Recorded using a PreSonus FireStudio and PreSonus Studio One 3.
Clip 1 - Treble boost, mid boost.
Clip 2 - Treble boost, bass boost.
Clip 3 - Treble, bass, and mid dials dimed.
RatingsPros:Well engineered. Exciting new ground for an iconic bass. Cons: EQ could use a little frequency adjusting for the top end. Street: $1,999 Music Man StingRay Special music-man.com | Tones:  Playability: Build/Design: Value: |
When the Music Man StingRay burst onto the scene in 1976, it brought with it a midrange attack that shifted the bass-universe curve rather abruptly. It was the disco era, so it may have been a perfect storm of players, style of music, and engineers that helped the StingRay soar, but I’d like to think the bass spoke for itself. We started hearing it cut through the mix from the likes of Louis Johnson, Tony Levin, and Flea, among countless others who used the sweet sonic punch of this model to craft signature tones.
Forty years is a long time, however, and with the many advances in technology, electronics, and instrument building, perhaps the engineers at Ernie Ball decided this would be the year to change the formula. The changes will be welcome for some, not for others, and the purists might possibly be left crying on their Michael Jackson albums. Or will they? That’s why we’re here: to give a proper once or twice over to Ernie Ball's re-imagined Music Man StingRay.
A Ray of Light
Before we go forward, we should always look back. The original StingRay, in all its glory, did have some issues. It was a heavy beast. It was sonically limited, and although the onboard active pre was a welcome breath for players, not having control over the mids did turn some away because of too much point in the tone.
So, what is a modern design team to do? When I opened the hardshell case, an audible “whoa” escaped my lips. My eyes didn’t know where to go first: the spectacular ’burst finish or the new roasted-maple neck. When I picked up the bass, my arms were greeted with a lighter instrument than I’m used to with my vintage models. It turns out the engineers managed to shave a full pound off the new incarnation of this bass, which weighs in at just a hair under 8 1/2 pounds.
The little design changes really make a difference on the StingRay Special. A die-hard follower will notice a difference, but to the first-time user, the bass will likely feel right at home. First, there is a belly scoop on the back and a rounded arm contour for added playing comfort, and it does its job well. Tuning up—and this may sound silly—felt slightly different as well. There are new lightweight, ergonomic Music Man tuners onboard, which means your fingers actually have something to grasp other than a thin slice of metal—again, subtle, but noticed. Some other changes include a 5-bolt neck design, a lighter bridge with a smaller footprint, and a compensated nut.
thunder and lightning.
Highs, Lows, and That Thing In-Between
So, we have all these new things to talk about, but at the heart of every instrument is its tone: the thing we should really be most concerned with. The company has made some changes to the StingRay’s electronics as well. First, the preamp system is now 18V, which is intended to provide longer battery life and more headroom. A 3-band EQ handles boost/cut for treble, mids, and bass. The redesigned humbucker on the StingRay Special features new neodymium magnets and the pole pieces have a new spacing layout to align perfectly under the strings. Again, small touches that amount to big things.
I plugged the StingRay into my trusty Eden CXC210 combo, which gives a very accurate sonic reflection without coloring tone. With the StingRay’s EQ set flat, the bass was, well, flat. It had mid point, but not much else. In other words, the bass needs the pre. I added a bit of top end and bass to give it some help, and that really did the trick. The StingRay started to give me more of what I wanted: thunder and lightning. The inevitable slap runs were exhilarating—with tight precision and a low-end attack like an anvil—and felt fantastic thanks to the silky-smooth, gunstock-oil-and-wax-finished neck.
The fingerstyle attack point was there as well, and it kept the bass where a StingRay should be—sitting in the mix just right. One thing I noticed that’s different from earlier models is that the treble control’s range won’t allow the tone to get super crispy, which can be good or bad, depending on the application. The top end is there, but I felt like the tone frequency needed to open up a hair more.
One great thing about the StingRay’s preamp is the ability to dime the controls and still have the bass sing. If you are a one-tone kind of player, this would be that tone—set for stun. All the great tone is there with punch, clarity, and low-end rumble, and all without being overbearing. The StingRay’s new incarnation was fine with a plectrum or my fingers, and had the same authoritative tone either way.
The Verdict
Being iconic is not easy—especially when it comes time for redesign. The Ernie Ball Music Man StingRay Special is both a mouthful and a handful. One side of me loves this bass for the redesign, the great new features, and the balanced, strong tone. My selfish side misses a little of the mass and the “nastier” EQ settings I could achieve with the older models. The new StingRay will likely soon be found in the hands of famous players and will inspire new generations of MM fans as well—of that I don’t doubt. I just hope they also get to play the original models and be reminded why they purchased the lighter and more versatile new incarnation.
Watch the Review Demo:
- Ernie Ball Music Man Unveils the DarkRay Bass - Premier Guitar ›
- Ernie Ball Music Man Unveils the DarkRay Bass - Premier Guitar ›
- Ernie Ball Music Man Debuts Short Scale StingRay Bass Lineup - Premier Guitar ›
- Ernie Ball Announces Kaizen Guitar Available for Pre-Order - Premier Guitar ›
- Ernie Ball Music Man Introduces the Retro '70s Stingray Bass - Premier Guitar ›
- Ernie Ball Music Man Introduces Joe Dart III Signature Bass ›
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
