both basses records "easily". No issues whatsoever technically. StingRay, from my experience has "faster" tone, better/clearer attack and as such more suitable for disco/pop lines. P bass sits well, lil bit lazy and slow but sounds great too. Really personal choice. Both are studio proven and approved.
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Which records more easily: Precision or Stingray?
- Thread starter Dr. Cheese
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- precision bass stingray
I think the perception that a P-bass is easier to record has a “chicken or the egg” element to it. It has been the bass of choice for all different genres through the years, so it’s the sound a lot of engineers expect to hear coming out of a bass.
Is it actually easier to record or is it just that the industry has become accustomed to it? In my opinion it’s a little of both.
Is it actually easier to record or is it just that the industry has become accustomed to it? In my opinion it’s a little of both.
Ive mixed a lot of basses in my life and the pbass is the easiest. Its because the tone is focused in the low mids and doesnt get harsh and clicky in the highs. It also has a very fat and controlled low and and is noise free.
That being said, i enjoyed mixing the stingray classic a lot but i am very neutral with the onboard EQ.
I just finished recording 11 original tunes with a band I’ve been playing with this past fall. One tune in particular was a bit honky-tonk 2-step song, so I figured I’d play my Jazz bass instead of my Warwick.
I can discern no difference in the recorded tone between those two basses in the roughs. The compression and EQ slotting the mix engineer used got a solid, colorful, expressive identical tone out of both basses.
I can discern no difference in the recorded tone between those two basses in the roughs. The compression and EQ slotting the mix engineer used got a solid, colorful, expressive identical tone out of both basses.
I’m guessing with a PB that people are so familiar with that sound, and the fact it’s been around for so long, means there’s a lot of experience out there when it comes to recording and mixing one. So with that familiarity comes relative ease. And a PB is a known quantity.
Back when I was doing far more recording than I do now, about half the studios would ask if I wanted to use their house bass (always a vintage PB) rather than the nice one I always brought along in addition to whatever else I took to a session. The reason being they knew that one particular bass inside out, so they’d have minimal tweaking to do to adjust the track for the individual bassist playing it. A little compression and a known instrument’s sonic character goes a long way towards saving studio time, thereby freeing up as much time as possible for use where it’s needed most - which is usually doing multiple vocal takes or guitar track overdubs.
Is a PB the easiest bass to record?
When it first came out, probably not. I’m guessing when they first started recording a “Fender Bass” it was as much a challenge as anything else for a recording engineer. But after 66 years of effective sonic dominance following its introduction in 1951, I think it’s since become second nature how to record it in the studio world. Especially when you consider it’s remained virtually unchange since its introduction.
If a PB is now considered “easiest to record,” at least it deserves that reputation after all these years.
Back when I was doing far more recording than I do now, about half the studios would ask if I wanted to use their house bass (always a vintage PB) rather than the nice one I always brought along in addition to whatever else I took to a session. The reason being they knew that one particular bass inside out, so they’d have minimal tweaking to do to adjust the track for the individual bassist playing it. A little compression and a known instrument’s sonic character goes a long way towards saving studio time, thereby freeing up as much time as possible for use where it’s needed most - which is usually doing multiple vocal takes or guitar track overdubs.
Is a PB the easiest bass to record?
When it first came out, probably not. I’m guessing when they first started recording a “Fender Bass” it was as much a challenge as anything else for a recording engineer. But after 66 years of effective sonic dominance following its introduction in 1951, I think it’s since become second nature how to record it in the studio world. Especially when you consider it’s remained virtually unchange since its introduction.
If a PB is now considered “easiest to record,” at least it deserves that reputation after all these years.
Three different times in the 90s I was told that my Steinberger XL2 was the best bass they ever recorded. Listening back to those recordings I think it sounds godawful. Maybe it was the time period? Maybe the player?
Tony Levin was recorded so much over the past four decades. I wonder the ratio is regarding stingray vs. precision. Then again, he could probably make my old steiny sound better than I did...
Tony Levin was recorded so much over the past four decades. I wonder the ratio is regarding stingray vs. precision. Then again, he could probably make my old steiny sound better than I did...
I should add though, that I think a 2-band Ray is indeed very easy to record. Solid, sits great in the mix. But as I say, it's less of a "universal" kind of tone like the P is.
I am pretty sure Tony Levin is using a Music Man product most of the time. Tony Levin likely not being hired to sound generic.
I was thinking that as well. I was wondering if he was using the rays back in the 70s.
Ah, string noise. For my last set of recordings I went in with steel round wounds. That was a mistake. I ended up spending way too much time editing out string noise - especially on the track where I used my maple boarded Jazz. I think that, when it comes to recording, the strings make as much difference as the bass.
I forgot the date, but he said when he switched in an interview, but I forgot where I saw it.
Sorry I didn’t get that. I read it differently than you. That was my reply and I’m standing by it. Go attack someone else on Christmas!!
- Mar 8, 2011
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- Authorized greenboy designs builder/Owner of BNA Audio
Not really. I've got two P basses and I think that any well built bass, with good strings and a great player will record great.
I think EatS1stBassist was disagreeing with the last paragraph of the message he quoted, where I said that I thought Precisions, Stingrays, and L1000's were all in the same ballpark. There are certainly differences, but the Stingray and L1000 are progressive advances on the Precision design and I'd say there's a lot of similarity between them, certainly when compared (for example) to just about anything from Gibson or Rickenbacker.
Good thread. I have both basses. The P has flats and the SR has old round wounds. I don't have much recording experience, but I have found that the level of attack makes a big difference especially with the Ray. Also, people seem to play over the pickups, so with the MM it will sound punchier as the pup is closer to the bridge. A gentle touch in-front of the pickup brings out a different character from this beast.
