- Gold Finish
The BTB-MMSR has been designed with characteristics very similar to the original MM Stingray? 2 Band EQ, but is not a copy of the original circuit. The original used a single op-amp chip (single amplifier stage in the form of a chip) for both bass and treble circuits, whereas this unit utilizes a more modern dual op-amp chip (two amplifiers stages in a single chip).
This unit is supplied fully wired, including 3 single pots, knobs, jack and battery clip, which may be spliced into an existing battery box, as would be available, in most cases.
- Single Knob:Volume:
- Single Knob:Late 70s MM style Treble
- Single Knob:Late 70s MM style Bass
- Power Requirements:9-18V, 1.25mA
Bass & Treble Controls:
The design of the 2 band EQ in the early Stingray? basses is unusual in that it does not follow the types of topologies around which the majority of equalisers are designed. It would seem that Leo Fender designed it to create a particular sound rather than follow any conventions, such as symmetrical EQ curves. Consequently the figures shown may appear unusual to those familiar with such specifications. In fact it's not easy to portray what this EQ does with a few numbers, but in any case some figures, based around a flat response input signal, are quoted as reference points.
NOTE: Like the original, this circuit does not have a flat response when the controls are set midway. This unit is not designed as a clinical tool, where what goes in, comes out at some reference setting.
- Volume: Sets the level from the preamp, feeding the output jack directly, like the original.
- Treble: (+20dB / -16dB @ 10 kHz)
- Bass:(+14dB / -7dB @ 40Hz)
This means that the pickup feeds the preamp directly, allowing the best possible transfer of signal, and full interaction of the pickup with the preamp.
There is more boost than cut, giving rise the characteristic 'sizzle' associated with the Stingray style of EQ.
The bass control has a little more boost than the original. The boost curve continues to rise towards the lower frequencies, without flattening out at any frequency within the normal bass guitar range. Conversely the cut characteristic is shelving, having an essentially flat response from 30 - 100Hz, when fully cut.