Archive for the ‘ Bass Reviews ’ Category

Status: Own
Born: March 24, 1991
Owned since: 2012
Made in: Germany / 08258 Markneukirchen
Serial number: C 024 91
Type: Five string fretted
Body: 3 pcs. Boire Wood, solid
Neck: Wenge with azelia strips, hidden neck through construction
Fingerboard: Wenge with mother of pearl dolphin inlays, bronze frets, ??? radius
Scale: 34″
Electronics: 2 passive Bartolini Humbuckers, 2 Band electronic by MEC
Tuning: B E A D G
String spacing: Fixed 20mm
Typically strung with: DR Marcus Miller Fat Beams (MM5-130); .045 .065 .085 .105 .130
Misc: Brass nut with individual string vertical adjustment

I’ve been wanting a 5 string Dolphin since I first saw a dude playing one on a late night show (Letterman or Arsenio?) back around 1990.  Once I discovered I was a wide spacing guy, it’s been a battle ever since to land a broadneck on the used market.  It seems every time  they pop up (which has been really rare), I either don’t have the cash at the time, or I just get out bid.  You can imagine my delight when I saw this one recently…and I landed it for much less than I expected.  Yey me :-)

For being over 20 years old, the bass was in great shape.  Once I it cleaned up I gave it to my buddy Ross for a thorough once-over and set up.  When it comes to such things, Ross is the man.  Besides some minor fret issues (not surprising given the age) he got it dialed in and I couldn’t be happier with the way it plays.

I was surprised at how versatile the bass tone is.  Between the Bartolini’s and MEC preamp, there is a much wider range of tone adjustment than any other Warwick I’ve tried.  It’s very different from the growly focused sound of my Thumb, but in a good way.  Being an older bass, it also has something all other Warwick’s I’ve either own or played don’t have; real tuners!  This guy came with REAL Gotoh’s out of the box, a nice touch.  See my Thumb review for more on the tuner rant.  Like most Warwick’s it’s a big on the heavy side scale wise, but the bass so well balanced that I really don’t notice it any more than another bass.  I think the shape is absolutely beautiful, and now that I own one, so are the ergonomics.

Status: Own
Born: June 25, 2010
Owned since: 2011
Made in: Germany
Serial number: F 154537 10
Type: Six string fretted
Body: 2 piece ovangkol
Neck: Ovangkol, single truss (headstock)
Fingerboard: Wenge fretted, ??? radius
Scale: 34″
Electronics: Active MEC Gold Soapbar Pickups & MEC 2-Band
Tuning: B E A D G C
String spacing: Fixed 20mm
Typically strung with: DR Marcus Miller Fat Beams (MM6-130); .030 .045 .065 .085 .105 .130
Misc: Brass Just-A-Nut III

I wouldn’t be me if I didn’t buy the same thing twice.  I think my pinnacle of G.A.S. stupidity had been buying the infamous Roland GP-8 four or five times since the mid 80′s.  Oh well.  This time at least I can say there are some noticeable differences with the Wicks.

Having previously bought and sold a Warwick Thumb Bolt-On 6 string Broadneck, I kind of surprised even myself when I picked up this new one.  I had been after a different sound not long after starting Infinitas, as none of the instruments I had at the time we’re doing it for me.  My TRB had the play-ability but not the sound.  The Godlyke had a cool sound but honestly it was hard to play many of the parts I wrote with those doubled strings.  Any of my fretlesses just didn’t cut enough for the more metal stuff we were doing.  I found myself over at The Low End browsing, and it was long before I was purchasing this bass from Brian.  In my experience broadnecks don’t pop up too often, and certainly not at the price I land this one.

For whatever reason, this particular bass (unlike the last Thumb) is exactly what I was looking for, and I can’t imagine selling it.  Playing is truly effortless and the sound is perfect for this more aggressive style of music (of course not limited to).  The only thing it needed was new strings and a swap out on the tuners (Hipshot Ultralights)…I still don’t understand why Warwick uses such crappy tuners (even on a Custom Shop bass!)  I was curious why someone would go through the effort of a Custom Shop order for a bass that I was previously able to buy stock though.  I figured there must have been something else unique that I was missing, so I emailed Warwick.  It turns out sometime between purchasing the last one and the new one, broadnecks stopped being a standard option.  It now is a Custom Shop only feature.  The gentleman also said that was the reason for the brass nut as well, because all Custom Shop units get a brass nut by default.  I had forgotten that my first one had the plastic Just-A-Nut III.

