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Fender Modern Player Jaguar Bass

Sat, 19 May 2012 13:58:00 GMT

The emergence of the long overdue Jaguar Bass was a welcome addition to the Fender bass range.

But good as the initial design is, it does - like the guitar - have a relatively niche appeal and some idiosyncrasies that put many players off. It's no surprise then, to see the Jag Bass arrive in the more affordable Modern Player Series, where the remit is to intelligently tweak an established design and bring it in line with the needs of today's bassists. It's marketed at a price that will interest a lot more prospective buyers as well.

"There's also an extra edginess to the general tone that isn't available on the original Jaguar Bass - and it truly is a delight to hear."

The instantly recognisable offset body shape was first seen on the Jazzmaster in 1958, then the Fender Bass VI in 1961 and the Jaguar guitar in 1962 but astonishingly, it didn't become a full-scale four-string until the launch of the Jaguar Bass in 2006!

It's a great shape that still catches the eye and for this modification Fender has ditched all the extra switches and inset rotary controls associated with the Jaguar, presenting instead a much simplified design that's modelled more along the lines of the Jazz Bass - but with the added tonal abilities of a P/J pickup pairing. The neck is pure Jazz too, both dimensionally and in appearance, and adopts that '70s look with the classic black block inlays: ultra cool.

The upgraded and sturdy raised-tail bridge assembly has been given the vintage treatment with the added luxury of brass saddles for improved tone and sustain. The triple-ply parchment-faced scratchplate retains the outline of the combined Jaguar 'plates, but here the controls are mounted on a standard Jazz Bass chrome-plated bell plate rather than the downward curved one synonymous with the regular Jaguar Bass.

Undoubtedly a lot of thought has gone into this Fender-badged presentation. Yet curiously, it's currently only supplied with a black finish, which seems a shame.

Sounds

Avoiding the complicated circuitry of the original Jaguar design has helped enormously in bringing this bass in on a budget but curiously, as a result, we think this simplification and user-friendly arrangement will appeal to a lotmore players. It also has the benefit of the upgraded Modern Player designs for the two pickups.

In fact, to be honest, this proves to be one of the best sounding P/J configurations in the current Fender catalogue.

Along with the fantastic tonal range here, there seems to be a lot more punch, particularly when using the blended picked sounds. There's also an extra edginess to the general tone that isn't available on the original Jaguar Bass - and it truly is a delight to hear.

Match the volume levels for a seriously scooped sound that you'll feel in your teeth as well as your stomach and although it's by no means a Rickenbacker, if you really dig in, this modified Jaguar will growl like the best of them, and live up to its name.

There are now seven different variations of the Jaguar Bass - three Fenders and four Squiers. The original Fender model has now been discontinued and replaced by the Deluxe version, so six are available in the current catalogue.

This offers a new, vital and streamlined approach. It's a way more affordable alternative to the Japanese-made Deluxe too, and with a tonality that's rather unique. Shame there's only one colour option, but this remains a very cool bass.

Plutoneium PU-236 Chi-Wah-Wah Bass

Sun, 19 Feb 2012 10:53:00 GMT

Really good bass effects were once a rarity but, fortunately, this is one area of the market that is constantly getting better.

Case in point is the highly desirable Plutoneium PU-236 Chi-Wah-Wah, the designated bass version of the popular guitar model. Powered by the mains via an optional transformer lead, or by an onboard battery, this is an extremely robustly built pedal that is pleasingly heavy yet small enough to be transported with ease.

It comes with an Allen key for removing the bottom plate for battery replacement and four rubber feet that fit over these screws to help prevent the unit from moving during action. However, in spite of its weight, anything that requires constant action when in use is far better fixed to a pedalboard.

Sounds

Three rotary controls offer input level, for optimising the bass signal, contour, to regulate the intensity of the wah effect, and gain, which is used to adjust the overall volume of the effect. Take the foot off and the unit allows the regular bass signal to pass through.

The wah sound is deep, full and has fast tracking so will warp your notes just as fast as your foot can operate. The Chi-Wah-Wah also features a spring-loaded footplate so doesn't rely on the usual rocking action from the foot and in our opinion this makes it a lot more user-friendly.

Hofner Contemporary Series Verythin Bass

Sat, 18 Feb 2012 17:26:00 GMT

There was a time when Hofner basses were extremely popular in the UK and it started way before Paul McCartney was seen wielding his Violin bass.

Although that model came along before the Verythin guitars, these twin-cutaway semis followed the popular guitar version with the first models appearing in 1963.

"With the two pickups spread as far apart as possible the Verythin bass excels in super hollowed sounds."

Particularly glorious looking in this three-tone sunburst finish, this new version's body is constructed with a solid core for stability and to reduce feedback. It's still short scale, fully bound with f-holes, a trapeze tailpiece and the classic free floating Hofner bridge.

By today's standards this latter feature may seem somewhat crude and limited in adjustment, but it works fine and is partly responsible for the classic Hofner sound as well as being an iconic feature of its hollow guitars and basses.

With dual 'staple top' pickups, the controls are mounted near the lower f-hole, Gibson-style, while the jack is set in the body edge. As this new model comes sans pickguard, the overall aesthetic is blissfully simple.

It may be super-light in weight and a welcome relief on the shoulders, but it is rather headstock heavy. Yet while the body is relatively wide, your forearm rests comfortably and naturally holds the bass in place.

The second strap button is screwed through the pearloid plate on the base of the neck heel rather than into the heel edge as on some earlier models.

Sounds

With the two pickups spread as far apart as possible the Verythin bass excels in super hollowed sounds and retains a warm robust sound. It's big on bottom end and the shorter scale also means a tighter, thumpier sound - what we'd expect from Hofner basses in general and what makes them so distinctive. But there's also a curiously penetrating aspect to it that cuts neatly through the mix when used on stage.

With a tone and volume pot per pickup, blending options are just about as good as it gets. The passive tone circuit is limited by modern standards, but there's still a good degree of variation for old-school stuff. Feedback would doubtless creep in at mega volumes but we found no such issues at normal pub/club-type levels.

The Verythin bass has a feel and sound all its own. If you want a hard rock or heavy metal bass then look elsewhere - this doesn't have the means or the attitude to cut it in those circumstances, obviously. If what you seek, however, is a good all rounder that's warm and distinctive in sound then the Verythin bass is well worth investigating.

All up, in these retro-obsessed times, Hofner's classic cool is still appealing.

Gretsch Electromatic G2220 Junior Jet Bass II

Wed, 15 Feb 2012 11:00:00 GMT

Long regarded as a source of decent tones for a stingy outlay of lolly, the Gretsch Electromatic Junior Jet Bass has finally earned itself a facelift.

The latest Junior Jets now feature cosmetic upgrades such as chrome Gretsch 'G' knobs, instead of Gibson-style speed controls, and a more classic looking headstock.

"The Gretsch growls a bit like a Thunderbird, which makes it perfect for classic and modern rock."

The bass is available as the twin-mini humbucker-equipped G2220 we see here and also as the G2214 version (£238.80), which comes minus the bridge humbucker and the three-way pickup switch. Both basses are short scale, which means they'll appeal to either physically small players, or indeed anyone looking for that short-scale, punchy mid, less piano-like electric bass tone. They also share a chubby bolt-on maple neck with a deep 'D' profile, topped with a rosewood fingerboard.

