P or a true MM will have useful tones you just won't find in my Jazz.
No, I will not choose one child over the other! 
All 3, and more. Duh. Only 3?
But my personal neck preference is P shaped so I can get that from a Ray and obviously a P. I'm more comfortable with that rounder profile but I also have a J that I really like.
But my personal neck preference is P shaped so I can get that from a Ray and obviously a P. I'm more comfortable with that rounder profile but I also have a J that I really like.
I had all 3. Sold all but the P. Added a P/J and a soap bar. The StingRay was the least versatile in the studio for me, but plenty of people will disagree. It still sounded awesome though, just didn’t work for the tracks I was getting. It’s one of those basses where you will find equal opinions on both sides. I know some producers who use them all the time (a lot of modern rock and country guys love them). Of course we can argue that many funk legends used them as well.
So there is no right answer, it’s personal taste. I like bass that sits big in the lower mids. That way I can roll off the highs, get a warm sound and still have it in the mix. To me the Pbass is the king of low mids, and it’s just easy to record with. Something about the simplicity of it really does it for me. I can roll the tone off or have it wide open, or vary it during the song. I love it.
So there is no right answer, it’s personal taste. I like bass that sits big in the lower mids. That way I can roll off the highs, get a warm sound and still have it in the mix. To me the Pbass is the king of low mids, and it’s just easy to record with. Something about the simplicity of it really does it for me. I can roll the tone off or have it wide open, or vary it during the song. I love it.
I had a P bass for 10 years, but it wasn't a good fit for me ergonomically and I simply need more sonic versatility. Thats the truth - for me.
Of these, I'd go for a StingRay as big #1. If I was going to buy another Fender-type bass, it would be a G&L. You can get a G&L version of any Fender and get a bass with better pickups and hardware.
Of these, I'd go for a StingRay as big #1. If I was going to buy another Fender-type bass, it would be a G&L. You can get a G&L version of any Fender and get a bass with better pickups and hardware.
I got to admit that after not having a P bass for 30 years and owning one again......they really can do anything but it’s a “P bass” anything
JB
JB
I have a Fender P and EBMMS5 HH. The Stingray blows the P out of the water. It's not even close. And I like P's.
One of each. My P is actually a PJ, but close counts. I can cover pretty much any territory with the 3, no need to pick, they all do different things.
This is challenging - I will just type my own personal feelings on each design here from my experience. I have a ton of experience with them all, and I love them all.
P. works great, works with tons of music styles, more present than the other two if everything is turned to max (more lower mids).... sits well in mix without overpowering.
J. works great, works with tons of music styles, with all knobs cranked has a mid scoop that sits great in a mix but makes bass a little more magically "mixed" sounding, but turn down the bridge pickup volume a bit and it sounds sort of like a precision but with some extra complexity to the tone. sits well in mix without overpowering.
S. works great, works with tons of music styles, by default is a more hifi "pre-mixed" tone with a bit of a scoop in it (or a lot of a scoop in it if it's a 2 band, unless you really mess with the controls and turn up volume on amp). One of the only basses I've owned that I can plugin to board directly and record, no comp, no eq/processing in mix, and it sounds finished. Drawback is that if you have a 2 band it isn't possible to bump the mids without turning down overall level drastically, so once you get your mix tone, you stay with your mix tone, although you can adjust to suit within that range very effectively. It's probably my favorite of the tones for playing rock bass, but I no longer play them full time because I got tired of not being able to get the P style lower mid forward tones, and J style upper mid forward tones, that you can get with nearly every other bass design. Yes, I know, 3 band stingrays exist.... I only have owned 2 bands. Aside from that, just like the fenders, a stingray sits in the mix without overpowering.
I personally feel that a Precision gives the most touch control over your tone (like how you plya the strings, where you pluck, etc). Jazz is less touch controlled but offers the most variation in fundamental tone through knobs.... nothing like 2 pickups to alter your tone. Then the stingray offers by far the most drastic changes to it's tone through it's amazing preamp, one of my 2 favorite preamps in history... but all of those changes are only altering it's one excellent fundamentally slightly scooped tone with that magical treble and artificially enhanced, but amazing, low end.
If I could only own one, and was playing in a band, I'd be happy with any of them, but if I had to go direct only, I'd take the Ray - otherwise either a p or a j would be wonderful.
They are all excellent. J and S can sound quite similar. J and P can sound quite similar. P and S don't really sound all that similar... but do share the "single pickup" tone to a certain degree.
P. works great, works with tons of music styles, more present than the other two if everything is turned to max (more lower mids).... sits well in mix without overpowering.
J. works great, works with tons of music styles, with all knobs cranked has a mid scoop that sits great in a mix but makes bass a little more magically "mixed" sounding, but turn down the bridge pickup volume a bit and it sounds sort of like a precision but with some extra complexity to the tone. sits well in mix without overpowering.
S. works great, works with tons of music styles, by default is a more hifi "pre-mixed" tone with a bit of a scoop in it (or a lot of a scoop in it if it's a 2 band, unless you really mess with the controls and turn up volume on amp). One of the only basses I've owned that I can plugin to board directly and record, no comp, no eq/processing in mix, and it sounds finished. Drawback is that if you have a 2 band it isn't possible to bump the mids without turning down overall level drastically, so once you get your mix tone, you stay with your mix tone, although you can adjust to suit within that range very effectively. It's probably my favorite of the tones for playing rock bass, but I no longer play them full time because I got tired of not being able to get the P style lower mid forward tones, and J style upper mid forward tones, that you can get with nearly every other bass design. Yes, I know, 3 band stingrays exist.... I only have owned 2 bands. Aside from that, just like the fenders, a stingray sits in the mix without overpowering.
I personally feel that a Precision gives the most touch control over your tone (like how you plya the strings, where you pluck, etc). Jazz is less touch controlled but offers the most variation in fundamental tone through knobs.... nothing like 2 pickups to alter your tone. Then the stingray offers by far the most drastic changes to it's tone through it's amazing preamp, one of my 2 favorite preamps in history... but all of those changes are only altering it's one excellent fundamentally slightly scooped tone with that magical treble and artificially enhanced, but amazing, low end.
If I could only own one, and was playing in a band, I'd be happy with any of them, but if I had to go direct only, I'd take the Ray - otherwise either a p or a j would be wonderful.
They are all excellent. J and S can sound quite similar. J and P can sound quite similar. P and S don't really sound all that similar... but do share the "single pickup" tone to a certain degree.
My favorite Fender bass is a P with a J neck. That good old split P pickup is sure hard to beat for recording.
Gotta love that Stingray tone in a live setting. They’re also great recording basses.
Love the looks and the playability of a J, but they just never “did it” for me. Not sure why.
Gotta love that Stingray tone in a live setting. They’re also great recording basses.
Love the looks and the playability of a J, but they just never “did it” for me. Not sure why.
They are all fine instruments that will be able to handle most jobs any of us are likely to encounter. Personally, I grew up in Fender P heyday and to me it provides the definitive electric bass sound. And finally, I have no problems playing one.
- Sep 14, 2012
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Exact same place. You basically have a P, 60s spec J, 70s spec J, and MM rolled into one. The trick to nailing the P and the MM sound is to use the preamp and the mid range dip switches in the control cavity.