I’m selling my Aria Pro II Avante fretless unlined 6 string bass.  I haven’t had it very long, but I’ve decided to sink some money into my Laurus Quasar and get it to where I’d like it to be.  I believe I’m the second owner of the Aria, as I recall the gentleman I bought it from said he bought it originally back in 2000.  Some stats:

  • Alder body
  • Maple neck
  • Ebody board
  • Active electronics (rear battery compartment, always nice to have!)
  • @ 13.5 lbs
  • SN: S4111468

The only thing wrong with it is the E string tuner head has a broken bushing (the little plastic piece between the tuning leaf and the rest of the post, on the back side of the headstock).  Very minor, and doesn’t seem to affect tuning stability.

Great bass, but just not for me.

Status: Own
Born: 11/12/1995
Owned since: 2009
Made in: Germany
Serial number: MCBA 12805
Type: 3/4 size double bass
Body: Fully carved maple back and sides, spruce for the top
Neck: Maple
Fingerboard: Ebony
Scale: 41 3/4″
Electronics: Upton Bass Revolution Solo, misc mics
Tuning: E A D G
String spacing: Fixed 27mm
Typically strung with: D’addario Helicore Hybrid medium
Misc: Upton Bass bridge, plated tuners

A while back I bought a new old stock fully carved double bass from Steve Loeb in NYC.  I’d had enough of the EUB world, and although I love my Veillette, it’s just not the same as a DB.  I was lucky to have Steve fish out a darker stain one for me.  I took it to Upton Bass and sunk a few more dollars into it (adjustable UB bridge, new sound post, back lower bout seam fix).  Unlike some other owners, I haven’t had a problem with the stock endpid or taipiece.  For just over 2K, I could not be happier, and it was a steal IMO.  Certainly more bass than I will need for a long time.

Eric at Upton said once the market stablizes (re: Steve’s stock is gone and they’re all out in the wild for a bit), mine will likely be judged/re-assessed for what it is; a fully carved German made bass from quality woods somewhere in Europe (I’ve read czech/romania/slavic).  It seemed like it pained Eric to say it, considering what I paid for it…though I’m sure he’s not the only shop looking forward to the day Steve’s inventory is gone ;-)   I highly recommend Upton for all things DB as well!

A bit more historical stuff from Steve Leob:

“Here’s something I found on a web site of a dealer here on the east coast when I was assessing how to price the Eberle. The bass he refers to was a darker stained fully carved – just like this one. This speaks for the reputation of how it’s built and the value. I’m the “importer” he refers to although Ideal Music has been in business since the late 1950′s and has had a retail string shop since 1970 so we’re hardly just an importer, but I understand I’ve made a number of dealers very frustrated because of how I’ve priced the basses. So keep that in mind as you read this.”

Eberle Double basses were made by the former Musima company in Germany.  Well known for making solid double basses that last and last, the Musima company succumbed to the changing global instrument market in the early 2000′s.   This bass was sold in 1999 by a double bass dealer/importer in Connecticut for approximately $3,000.00.  It is extremely rare to find an instrument of such build and character to go DOWN in price in such a short amount of time, but that is what has happened.  The fall of the Musima company found the remaining stock in the hands of a New York City based importer.  This importer now sells the remaining stock of instruments BELOW what luthiers could buy them for.  This has seriously devalued the Eberle instruments and accounts for the low sales price we have advertised.  Do not let the low sales price fool you, this is a well made bass that will be on this Earth long after most of us have left it!

I’m really enjoying playing this bass.  I’ve tried a few different mics with different mountings thus far, though nothing sounds as good as my Rode NTK.  Unfortunately I can’t really haul that setup around for live use.  I’ve been happy with the tone I’m getting out of my Upton Bass Revolution Solo, but I’ve still been wanting to blend with a mic.  I’ve tried a few different amps and setups, most promisingly with my D-TAR Solstice, but uplinking that to an amp live is a pain.  I recently picked up an Acoustic Image Focus 2R Series III and I’m looking forward to trying some regular portable mics with it.  A while back I made this funky mount out of some old blind holders I found in the basement, and it worked out really well.  Perhaps I’ll give that a spin again.