You get 20 well-seated and dressed medium jumbo frets, while the previous models only had 19. That's the fingerboard equivalent of 'one louder'.

We're pleased to see that the Junior Jet has retained its slab-like basswood body. It feels great hanging from your shoulders and who needs body contours when you've got a big belly for the bass to rest against anyway?

We have to admit to being surprised that Gretsch has chosen to stick with a bolt-on neck construction for these reboots. A bolt-on neck just isn't, well, very 'Gretsch' if you think about it.

We realise they aren't courting connoisseurs with the Junior Jets, but you can own a set neck bass at this price point: the Epiphone Les Paul Special Bass (£249) is one such arch rival waiting in the wings.

Sounds

According to the marketing spiel that trumpeted the Junior Jet Bass II's arrival, we have every right to expect it to pump out that 'great Gretsch sound'.

Right. This is awkward. If we're honest, we didn't realise there was such a thing as a definitive Gretsch bass sound.

We know that nothing sounds quite like a Gretsch guitar, but this bass thing is news to us. We best get plugged in and find out what we've been missing.

Selecting the bridge pickup, we're up to speed immediately. This is the Jet's rock voice. It growls, a bit like a Gibson Thunderbird in fact, which makes it perfect for classic and modern rock scenarios: AC/DC, Foo Fighters, '70s punk bands. You get the idea.

Adding the 'neck' pickup transports us Mr Ben-style back to the '60s. Fiddling about with the tone control, you can get a convincing Small Faces-era Ronnie Lane sound; Beatle Paul is in there too if you take the time to find him.

If you're into the old-school mod vibe, we'd fit a set of flatwound strings in place of the 0.045 to 0.105 gauge roundwound set that comes as standard. They'd also work for blues and jazz tones should you need them.

The Junior Jet Bass II doesn't exactly have a voice all its own, but what it does provide are some great vintage-flavoured sounds, that work as well in '60s and '70s pop and rock as they do in any number of modern-retro situations.

Sniff around for a decent bass with 250 sheets burning a hole in your slacks and you'll soon find the world is very much your bivalve mollusc. Already showing up with a street price of £249, the Junior Jet Bass II should be on the shortlist of beginners, guitarists looking for a decent recording bass and, dare we say it, the borderline skint.

The Junior Jet, in both its formats, does face a lot of competition at this price point and we can't help feeling that Gretsch should have spec'd a set neck to increase its chances of being a contender. As it stands though, we still think it's a bit of a knockout.

Fender Bronco 40 Bass Combo

Mon, 30 Jan 2012 11:00:00 GMT

In the modern climate of inexpensive, feature-packed digital modelling amps for guitar players, it's good to see bass players getting a look in too.

The Fender Bronco 40 is a compact bass combo that not only possesses great sounds as it stands but also has a plethora of onboard effects and amp models. It also has the ability to link to your computer using the Fender Fuse software to give access to unlimited preset storage and online patch swapping.

"The level of output means it's ideal for practice and even small gigs, but the Bronco has far more use as a studio combo where you can take full benefit of all the onboard facilities."

Presented in smart black livery with a metal mesh grille, metal corner protectors and a single strap handle, this is well built and easily transportable. It has a 10-inch bass speaker making the whole thing compact and lightweight so absolutely ideal for home practice or more intimate rehearsal sessions and gigs.

Equipped with a clearly defined control panel that makes navigation both straightforward and logical it doesn't take long to get to grips with how everything works. The 24 amp models run in three banks of eight and are colour coded by yellow, green and red LEDs, so recalling or trying a new setting is easily achieved.

Every setting you change can be stored and recaptured, and you can reverse your decision before committing it to memory. Rotary controls are supplied for compression ratio and for the choice of effects, and with so many sound options at your fingertips, rehearsals are going to become a lot more fun.

The headphone option means you can experiment to your heart's content without annoying everyone in a 50-metre radius.

Sounds

In spite of only having the one 10-inch driver, the Bronco has generous, deep bass response. As a straight-ahead combo it has lots to offer tonally, but with the added advantage of effects and eight amp models, you're spoilt for choice. Models include Fender's own 59 Bassman, Redhead (SWR) and Rockin' Peg (Ampeg SVT).

The effects include delay and an envelope filter plus a good-sounding chorus: but the quality of each effect is dependent on which model you've selected. When you find a combination that works for you, the sounds storage ability is a real blessing.

Switching between models and effects is easy and, stepping from one amp to another, the resulting changes vary from subtle to startling, so there is plenty to experiment with - all part of the learning curve.

One of the most rewarding forms of solo practice is playing along to favourite tracks, and to this end Fender has included an auxiliary input so that your mobile music player can be
fed into the mix.

Nicely presented and compact, this is an extremely versatile unit despite its size. The level of output means it's ideal for practice and even small gigs, but the Bronco has far more use as a studio combo where you can take full benefit of all the onboard facilities. And with direct computer access without the need for additional interface or microphones, this is 21st century technology working to our advantage, with a control interface that doesn't overtax the brain.

This amp will appeal to multi-instrumentalists looking for a fine sounding, easy-to-use bass amp solution, as much as it will to more seasoned bassists looking for a portable, versatile amp for when the big rig is too much. Good work once again, Fender.

Fender Modern Player Jazz Bass

Tue, 20 Dec 2011 10:45:00 GMT

If you're bewildered by the sheer number of pimped out guitars and basses that Fender has released in the past year, well, the influx isn't quite over yet.

Following in the wake of the recent Blacktop and Pawn Shop Series models, Fender has now unveiled its highly affordable Chinese-made Modern Player Series, consisting of four electric guitars and three basses.

"First impressions make you wonder why haven't weseen a Jazz with these useful mods incorporated into it before?"

The reason for all this activity is simple: new blood. If you own a Strat, Tele, Precision, Jazz or anything else with Leo's surname on the headstock, well, they've already got you hooked. It's the newbies that Fender is hoping to attract.

But don't take that to mean that there's not something interesting in the Modern Player range for you if you're one of the Fender faithful.

First impressions of this Jazz Bass make you wonder, why haven't we seen a Jazz with these useful mods incorporated into it before? Well, the truth is we have seen JBs with this feature set previously, but never at such a pocket friendly price.

Everything that you'd expect from a standard sixties Jazz Bass is here, but with a pair of double-sized Jazz humbucking pickups for a really great look and the promise of bigger fatter sounds.

Essentially we don't want the look of the Jazz to be messed about with but we feel these pickups and modern bridge unit are perfectly acceptable and, as we find, the sounds support the notion.

Everything here is pretty much the same sound as you would expect from the regular configuration only there's more of it! The humbuckers add increased solidity to the overall sound and more generous blending.

The tightness associated with standard single-coils is still there if you wind back the volume controls a tad, but running flat out gives extra body and projection, particularly when blending and, let's face it, that is the name of the game with a Jazz.

We are impressed with the quality and little evidence of cost cutting in looks, sounds or overall feel. This Jazz offers a meaner edge to the sound, yet still produces those classic tones.

