Joe Dart, Pino Palladino, and Tim Commerford Talk StingRay

Joe Dart (Vulfpeck)

“My first glimpse of a StingRay was watching early videos of Flea, who had a black StingRay that he played in an early instructional video, as well as on the Funky Monks tape, showing the making of Blood Sugar Sex Magik. After that, I discovered Bernard Edwards and his playing with Chic, where he developed such an iconic funk and disco sound. From there, I discovered Pino Palladino’s brilliant fretless StingRay playing. Luckily, one day in the studio, someone handed me an old StingRay, and I used it on a couple of Vulfpeck recordings. I love the punchy, growly, bright tone. The StingRay cuts through the mix. It’s the perfect funk and disco bass.

Pino Palladino

“I played guitar in bands until 1976, when I decided to start playing bass, and that coincided with the StingRay coming out. I actually tried one in a store in Cardiff in Wales, where I come from. I remember plugging it in, and I didn’t really know much about preamps. I don’t think anybody knew much about preamps back then, because it wasn’t even a thing in a bass guitar. So, I turned everything up and it was too trebly for me. I didn’t know you could tweak the controls. I didn’t gravitate towards the instrument at first, to be honest.

Fast forward a few years and I was in my early twenties on my first trip to America with Jools Holland in 1981. I stumbled into Sam Ash Music on 48th Street in New York one day, and I saw a fretless Music Man StingRay on the wall. It sounded amazing straight away. I hadn’t played much fretless bass up until that point, but for some reason I could just play that instrument in tune. I was playing it and thinking, ‘Wow, this is not so hard.’ I backed off the treble a little bit and found a nice, little happy position where it felt really good. And it just had such a great punchy sound. I played it with Jools Holland on the first night I bought it, and I pretty much never put it down for 10 or 15 years after that.”

​Tim Commerford (Rage Against the Machine)

“I got a blonde StingRay when I was about 19 years old, and that was the bass that I played for the first Rage record. At that time in my life, as a musician, I was kind of clueless to the nuances of the sound of an instrument. If it worked, it worked; if it didn’t work for me, it didn’t. I was just a knucklehead. I can’t even remember the reason why I went away from it. I think it’s because I wanted to get a real edgy sound, and I didn’t really know how to shape things in the way that I do now through experimenting. I’ve been very lucky, and I’ve had a lot of opportunities to experiment, so I’ve learned a lot over the years. And the StingRay could have done it all. I really could have done it all with the StingRay. Long story short, the preamp is arguably the best one, still. It took me a minute to realize just how powerful that preamp is—it’s a banger. Listening back, sometimes I hear [Rage Against the Machine] songs on the radio, and I’m just like, ‘Wow.’ It’s such a clean, pristine sound that comes from a StingRay.”