The MusicManStingRay Bass was a bolt-on-neck four-string bass with a single large humbucking pickup (located somewhat toward but not adjacent to the bridge) and active electronics with a two-band fixed-frequency EQ.
Louis Johnson of The Brothers Johnson used a late-1970s MusicManStingRay Bass throughout the Quincy Jones-produced Light Up The Night; the tune "Stomp!" on that album features a watershed pop-and-slap bass solo on the StingRay.
All four-string MusicMan basses, with the exception of the more recent Bongo model, have a distinctive headstock shape with three tuning machines along the top and one on the bottom.
MusicMan continued to have guitars assembled on a limited scale (by Jackson/Charvel) from 1980 through 1984 using parts that were left in stock, before the company was acquired by Ernie Ball.
The MusicMan company was founded in the early 1970s by former Fender employees Tom Walker and Forrest White.
In 1980, after five tumultuous years at MusicMan, Leo Fender left the company to start up GandL along with George Fullerton.
Queen's John Deacon took a more melodic approach to his MusicMan, and Pino Palladino's superb work on a fretless StingRay has shown another side of the instrument's up-front tone.
Leo Fender refused to rest on his laurels after selling Fender Musical Instruments to CBS in 1965, and he went to work on the MusicManStingRay shortly after his consulting contract with CBS ran out.
This ash- or alder-body instrument with a bolt-on maple neck was first marketed in 1976, and the early models had strings that passed through the body-a feature found on P-Basses made between 1951 and '57.
Leo Fender refused to rest on his laurels after selling Fender Musical Instruments to CBS in 1965, and he went to work on the MusicManStingRay shortly after his consulting contract with CBS ran out.
Queen's John Deacon took a more melodic approach to his MusicMan, and Pino Palladino's superb work on a fretless StingRay has shown another side of the instrument's up-front tone.
Featured Articles >> Classic Gear >> 1979 MusicManStingray
A singular devotion to surf guitar music became a way fo life for them and they considered it to be the only artform profound enough to truly express the passion in man's soul.
Like those who roamed the globe for the perfect wave, The Blue Stingray's nailed the perfect sound when their twang rang 'round the world.
The Blue Stingray's story starts in '59...the band formed that summer and created a new sound.
I would be interested in hearing how a neck-through Sterling or stingray sounded, but its not a huge deal to me. I would replace it the second after I beat the crap out of whoever stole it (assuming they already pawned it off).
My only criticism is that they probably should have called it a 'Stingray Sterling' as it is just a rejigged stingray, and at least that way people would know what it was when I told them what I played.
The price was everything out the door including the hardshell case and a set of DR High Beam Strings when it came in.
LOS ANGELES (LA Times) - Jan Berry, half of the 1960s pop music duo Jan and Dean, who recorded such hits as their No. 1 "Surf City" and Berry's personal favorite, "Dead Man's Curve," has died.
Jan and Dean's meteoric career might have soared higher but for the April 12, 1966, accident in which Berry's silver Corvette Stingray hit a parked truck at 90 mph on Whittier Drive in Beverly Hills, only a few
"Jan and Brian influenced each other so much; they had one of the most important friendships in popular music, particularly in developing the West Coast sound," said Mark Moore, who is writing a biography of Berry.
Any one play the new spector rex brown signature series yet?I was wondering how good it was before id buy it.I have a musicman (stingray 5)and needed someones opinion on which one is better.
Thread: Anyone play the new Spector Rex Brown signature?
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Other basses in rotation are his famous sunburst fretless ’79 MusicManStingRay, strung with medium Rotosound Swing Bass roundwounds; a ’96 Lakland 55-94 Deluxe 5-string; an ’80s reissue Fender Jazz that he uses with a Roland V-Bass modeling system; and a Warwick Thumb Bass 5-string with Thomastik-Infeld light-gauge flatwounds.
When Pino lays it down in any style, his grooves pulsate with a rhythm and energy that oozes between the deepest cracks and frequently boils to the surface.
Pino Palladino has amassed quite an array of basses over the course of his diverse career.
1a, Pino, on his fretless MusicManStingRay, plays the quarter-note groove, using the 4th beat of bar one and the first half of bar two for a funky fill.
Pino used his P-Bass for the tricky arpeggio-like part, which spans more than two octaves.
Listen carefully and you can hear Pino Palladino’s R&B roots all through his pop-heavy ’80s fretless heyday.