All in all, the Modern Player Series is a great idea and beautifully executed. They might be aimed at Fender newbies, but there's plenty to appeal to more experienced players too. And with the world economy in meltdown the lowly prices seem rather attractive - to all of us!

Fender Modern Player Telecaster Bass

Mon, 19 Dec 2011 17:04:00 GMT

If you're bewildered by the sheer number of pimped out guitars and basses that Fender has released in the past year, well, the influx isn't quite over yet.

"This is definitely the right time for a comeback and it's a wonderful bass to behold and play."

But don't take that to mean that there's not something interesting in the Modern Player range for you if you're one of the Fender faithful.

This Telecaster Bass is a handsome beast indeed and was Fender's first attempt to bring its classic basses bang up to date. When originally launched back in the seventies, Fender used the original P-Bass template from the fifties and raised the game by fitting it with a pair of imposing humbuckers.

This was design morphing in a truly delightful fashion, yet the Telecaster Bass has been somewhat elusive over the intervening years. So this is definitely the right time for a comeback and it's a wonderful bass to behold and play.

This butterscotch blonde finish is particularly attractive and evokes a nostalgic feeling, but the body is fully contoured so is far more comfortable to play than those early Precisions.

On the Telecaster Bass the 'split-coil' pole screw adjustment on the pickups reveals the 'hidden' P-Bass nature of these meaty humbuckers. They produce a far more throaty element to the sound than is associated with regular Fenders, as we found with the original version of this lovely bass.

Generally the neck pickup is dominant (which is a good thing for a bass) so to get the best blended sounds you need the tone control favouring the treble end. Only then is that delightfully honky edge revealed and it's totally unique to this pickup configuration on a Fender.

Overall, we are impressed with the quality and little evidence of cost cutting in looks, sounds or overall feel. The sound of the Telecaster Bass is so different from the general Fender bass tonality that it has the potential to convert the uninitiated - or indeed existing Precision and Jazz Bass owners - so is really worth trying.

Review: Fender '70s Precision Bass

Fri, 30 Sep 2011 10:40:00 GMT

When Leo Fender launched the Precision Bass onto an unsuspecting bass-playing populace in 1951 it was met with a degree of distaste and suspicion.

However, it took little more than a quick go on one to win all but the die-hard traditionalists over. Something so much more compact than an upright bass, with the ability to be amplified, was just too good to ignore.

In both the three-tone sunburst and Olympic white finishes this is a very attractive prospect indeed.

It was almost perfectly designed from the start, but by 1957 with a few modifications to the body, headstock and pickup, the Precision as we know it today was complete. The story does not stop there, however, as over the years Fender has continued to offer the beloved P-Bass in a variety of styles and prices.

So surely, then, there's already something to suit everyone? Well apparently not, for here comes the new Japanese-built '70s P-Bass, and it's actually a welcome addition to this already wide range.

In both the three-tone sunburst and Olympic white finishes this is a very attractive prospect indeed. The black block inlays and binding on the maple neck, used originally on the Jazz Bass, are incredibly eye-catching. Add to that the three-ply black scratchplate and the welcome return of the thumb rest (positioned above the strings), and that 1970s vibe is captured brilliantly.

Other features of this model are the F-stamped neck plate, a vintage-style truss rod system, knurled chrome knobs and the appropriate 1970s-style Fender logo on the headstock. There's also a pleasing tint to the maple neck, which gives it a slightly aged look, while the shallow profile and wide 'board make this bass a real joy to play.

Sounds

With all the usual passive electronics in place, this naturally sounds like a good Precision, which means that the reason for choosing this particular version is all about

looks and feel.

The sound, of course, remains fat and solid no matter what position you set the tone control. There's enough top available to make your speakers spit out the notes, but it's the warmth and depth of the bottom end that gives the foundation for consistently great sounds.

Most players work with the tone control slightly off centre, using a treble bias for the funky or hard rock stuff and a bass bias for the traditional old-school sounds, but with well-defined notes.

This period of Fender basses has been all but forgotten – it was a time of old jigs producing poorly fitting parts. But some good designs also emanated from this period that are worth remembering.

Manufacturing problems are now a thing of the past and this model offers a striking combination of 1970s elements and is a welcome and justified addition to the vast current P-Bass catalogue.

Surprisingly, there are only three current P-Bass models that are manufactured in Japan - the other two being from the Steve Harris Signature model and the Sting. In short, if you like the look, the sound and playability won't disappoint.

...

Godin Shifter 4

Mon, 26 Sep 2011 08:15:00 GMT

It's always good to get an instrument that has a look, feel and sound all of its own, but at the same time projects a degree of familiarity. It's a tricky combination to pull off, but the Godin Shifter 4 achieves it rather well.

Of course, there's plenty to suggest Fender of yesteryear - it could almost be a long-lost gem from the fifties golden era - but what's going on with those pickups?

"You can't really go wrong here, as there's a warmth and presence that flows from this bass whatever pickups you select."

Basically this is a slab body design with a forearm chamfer and a rear belly cut for a little extra comfort. The body has something of a 'burst finish as it's translucent in the centre but becomes solid at the edge.

The two neck plates, through-body string anchor plate and control cavity plate are also all neatly recessed into the body - a particularly nice touch.

The neck is proportionally Jazz Bass-like, with an old 'D'-shape profile that offers more meat in the hand than the more common 'C'-shape of today. This somewhat vintage idea feels highly appropriate here and more mass means, in theory, more resonance. The downside is that strapped-on the bass is a tad neck heavy.

Vintage-style tuners and an improved raised tail bridge are the perfect choices here but, of course, the three soapbar-style pickups with their massive Alnico polepieces dominate the look of this well-proportioned bass.

The cleverly styled scratchplate helps to pull the whole thing together, but the Shifter is always going to get you noticed, albeit in quite a charming retro way.

Sounds

The 'low-pull' designation on the Alnico magnets refers to their relatively low power to avoid them interfering with the strings' vibrations. The Shifter's master volume control is supported by a pull-switch tone knob and a Strat-style five-way selector switch.

The selector switch doesn't work in the conventional manner so we get, position one to five: neck/ middle, neck/bridge, middle, middle/bridge and bridge. The sixth tone, the neck pickup on its own, is accessed by pulling up that pull/push switch on the tone control.

The missing option is having all three units working together but with six distinct tones on call, plus the fine-tuning from the tone control, there's so much more to hand than a twin-pickup bass can provide.

The hollow tones produced from the neck/middle and middle/bridge pickup combinations are fruity and funky, while the super deep neck/bridge pairing is excellent. You can't really go wrong here, as there's a warmth and presence that flows from this bass whatever pickups you select.

Like all passive instruments, the tone control itself is limited in range but it makes sure that each note is heard. If you need a little more roundness, this is achieved by backing the tone control off.

This is a lovely bass to play and (dare we say) a huge leap forward for Godin bass design. The range of four- and five-stringers are offered with either a maple or rosewood fingerboards, so expect a generally brighter tonal response from the maple.

If you're the type of player who likes to stick with one sound then this may not be the bass for you, as it encourages you to experiment. But perhaps it's just the thing to get you out of a rut as whatever pickup or combination you choose you are guaranteed to get a good solid sound, and a few pleasant surprises thrown in.