Status: Sold
Born: ???
Owned since: 2006
Made in: USA
Serial number: 0400
Type: Seven string fretless EUB
Body: Honduran Mahogany
Neck: Honduran Mahogany
Fingerboard: Honduran Mahogany
Scale: 42″ scale
Electronics: Piezo, misc (see below)
Tuning: F# B E A D G C
String spacing: Hovering around 18mm
Typically strung with: Jessie’s default strings
Misc: LED’s and plexi wings…!

I believe my first post about this thing on talkbass started with “holy fooking donkey balls”.  That pretty much sums it up, this thing is (was) crazy.

I had been wanting to get an EUB (electric upright bass) for some time, but hadn’t found what I thought was a good combination of sound and money.  That’s to say most of what I’d seen and heard was either crap, or way over priced for the sound.  It wasn’t until I came across Jesse Blue and his Ergo instruments that I found what I was looking for.  After going back and forth with Jesse via email, I decided I was going to purchase an 8 string at some point in the near future.  8 strings…I figured if I was going to go for it, why not go for it?

Whilst in limbo about pulling the actual trigger, Jesse ended up selling one of his personal basses…and I ended up as the happy winner via Ebay.  Since it was his own bass, it has a few things that he doesn’t typically offer:

- Rotary tuners, like the ones on the Gary Willis bass. They are very well made and quite attractive, with blueish inlays around the edges.

- Plexi/ceramic headstock wings and nut.

- Blue LED markers. Powered by a battery on the back side with a flat toggle switch. Very, very cool, and people seemed to go ga-ga when I’ve turned them on. Sometimes I would just turn the lights off at home, flip the LED’s on and stare at it for 5 minutes :-)

In addition to the craziness that Jesse provided, I ended up making a few mods of my own.  When I first got the bass, I noticed the output across the strings wasn’t entirely even.  I started screwing around with the bridge, and eventually replaced the bridge and pickup.

My bass looked like it had the standard Radio Shack style piezo buzzers, which had been cut a bit to fit under the bridge posts.  The first thing I tried differently for electronics was my K&K Bass Master Pro that I used to have for a real doubles. It was OK, but didn’t handle the real lows (B, F#) or highs (C) very well.  I did more research on piezo’s in general and found that there’s a huge frequency and sensitivity response difference between the copper plate style piezo buzzers and, well, all the other styles out there. There’s even a huge diffence between say the Radio Shack plates and the one’s you’d get from K&K or other vendors.

I started buying all sorts of different ones online, none very expensive so I didn’t mind the trial and error.  The PVDF piezo film tabs showed the most promise due to their incredible frequency range, but were very difficult to work with.  In the end I settled on a combination of piezo pickups from Artec (you can find them on Ebay for cheap, under $20 a piece).  I went with are the PC-85 (flexible) and the PP-637B (solid). The PP series is notably more sensative to ambient vibrations.  The flexible unit didn’t seem to have the same output, as I believe there is an impedance difference.  I cut and spliced both of them to work with 1/4″, as they come with a 2.5 “pipe jack”, and there weren’t any viable options at the time for off the shelf adapters.  One is a flat copper one that runs between the body and the bridge, and the other is a flexible ceramic one that is mounted on the bridge, closer to the saddle grooves.

There’s a huge difference in response with these elements. The long and short of it is that my pizz had way more depth to it, and arco sounded much richer. Is it the same as a double? No. But it doesn’t sound like a fretless either. It’s kind of something unto it’s own…think Eberhard Weber (not that I can play like him).  Obviously Jessie is able to keep his prices down by not investing too much in the electronics, and I certainly don’t fault him for it. I like to screw around with this stuff, so was happy to land a beautiful instrument as a serious discount (as compared to other vendors) and work out the electronics on my own.

Another modification was the bridge.  I ended up trying two things:

- One/simple: Modified the existing bridge and increased the height. I carved some little pieces to add height at the feet. I wood glued them and clamped them overnight. I actually ended up with more height than I wanted, but it works out great for a more authentic “thud” sound down in the first and second positions. I’d use this bridge when I wanted that sound.

