I’ve been playing a 1987 Ernie Ball MusicMan Stingray for years. Not because I had to, not because it’s the most versatile instrument I own, and not because it makes me look cool — though it does. I play it because there are things it does that nothing else does. And I want to explain exactly what those things are, because the Stingray has a reputation that both helps and hurts it.
The reputation is: aggressive, bright, only one sound. That’s half true. The Stingray has a voice, and it’s a strong one. But writing it off as a one-trick pony means you’ve never learned the instrument properly.
Some context on the 1987 specifically. Leo Fender designed the original Stingray after leaving Fender — he founded Music Man in the early 70s, and the Stingray was introduced in 1976. It was genuinely revolutionary: an active bass with an onboard preamp at a time when this was not standard at all. Ernie Ball took over the brand in 1984, and the late 80s instruments — roughly 1986-1989 — are widely regarded as the sweet spot of the design. Ernie Ball had sorted out the quality control, the preamp design had been refined, and the instruments from this period are exceptional in their consistency.
I’ve played my 1987 on stages, in studios, and in rehearsal rooms across different countries. It has never failed me. The neck has stayed stable. The electronics have never caused me a problem. For a nearly 40-year-old instrument, this reliability is not nothing.
The Preamp: This Is What People Miss
Most bass players who try a Stingray and don’t like it haven’t spent enough time with the preamp. The 2-band EQ on the 1987 looks simple — bass and treble — but the way it interacts with the humbucker is not like any other active EQ I’ve used.
When you boost the treble on a Stingray, you don’t just add high frequencies. You add presence — a specific quality in the upper midrange that makes every note feel urgent and immediate. This is different from adding treble on an EQ pedal. The preamp and the pickup are working together as a system, not independently.
The bass boost on the 1987 is centred in a frequency range that adds genuine low-end weight without making the notes indistinct. You can boost it significantly and still have definition. This is the ‘fat but tight’ character that makes the Stingray work for slap — you get weight without losing the attack.
Run it flat for three months. Learn what the instrument sounds like without the EQ. Then start using the controls. You’ll find they’re much more musical than they first appear.
The Humbucker in the Bridge Position
The pickup placement is the other defining characteristic. The humbucker sits close to the bridge — closer than any pickup on a Jazz or Precision. This is where all that attack and presence comes from. String vibration is smallest near the bridge and largest near the neck. By placing the pickup near the bridge, the Stingray picks up a character that’s punchy and defined rather than warm and round.
This is why the Stingray cuts through a loud band so effectively. In a dense arrangement with distorted guitars and heavy drums, a Precision or Jazz can sometimes get swallowed. The Stingray doesn’t get swallowed. It’s just there, defined and present, without you needing to boost anything.
The humbucker design also means it’s hum-cancelling in a way that single-coil basses aren’t. Quiet in the studio. Never causes ground loop issues. Another practical advantage that players who haven’t dealt with noisy rigs don’t appreciate until they need it.
The Neck: Love It or Find It Weird
The Stingray neck is polarising. Wider at the nut than a Jazz bass — 1.69 inches on mine — with a flatter radius and that distinctive rounded C-profile. Jazz bass players find it awkward. Players who grew up on P-basses or classical instruments find it immediately comfortable.
I did not love it at first. I came from smaller-necked instruments and the width felt like a disadvantage. Within two months it felt normal. Within six months it felt right. Now thin Jazz bass necks feel slightly wrong to me. Time in the hands changes your reference point.
The fretwork on the 1987 is excellent — level, properly crowned, no sharp ends. The maple fretboard has developed a warm amber colour over the years that looks better than anything coming off a factory floor. Forty years of honest use does good things to maple.
Slap Bass on a Stingray
The Stingray is one of the great slap bass instruments. I want to be specific about why. The attack on the thumb stroke is exceptional — the humbucker and preamp combination gives your thumb a crack and definition that sits perfectly in a dense funk arrangement. You don’t need to use the treble boost for slap; the instrument already has what you need.
The pop technique on a Stingray sings. That upper-midrange presence I mentioned earlier translates directly into articulate, defined pops that speak clearly even when the band is playing loudly. I’ve used this bass in funk contexts where the sound system was barely adequate and the slap still cut through. That’s not me — that’s the instrument.
Is a 1987 Worth More Than a New Stingray?
Financially: yes, vintage Stingrays command a premium. The 1987 runs $1,500-2,500 in good condition. New Stingray Specials are around $1,500-2,000. So roughly comparable price, with the vintage commanding a slight premium for its history and specific character.
In terms of playing experience: the 1987 has a character that the modern instruments approximate but don’t quite replicate. Something in how the neck has settled, how the pickups have aged. Whether that difference justifies the price differential is something only you can decide based on how important that specific vintage character is to you.
My recommendation: play both. Many dealers will let you compare. Listen for whether the vintage character speaks to you or whether you’re just paying for nostalgia. Be honest with yourself about the answer.
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FAQ
What makes the Stingray tone different from other basses?
The single large humbucker in the bridge position combined with an active preamp creates strong upper-midrange presence and punchy attack. This character is fundamentally different from a Precision’s split-coil in the middle position or Jazz pickups near neck and bridge. The Stingray sound is immediately recognisable once you know it.
Is the Stingray good for genres other than funk and rock?
Yes. The preamp’s versatility means you can dial back the treble and get a warmer character for jazz or soul work. Run it with the bass boosted and treble flat for reggae. The instrument’s reputation for one sound comes from how it sounds at its default settings — the actual range is wider than most people think.
What year Stingrays are considered best?
Pre-Ernie Ball Music Man instruments (1976-1984) are the most collectible. Early Ernie Ball years (1984-1990) are highly regarded by players who want the vintage character with better consistency. Modern Stingray Specials are excellent production instruments. Any Stingray from a reputable era, properly maintained, is a good instrument.
Does the battery need frequent replacement?
A quality 9V battery in a Stingray lasts 6-12 months with regular use. Always unplug when not playing to prevent battery drain. Keep a spare in your gig bag — running out mid-set is a completely preventable disaster that still happens to people.