Italia Rimini 4

Wed, 10 Aug 2011 15:19:00 GMT

Many of the guitars and basses in today's market draw heavily upon the classic models of the past, and this Rimini is no exception.

However, rather than following the more obvious Fender/Gibson route, Italia has chosen to look to Rickenbacker for inspiration and styling, and even then not the obvious choices by any means.

"With the tone rolled back to full bass and just the neck pickup in operation, we hear a very full low-end that's delightfully warm and robust."

This is based loosely on the 4005/4 that emerged in 1965, with a shape that is sometimes referred to as Capri-style. It was a stylish design back then and now, in this Italia persona, the Ricky influence again results in a very tasty- looking bass.

The semi-hollow body features a contemporary shaped f-hole, which is neatly bound to match the neck and the back edge of the body. There's also a chamfered edge feature around the cutaways, while at the body end a larger scoop houses the distinctive tailpiece.

With all this shaping, and in this finish, the Rickenbacker DNA is easy to see, but the Trev Wilkinson design is very clever - suggesting Rickenbacker, but remaining very much Italia.

The bridge is a separate tune-o-matic-style unit, which allows fine string adjustment, and the standard Italia surface-mounted control panel includes an upward-facing jack socket that neatly directs your lead towards the strap button, just where most of us like it to go.

The headstock is a standard paddle shape with two-a-side tuner configuration (rather than the half-slot design that features on the guitar versions), which is definitely a far more practical idea for a bass guitar and, although the scale lengthis fractionally undersized, it certainly looks a well-balanced instrument.

However, while the hollow body offers tonal and weight advantages, it does mean the bass is a tad top-heavy strapped on - something for the ultra-fussy to consider.

Sounds

A semi-hollow body can provide additional resonance with an old-school vibe and character, and the Rimini doesn't disappoint. However, with just a single tone adjuster shared between two pickups, the majority of the sound shaping is achieved by blending the volume controls, then using the tone as a final tweaking device.

Like we said, it's old-school, but this simple system is extremely practical and the tonal results you get from it are very good indeed.

With the tone rolled back to full bass and just the neck pickup in operation, we hear a very full low-end that's delightfully warm and robust. Add a little of the bridge pickup into the equation and an edge of clarity seeps in for a classic, traditional sound that should work in numerous genres.

At the other extreme, with full treble focused on the bridge pickup alone, a surprisingly honky element is introduced. The result is that as you alter the mix between the volumes, a host of funkier sounds emerge, and it's all usable stuff.

The tone control is very subtle, but there's enough variation to ensure a great final result for your sonic endeavours.

Currently being championed by Dave Bronze (who has played with Eric Clapton, Gary Moore and Paul McCartney) and American session player Dave Roe (Vince Gill, Johnny Cash and Dwight Yoakam), you get an idea of the available sounds.

With good looks that stray from the well-trodden path, plus a host of classic and original sounds, this has to be one of the most appealing semis on the market.

The price is pretty attractive too: it'd make a great second bass for more old- school gigs or something different to get you noticed without upstaging the guitar player. And we wouldn't want to do that now, would we?

Manson Guitars John Paul Jones Signature E-Bass

Roger Newell (Guitarist) — Fri, 15 Jul 2011 15:26:00 GMT

For some time now Led Zeppelin bassist and session legend John Paul Jones has championed instruments made by UK luthier Hugh Manson. He used one last year while touring with Them Crooked Vultures and the model we have on review here is identical to John's own custom model, with all the upgrades and tweaks included.

So that it remains competitively priced it's been manufactured in the Czech Republic, but before it goes on sale, each bass is given a full quality test and a final set-up in the UK to ensure that Manson's reputation for quality remains intact.

"There are loads of great tones to be extracted from the JPJ and it's hard not to keep twiddling knobs."

This is a truly stunning instrument, which features a beautifully matched maple top that really catches the eye. But Hugh Manson is a luthier known for his classy and refined designs, and the JPJ somehow manages to look the part without appearing showy or garish.

The upper body horn aids stability when playing and the downward curve of the lower horn helps to secure the bass on your leg when sitting down.

The surface is left exposed so you get the full benefit of the exotic top and, proportionately, this is smaller in body than our photographs may suggest. It's a well-balanced instrument and sits comfortably into the body.

The neck profile is similar to a Jazz Bass but a tad deeper back to front so there's more substance in the hand. The cutaway is deep anyway but is further assisted by a chamfer on the lower horn so getting the benefit of all 24-frets is easy.

The ebony fingerboard is super-smooth to the touch and it certainly helps to make this feel a pretty luxurious piece. A very nice addition here too is the Hipshot D-Tuner, which allows the bottom E string to be dropped a full tone to low D.

Actually, this particular model can be adjusted to drop to C, so it does require the lever to operate over quite a large arc compared to some, but it's easy to use and very accurate, holding tuning in both positions even if you keep swapping from one to the other.

When dropped to D, the bottom string still speaks confidently and in balance with the rest of the pack - it's not often you can say that.

Sounds

As active circuits go, this is delightfully uncomplicated, which helps enormously in finding and shaping some truly great sounds.

The pairing of active humbucking pickups provides high output with power to spare, so you feel confident that every movement of the controls is going to make a definite contribution.

The dual-concentric tone control presents treble at the top and bass below, with each control offering boost or cut from a centre detent.

Working on full bass and total cut on treble, with just the neck pickup in action, we discover that although this is rich in warmth - there is no way that it can ever sound woolly. There's bite to each note that ensures clarity and definition.

At the other extreme, and using the bridge pickup only, the sounds naturally become thinner, but here a slightly honky element is revealed and that has a lot to do with why this bass sounds so good when both pickups are in action - and that's likely to be most of the time.

Blending is obviously where the really sumptuous stuff is found, but it's important to explore the extremes in order to appreciate the parameters in which the instrument has been designed to work.

There are simply loads of great tones to be extracted from this JPJ, so much so that it's hard not to keep twiddling knobs when you first plug it in. It possesses phenomenal warmth with a solid nature that gives great body to these excellent mid-range blends.

But there's more than enough top end to bring into the mix that will make this growl and rasp in the manner of an active Rickenbacker, which just goes to show what can be done with a little experimentation.

And yet there's still more, as you can pull up the volume control to engage the single-coil mode of the bridge pickup. It may lose some of the substance of the dual-coil mode, but suddenly you have a highly focused funk machine in your hands - a serious plus.

With this degree of power and tonal manipulation to hand the JPJ bass will naturally work brilliantly for gigs, but with its player-friendly persona, plus full, fruity and hum-free sounds, it will also be a winner in the studio.

It stands to reason when you consider both of the names displayed on the headstock. And the fact that Jones has the first one of these production models as his reserve bass, backing up the hand-made Manson that Hugh made him in the '90s, shows just how confident he is with the result.

The JPJ positively oozes quality, not only in how it looks, but how it feels, plays and sounds too. Of course this all comes at a price, but at just over two grand (thanks partly to the Czech build) it's not the most expensive bass out there.

So, if you want to sound like John Paul Jones or, better still, explore a whole new range of sounds from a beautiful and contemporary bass guitar then this is a great place to satisfy your needs.

Manson John Paul Jones Signature E-Badd

Fri, 15 Jul 2011 14:26:00 GMT

"There are loads of great tones to be extracted from the JPJ and it's hard not to keep twiddling knobs."

The upper body horn aids stability when playing and the downward curve of the lower horn helps to secure the bass on your leg when sitting down.

When dropped to D, the bottom string still speaks confidently and in balance with the rest of the pack - it's not often you can say that.

Sounds

As active circuits go, this is delightfully uncomplicated, which helps enormously in finding and shaping some truly great sounds.

The pairing of active humbucking pickups provides high output with power to spare, so you feel confident that every movement of the controls is going to make a definite contribution.

The dual-concentric tone control presents treble at the top and bass below, with each control offering boost or cut from a centre detent.

Blending is obviously where the really sumptuous stuff is found, but it's important to explore the extremes in order to appreciate the parameters in which the instrument has been designed to work.

So, if you want to sound like John Paul Jones or, better still, explore a whole new range of sounds from a beautiful and contemporary bass guitar then this is a great place to satisfy your needs.

Qwik Tune SNARK SN-1 Guitar and Bass Tuner

Dave Burrluck (Guitarist) — Fri, 01 Jul 2011 13:15:00 GMT

Classed as a guitar and bass tuner (as opposed to the original SN-2's description as an 'all instrument' tuner) the SN-1 is effectively the same machine but with a more limited frequency range.

Not that that should bother guitar and bass players. The only other difference is that there's no mic mode (really only necessary if it won't fit on your headstock), just vibration mode.

"There's a clear read-out with fast pitch identification on a variety of guitars, basses and even our ukulele."

And thanks to the well-designed rubber grip clip, it fits on all the guitars and basses, acoustic and electric, we had to hand. The tuner head, which rotates 360 degrees, houses the circular LCD display and unlike some headstock tuners, can be positioned exactly where you need it.

Other features include pitch calibration from 415-466Hz, a tap tempo visual metronome, and a transpose function that keeps the readout E-E even when you're using a capo on the first four frets.

In Use

With the same 'engine' as the SN-2, the SN-1 is just as good. There's a clear read-out with fast pitch identification on a variety of guitars, basses and even our ukulele. Superb.

SNARK by Qwik Tune SN-1 Guitar and Bass Tuner

Fri, 01 Jul 2011 12:15:00 GMT

Classed as a guitar and bass tuner (as opposed to the original SN-2's description as an 'all instrument' tuner) the SN-1 is effectively the same machine but with a more limited frequency range.

Not that that should bother guitar and bass players. The only other difference is that there's no mic mode (really only necessary if it won't fit on your headstock), just vibration mode.

"There's a clear read-out with fast pitch identification on a variety of guitars, basses and even our ukulele."

Other features include pitch calibration from 415-466Hz, a tap tempo visual metronome, and a transpose function that keeps the readout E-E even when you're using a capo on the first four frets.

In Use

With the same 'engine' as the SN-2, the SN-1 is just as good. There's a clear read-out with fast pitch identification on a variety of guitars, basses and even our ukulele. Superb.

Fender 60th Anniversary P-Bass

Roger Newell (Guitarist) — Tue, 24 May 2011 13:52:00 GMT

Any bass player worth their salt has played a Fender Precision at some point and, whether it was just a fleeting try-out in a music shop, or something tantamount to a lifelong love affair, one thing's for certain - it will have left a lasting impression.

No instrument is to everybody's taste, of course, but the Fender Precision is where the solidbody electric bass guitar as we know it began its life, so it has a relevance to every other model produced since the dawn of the '50s, be it a direct clone, or something trying to be wildly different.

Fender has continued the tradition rather well, but after 60 years in production what can it possibly do to the trusty P-Bass that will have the power to fire the imagination of new bass players, as well as pull at the heart-strings of the hardened anchor man?

Well, one thing is certain: Fender's design team is never short of a few ideas…

Build

When designing any anniversary model, the most obvious approach to use is to faithfully reproduce the original.

Another possible route is to take the various improvements and tweaks made over the intervening years into consideration in order to produce an ageless hybrid.

Fender has gone for the latter here and, on looks alone, it gets the seal of approval from all at MusicRadar. Included are some really nice extra touches such the Fender logo'd tuners, additional string tree for the A-string, satin finish to the back of the neck and the wonderful Fender 'spaghetti' transfer on the headstock.

So this is far from being a 'Telecaster' bass copy (as the earliest Precisions with that distinctive headstock shape are often referred to); instead it's a sophisticated model that oozes class and looks right at home in today's bass market.

As such it features a fully contoured body, maple fingerboard, classic headstock shape, vintage split- coil pickup, both through-body and top-load stringing and an edge-mounted jack socket.

The standout visual feature is the large black scratchplate, as featured on the earliest Fender basses and, set against the 'Thinskin' nitro-cellulose Blackguard Blonde finish to the body, it's the perfect choice.

Sadly, no bridge or pickup coverplates are included in the package and, as the scratchplate is shaped to accept the one that spans the pickup, we feel this is perhaps a serious oversight.

Yes, we know most people take them off, but at this price they really should be included so that you have the choice.

The all-maple neck/ fingerboard, although still with a shallow profile, feels fairly meaty in depth - it also has the benefit of graphite rods for improved stability and a touch of tonal effect thrown in for good measure.

The bridge retains the raised-tail design, but here it's Fender's latest version that accepts the ball ends of the strings and offers an added degree of string spacing adjustment.

Being both solid and sturdy, it's a great choice, as indeed is the special 60th Anniversary neckplate - a subtle yet significant feature for future collectors.

Sounds

The 60th Anniversary model, with its ash body wood and thin classic nitro-cellulose finish has a wonderfully warm and natural sound to it. The through-body stringing helps too, of course, and that warmth is retained in degrees for the first third of the tone control.

Then, as you rotate further towards the treble, it gets funky and then gradually takes on a nasal rasp as you reach the top. All are great, usable sounds and very much in character for a classic Precision, and more so than the slightly tighter and more modern-sounding American Special.

Overall, despite the tweaks, it has a more traditional sound and has to be one of the most significant P-Basses on offer from Fender currently.

It has such a robust delivery regardless of where you are on the fingerboard or whatever tonal choices you make - getting a bad sound out of it is impossible.

For our money, this neck profile has to be one of the very best on any Precision since day one! Forget authenticity, or those classic early versions, this neck shape is excellent.

But the Anniversary edition is something very special indeed, as it really does offer the amalgamation of the old and the new to create the best of both worlds.

However, the old-style coverplates would have been icing on the cake and we would prefer a thinner headstock, but this is all very much a personal thing and should not influence a decision to buy this thoroughly professional bass guitar.

Fender 60th Anniversary P-Bass

Tue, 24 May 2011 12:52:00 GMT

Well, one thing is certain: Fender's design team is never short of a few ideas…

Build

When designing any anniversary model, the most obvious approach to use is to faithfully reproduce the original.

Another possible route is to take the various improvements and tweaks made over the intervening years into consideration in order to produce an ageless hybrid.

As such it features a fully contoured body, maple fingerboard, classic headstock shape, vintage split- coil pickup, both through-body and top-load stringing and an edge-mounted jack socket.

Sadly, no bridge or pickup coverplates are included in the package and, as the scratchplate is shaped to accept the one that spans the pickup, we feel this is perhaps a serious oversight.

Yes, we know most people take them off, but at this price they really should be included so that you have the choice.

The bridge retains the raised-tail design, but here it's Fender's latest version that accepts the ball ends of the strings and offers an added degree of string spacing adjustment.

Being both solid and sturdy, it's a great choice, as indeed is the special 60th Anniversary neckplate - a subtle yet significant feature for future collectors.

Sounds

Overall, despite the tweaks, it has a more traditional sound and has to be one of the most significant P-Basses on offer from Fender currently.

It has such a robust delivery regardless of where you are on the fingerboard or whatever tonal choices you make - getting a bad sound out of it is impossible.

For our money, this neck profile has to be one of the very best on any Precision since day one! Forget authenticity, or those classic early versions, this neck shape is excellent.

But the Anniversary edition is something very special indeed, as it really does offer the amalgamation of the old and the new to create the best of both worlds.

Studio Devil Virtual Bass Amp Pro

Tue, 24 May 2011 10:39:00 GMT

The VBA Pro signal chain starts with a dual channel input which is configurable as parallel A/B or bi-amped with crossover control (40Hz to 8kHz). The identical A and B channels are split into three sections: Compressor, Preamp and Power Amp.

The compressor has a single 'amount' knob that works in conjunction with the attack control to create a good deal of sustain and 'beef' without roaming into pumping territory.

Placing the compressor here helps keep a consistent level for the gain stage where plenty of growl is available via the Gain knob and Boost switch. Though the channels can be kept clean the distortion characteristic is a real joy to play with, from subtle fuzzing of the edges to a ripping valve overdrive, especially in conjunction with the dual channel architecture.

Each preamp has a standard three band EQ with fixed bass and treble shelving filters and a sweepable mid (40Hz-4kHz). This provides a good quality of broad brush tone shaping that really enhances the possibilities afforded by the dual channel/bi-amped signal path.

The power amp sections sport drive and limiter clipping controls which provide a second stage of gain and distortion performance. The power amp drive and clipping are less subtle and forgiving than the compressor and preamp so pushing them hard can create some nasty crackling and spitting, while the softer clipping characteristic can round off to a mellow rumble.

Bass head

The lower half of the interface offers up a 12-band graphic EQ, Deep and Bright tone controls, a five-way cabinet selection, the final volume slider and two effects (reverb and chorus).

The graphic EQ has a good deal of range in both amplitude (+/-12dB) and frequency (30Hz-15kHz) and makes a huge difference in frequency manipulation without upsetting the balance of the input channels.

Though good tones can be made without engaging the graphic EQ we find it nearly always has the last word. Having said that, the Bright and Deep controls add that quick and easy high/low contouring that doesn't dismantle the preceding balances.

The three speaker cabinet models come courtesy of impulse specialists Red Wirez and use an Ampeg SVT 8x10, Hartke 4x10 and Ampeg B15 (miked with U47s). The 8x10 has a dominating boom and presence that can make the other two seem a little weak, but with some graphic EQ work the latter two easily come up with the goods.

The DI setting features a useful HF roll off making for a softer tone than the full frequency pass through provided by the 'off' cabinet setting.

Effect tricks

The reverb and chorus effects are a simple affair with the former capable of adding a little air and room around the bass to place it in a mix. The chorus we found less useful, but then again we don't like chorus on bass. That said the cutoff control means it can apply chorus, if it is so desired, to the upper frequencies only, without upsetting the bass.

The easy to use interface provides plenty of level feedback via (virtual) traffic light LEDs strategically placed along the signal path. The range of tones available is excellent and the flexibility of EQ sculpting and gain staging/harmonic distortion makes this plug-in a pleasure to use.

Bass guitars may be the target instrument, but we had great results using it on guitars, electric pianos and, in particular, synth basses. The overall sound is such that the most thunderous bass tones can be achieved without losing the punchiness that a good bass lives or dies by.

For those in need of a dedicated bass amp plug-in, be it for stringed basses or synths, this is a fairly big contender for a fair price, and if you like a good bit of growling distortion to boot, then you're on to a winner.

Studio Devil Virtual Bass Amp Pro

Future Music — Tue, 24 May 2011 10:39:00 GMT

The compressor has a single 'amount' knob that works in conjunction with the attack control to create a good deal of sustain and 'beef' without roaming into pumping territory.

Bass head

The lower half of the interface offers up a 12-band graphic EQ, Deep and Bright tone controls, a five-way cabinet selection, the final volume slider and two effects (reverb and chorus).

The DI setting features a useful HF roll off making for a softer tone than the full frequency pass through provided by the 'off' cabinet setting.

Effect tricks

Fender American Special Precision Bass

Wed, 18 May 2011 15:18:00 GMT

"This is a Precision and should sound like one, which it certainly does: loud and distinctly solid."

Well, one thing is certain: Fender's design team is never short of a few ideas…

Build

As the latest incarnation in the ever-changing world of the Precision, the American Special quite rightly looks every bit like a regular P-Bass should.

It presents a new slim profile, sophisticated model that oozes class and looks right at home in today's bass market. As such it features a fully contoured body, however, with a high gloss finish to the fully contoured body and shallow 'C'-shaped neck.

With its satin finish and a rosewood fingerboard, the neck is fixed to the body in traditional style with four screws and neck plate. The body sports a white/black/white three-ply scratchplate with a cut-out for access to the truss rod adjustment at the body end.

The traditional split-coil pickup offers vintage-style Alnico magnets and features a Greasebucket tone circuit that, according to Fender, "rolls off highs without adding bass".

Available in a variety of finishes including this glorious three-tone sunburst, it remains a great looking bass and is particularly good to play.

Traditionally sunburst basses had tortoiseshell scratchplates, but the choice of white here gives it a fresh, modern look.

One major change that was implemented throughout the range some years back is the introduction of a thicker headstock.

This definitely makes sense when it comes to both sound quality and roadworthiness but, to be honest, many still prefer the earlier, somewhat thinner version. But this isn't a major issue, it's just a matter of personal preference.

Sounds

Fully rolled off (anti- clockwise) there's a clearer, funkier element than you'd normally associate with a P-Bass. At the other extreme (full treble) there's a bright but solid delivery.

By gradually easing back the tone control that funky element stays pretty much in place no matter where the control is set.

Curiously, about two fifths down from full treble there's almost a sweet spot, usually associated with dual-pickup basses such as the Fender Jazz; it's as if the split- coil element takes over and a blending occurs between the bottom two strings and the top two. It's a subtle effect, but a cool one nonetheless.

So, the Greasebucket circuit does what it says on the tin and has something effective to say. It's not vastly different from the standard passive circuit but then this is a Precision and it should sound like one, which it certainly does: loud and distinctly solid, a feature that rock players in particular will find very attractive.

For our money this neck profile has to be one of the very best on any Precision since day one! Forget authenticity, or those classic early versions, this neck shape is excellent.

We would prefer a thinner headstock, but this is all very much a personal thing and should not influence a decision to buy this thoroughly professional bass guitar.

Fender American Special Precision Bass

Roger Newell (Guitarist) — Wed, 18 May 2011 15:18:00 GMT

"This is a Precision and should sound like one, which it certainly does: loud and distinctly solid."

Well, one thing is certain: Fender's design team is never short of a few ideas…

Build

As the latest incarnation in the ever-changing world of the Precision, the American Special quite rightly looks every bit like a regular P-Bass should.

The traditional split-coil pickup offers vintage-style Alnico magnets and features a Greasebucket tone circuit that, according to Fender, "rolls off highs without adding bass".

Available in a variety of finishes including this glorious three-tone sunburst, it remains a great looking bass and is particularly good to play.

Traditionally sunburst basses had tortoiseshell scratchplates, but the choice of white here gives it a fresh, modern look.

One major change that was implemented throughout the range some years back is the introduction of a thicker headstock.

Sounds

Fully rolled off (anti- clockwise) there's a clearer, funkier element than you'd normally associate with a P-Bass. At the other extreme (full treble) there's a bright but solid delivery.

By gradually easing back the tone control that funky element stays pretty much in place no matter where the control is set.

For our money this neck profile has to be one of the very best on any Precision since day one! Forget authenticity, or those classic early versions, this neck shape is excellent.

We would prefer a thinner headstock, but this is all very much a personal thing and should not influence a decision to buy this thoroughly professional bass guitar.

EBS Classic Session 60 bass combo

Thu, 21 Apr 2011 16:14:00 GMT

EBS has proven time and again that it's a very worthy contender in this portable bass combo field.

Indeed, the firm's heavier duty combos and stacks produce awesome power and projection, which bodes well for the Classic Session 60 we have here - the unit's amp section is essentially a scaled-down version of the meaty Classic 450 head.

"It wasn't so long ago that a good-sounding bass amp with a single 10-inch speaker was nothing short of an impossibility, yet here we are."

The handy tilt-back design is always welcome on something this compact, as it allows the sound to be projected directly at the player, therefore making working at lower volume levels more practical.

This is important, as there's obviously only so far that you can push the volume before a degree of distortion creeps in.

That said, in our tests this little combo puts out far more clean sound than you might expect from something so small.

Compact and sturdily built, the EBS is loaded with plenty of exterior connections (not least the XLR balanced output, which you can use to hook up to a PA), making it ideal for both for practice and smaller gigs.

The removable front grille reveals a ported baffle, 10-inch speaker and a tweeter for a full-range response.

Sounds

The single input jack means you must use the gain control sensibly for the cleanest results. However, overdo it a little and a valve-like, front-end distortion is introduced - the sort of growl many players like. But beware, if you push it too hard the sound becomes choked, as the amp goes into protection mode.

"It's compact and easy to lug about, yet with good monitors, you could still conceivably use it for bigger stages."

Thanks to the inclusion of the character filter (a preshape EQ), getting an instantly good sound from this baby Classic is easy. Simply press it in to scoop out the middle and boost the bass and treble - you've got an instant 'smiley face' graphic EQ setting beloved by many.

This setting immediately gives body and warmth to the sound and will impress anyone the first time they push the switch. Add even more bass from the tone control and you'll be amazed just how far you can go before the sound becomes, justifiably, woolly and unfocused.

In contrast, the enhance filter is a far more subtle effect, as it introduces a mid-range tone variation by altering the way the treble control operates.

When engaged, advancing the treble reduces the middle frequencies, and reducing treble boosts the mids. This could be particularly useful in the studio, as it creates a cleaner note response.

It's simple, neat and very effective - using either or both of these filters, then finely adjusting the bass and treble as required, creates a whole host of good sounds.

Introducing a little of that front end crunch is perfectly acceptable; it stays warm and throaty before too much gain makes it less usable.

The low end response from this cabinet/speaker/tweeter combination is quite remarkable, but it's also worth noting that we find the bass response is actually better when the unit is positioned flat on the floor rather than in tilt-back mode.

Overall it's a capable unit that performs well; it will even handle the demands of fretless basses and electronic uprights if you wish.

And with the ability to hook it up to a larger PA, this could be a good, low-cost choice for bassists without cars - it's compact and easy to lug about, yet with good monitoring you could still conceivably use it for bigger stages.

Having all the necessary connection opportunities for personal practice sessions, this compact combo seems ideal for home use.

However, it also has the sound and performance quality to make it just as useful in the studio, intimate small gigs or, via PA connection, larger venues altogether.

EBS is keen to keep its well-deserved reputation for quality, so even though these price-busting units are built in China they benefit from Swedish design, expertise and experience. Add that to the sturdy construction and a size that's easy to transport and you get a very desirable and user- friendly combo.

It wasn't so long ago that a good-sounding bass amp with a single 10-inch speaker was nothing short of an impossibility, yet here we are commenting on just how good the low end response is. Now that's progress!

EBS Classic Session 60

Roger Newell (Guitarist) — Thu, 21 Apr 2011 16:14:00 GMT

EBS has proven time and again that it's a very worthy contender in this portable bass combo field.

"It wasn't so long ago that a good-sounding bass amp with a single 10-inch speaker was nothing short of an impossibility, yet here we are."

The handy tilt-back design is always welcome on something this compact, as it allows the sound to be projected directly at the player, therefore making working at lower volume levels more practical.

This is important, as there's obviously only so far that you can push the volume before a degree of distortion creeps in.

That said, in our tests this little combo puts out far more clean sound than you might expect from something so small.

The removable front grille reveals a ported baffle, 10-inch speaker and a tweeter for a full-range response.

Sounds

"It's compact and easy to lug about, yet with good monitors, you could still conceivably use it for bigger stages."

In contrast, the enhance filter is a far more subtle effect, as it introduces a mid-range tone variation by altering the way the treble control operates.

When engaged, advancing the treble reduces the middle frequencies, and reducing treble boosts the mids. This could be particularly useful in the studio, as it creates a cleaner note response.

It's simple, neat and very effective - using either or both of these filters, then finely adjusting the bass and treble as required, creates a whole host of good sounds.

Introducing a little of that front end crunch is perfectly acceptable; it stays warm and throaty before too much gain makes it less usable.

Overall it's a capable unit that performs well; it will even handle the demands of fretless basses and electronic uprights if you wish.

Having all the necessary connection opportunities for personal practice sessions, this compact combo seems ideal for home use.

However, it also has the sound and performance quality to make it just as useful in the studio, intimate small gigs or, via PA connection, larger venues altogether.

Danelectro '56 Single Cutaway Bass

Wed, 30 Mar 2011 09:31:00 GMT

The freshly tweaked '56 series Danelectro guitars mark the third reissue of Nathan Daniel's original 1956 U2 model.

While the first reissue, launched back in 1998, closely followed the specs and aesthetics of the original guitar ('Coke bottle' headstock, rosewood bridge saddle, vinyl body tape and the like), the 2006 56 Pro was what might be described as 'pimped'.

"The knobs look like vintage radio jobs and are based on original spec items from back in the day."

The Coke bottle headstock had a notch cut into it (a diet version, if you will), the bridge came loaded with individual saddles to allow better intonation and the classic white vinyl body tape had gone. The '56 Pro was a great guitar, but losing the quirky features did dent its vintage vibe a bit.

Fast-forward to the new '56 Series and the unintonatable rosewood bridge and body tape - in old spec 'Ostrich Pattern' no less - are back where they belong. There's also some curious stuff going on at the headstock end of some of these new models.

The launch of these new models coincides with a streamlining of the Danelectro guitar and bass range. Now, only the new single-cutaway '56 models, the existing double- cutaway '59 guitars and the 'Dead On 58' Longhorn bass will be available.

'The Wild Thing', an eye-popping reissue of a one-off prototype swept wing guitar uncovered a few years ago is also due to hit these shores later this year. But that's your lot, Dano-wise.

Build

The new '56 series bass comes with the Silvertone Dolphin Nose headstock. In lieu of the concentric controls of Dano's recent six-strings, the bass has a dedicated volume control for each Lipstick pickup and a master tone. The knobs look like vintage radio jobs and are based on original spec items from back in the day.

The '56 bass has a 30-inch short scale length (a Precision Bass is 34 inches) making it manageable forjust about anybody.

The 24 medium frets are perfectly executed and the action and chunky but comfortable neck profile make it a joy to play. Again, you can't intonate the bridge on this bass.

The vintage-style enclosed tuners have the same white plastic buttons as the guitars. Most bassists prefer to see something a bit more substantial poking out the side of a headstock, but we think that big tuners would look pretty daft on such a slim headstock.

The '56 bass is further tied in with the aesthetic of the guitars in the range with the Ostrich Pattern body tape and the classic Dano aluminium top nut.The hardware on the '59 Bass is a cool satin-finished nickel.

Sounds

The '56 bass is more versatile than you'd imagine. Turn up the neck pickup's volume, turn the bridge unit down, and reduce the tone, and you'll get a perfect '60s soul and R&B rumble. If we owned this bass, we'd add to the vintage depth by fitting a set of flatwound strings.

If you select the bridge pickup solo, turn the tone back up and attack the strings with a heavy pick there's a very cool Jam-era Bruce Foxton tone in there. Add some overdrive for some Ox-style chunk.

Incidentally, any concerns you may have about the lack of intonation adjustment on a Dano will vanish when you plug this bass in.

The interesting thing about Danelectro guitars is that they can hold their head high in any guitar collection. It doesn't matter if you have a wall full of Fender or Gibson Custom Shop editions, or Paul Reed Smith's finest work, you'll still get a kick out of a Dano.

The bottom line is that this new Dano is not a budget version of something. It sounds and plays great because it holds true to Nathan Daniel's original vision.

It's affordable because it's made from inexpensive materials and built, very well, in China. It also makes a sound like no other guitar.

The addition of period details such as the resurrected headstock designs, and more modern hardware updates such as humbucking pickups, adds to the desirability of this model.

The superb playability and the tone from those beefed-up Alnico pickups is the icing on the cake. Figure in the price and we reckon it's worth adding some Lipstick to your tonal makeup.

Danelectro '56 Single Cutaway Bass

Ed Mitchell (Guitarist) — Wed, 30 Mar 2011 09:31:00 GMT

The freshly tweaked '56 series Danelectro guitars mark the third reissue of Nathan Daniel's original 1956 U2 model.

"The knobs look like vintage radio jobs and are based on original spec items from back in the day."

'The Wild Thing', an eye-popping reissue of a one-off prototype swept wing guitar uncovered a few years ago is also due to hit these shores later this year. But that's your lot, Dano-wise.

Build

The '56 bass has a 30-inch short scale length (a Precision Bass is 34 inches) making it manageable forjust about anybody.

The 24 medium frets are perfectly executed and the action and chunky but comfortable neck profile make it a joy to play. Again, you can't intonate the bridge on this bass.

Sounds

Incidentally, any concerns you may have about the lack of intonation adjustment on a Dano will vanish when you plug this bass in.

The bottom line is that this new Dano is not a budget version of something. It sounds and plays great because it holds true to Nathan Daniel's original vision.

It's affordable because it's made from inexpensive materials and built, very well, in China. It also makes a sound like no other guitar.

The addition of period details such as the resurrected headstock designs, and more modern hardware updates such as humbucking pickups, adds to the desirability of this model.

The superb playability and the tone from those beefed-up Alnico pickups is the icing on the cake. Figure in the price and we reckon it's worth adding some Lipstick to your tonal makeup.

Vigier Excess Original Five-String

Wed, 23 Mar 2011 16:31:00 GMT

Some things you can count on with any Vigier instrument are the sheer quality of the materials and components, and the detailed, considered build.

When the first Excess basses appeared in 1996 they made a huge impact and, although produced in quantity, each instrument gets extra personal attention, particularly in regards to the bolt-on neck.

"It loses absolutely nothing in punch or delivery when blending the pickups: in fact it gains a fruity, hollow tone."

The neck is one of Vigier's rather special features: a maple/carbon fibre construction - without an adjustable truss rod - hence the 10/90 system name, which refers to the percentage of carbon fibre to wood.

Another more subtle Vigier feature is the use of a 'hardened' zero fret where the extra fret sits in front of the nut (which is relegated to a mere string guide) to create the perfect string height over the lower fretboard positions.

Equipped with a pair of meaty single-coil pickups and fully active circuitry that features a three-band EQ, there is plenty of adjustment to make effective use of all five strings.

The bass also features a hum-cancelling circuit that "eliminates the hum usually associated with single-coil pickups to create a true studio-quiet performance: single-coil tone without the hum," says Vigier.

The solid, cast-metal bridge offers quick string changing and looks easy on the eye in spite of the extra mass that's required to accommodate the five strings present.

It's fully adjustable, of course, with individual saddles - which are set into their own runners - that are locked in place when correctly intonated.

Even 'incidentals' such as the strap buttons get special attention here: a long threaded brass insert is set into the body so that the strap button screws into this with a bolt rather than the usual wood screw.

As a result, if you drop your bass on the button, it will absorb the impact without introducing damage to the body - now that makes sense.

Sounds

With a rear belly-cut and overall intelligent, ergonomic shaping to the body, the Excess proves to be a very comfortable and well-balanced bass to play.

This somehow conveys confidence that the sounds it will produce are going to be just as good. The 10/90 neck is very slick in terms of playability and, with the three-band EQ and a pair of gloriously powerful pickups, it's like taking off for a drive in a finely engineered, expensive car.

This review model comes factory fitted with relatively light gauge strings (0.040- 0.095-inch) and the response overall is very even, with the low B string particularly impressive - it speaks confidently and with as much authority as the rest of the strings.

Across the entire range the sound is very even. From using either pickup with EQ flat tones right through to both, full-on and maxed out with tonal boost it's one very meaty and plummy-sounding bass.

Better still, it loses absolutely nothing in punch or delivery when blending the pickups: in fact it gains a really fruity, hollow tone in this setting.

The transition between the pickup selections is also very even in terms of output and, if you know your bass sounds and how to get them, there's little you won't find here. This really is a belter!

Vigier's basses - and its electric guitars - always have a distinctive look about them, feel great to play and offer very individual yet versatile tones.

From smooth and fruity tones to a right low-down and dirty growl this is a very versatile bass that offers some serious sonic punch.

Although there are no lefties here, you get a choice of maple or rosewood fingerboards and numerous options. Fretless versions, including the Delta Metal 'board option, are limited to the four-string models, but we're sure you will find something in the Excess range that appeals.

The Excess produces high-quality and meaningful sounds that really live up to its name.