- Two/more challenging: I carved new bridges out of purpleheart (eek, a pain to work with).  They had a flat bottom, as opposed to the two point arch of the original. To my knowledge, the age old arch design came from fine tuning the ability for the bridge to flex and resonate against a hollow body, which eventually moves against the bass-bar and the sound post. The vibrations are asymmetrical in their acoustics in the body I believe. Because of this, sound gets transmitted through the bridge via the extremes of the bridge; the bass end and treble end. I believe this was to balance out the overall tone. Given the lack of mechanics in our Ergo’s, all this stuff really goes out the window in my opinion. You need to get all the strings vibrating evenly across the pickup device, period, just like any other electric instrument.

I ended up selling it because I finally purchased a double again, and I found myself not putting it down any time soon.  Coupled with the fact that I had just landed a Veillette Mk 4 fretless, I just really wasn’t playing it at all anymore.  I really didn’t want to sell the Ergo, as it’s obviously one of a kind. I recall Jessie saying he’s not going to be making one the same way for the general public, I think because the LED’s were a huge PITA.  I’m hoping the person I sold it to is spending more time with it than I and having a blast.

Status: Sold
Born: ???
Owned since: 2006
Made in: Germany
Serial number: ???
Type: Six string fretted
Body:2 piece ovangkol
Neck:Ovangkol, single truss (headstock)
Fingerboard:Wenge fretted, ??? radius
Scale: 34″
Electronics:Active MEC Gold Soapbar Pickups & MEC 2-Band
Tuning: B E A D G C
String spacing: Fixed 20mm
Typically strung with: D’Addario XL 6′s (EXL170-6); .032 .045 .065 .080 .100 .130
Misc:

I had always wanted a Warwick.  I’m a fan of many player’s tone that have them, and I think they are beautifully simple, elegant looking instruments.  The only problem I had with them is the string spacing on the 5+ string ones, it’s just too tight for me.  So I figured I wouldn’t be getting a Warwick unless I suddenly decided to get another 4 string for some reason.

Everything changed while browsing the Bass Central site one day.  They had a 6 string Thumb “broadneck”, which I had never heard of before.  20mm spacing!  What could be better.  I sent an email off to BC and got a quick response from Beaver Felton.  It turned out he was willing to give it to me at an “old” price, and at another small discount if I ordered before the week was out (I think it was the end of the month).  Anyway, I ended up with the bass about a week later.

Pulling it out of the box, I was not dissapointed.  It was as beautiful as I had hoped.  I plugged it in and the sound I had hoped for was there; the distictive Warwick “growl”, but with plenty of flexibility.  Build quality and playability was just as great as I expected.  I played with it for several hours before putting it down.

Two things I noticed that I didn’t expect though:

  1. The spacing actually felt wider than 20mm.  I had gotten used to wide spacing with my TRB-6p over the years, which is why the broadneck was appealing.  My TRB measures at 20mm at the bridge as well, but the nut is slightly narrower than the Warwick.  I imagine this is why the Warwick felt wider.
  2. The body top to string height was deep.  As a slapper, I’m kind of picky with the way this area feels on a bass (between the base of the neck and the neck pickup).  I’ve typically found most production basses are either fine or they don’t have enough depth to dig in under the strings.  The Warwick was a first with almost too much…it was kind of an awkward feeling reaching under the strings and feeling like there a giant hole there.  It went away after playing for a while, but it was definitely different.

Although I loved the bass, in the end it just didn’t make sense to keep it.  I feel most at home with my TRB, and having two fretted 6 string basses just didn’t make sense.  I found myself almost always taking the Yamaha with me.  I was wanting to buy a Stick again, so I ended up selling the Warwick to fund that excursion.  I’d still like to have a Warwick again some day, but I’ll have to either justify having more than one of the same type of bass, or do something completely different.

Status: Own
Born: July 2001
Owned since: 2009
Made in: USA
Serial number: 142
Type:4 string fretless
Body: Chambered poplar with a quilted maple top and “smoke” polyurethane finish
Neck: Maple
Fingerboard: Ebony, ??? radius
Scale: 34″
Electronics:Piezo electric element, Alvarez 500B, 3 band, 9 volt preamp
Tuning: BEADG
String spacing: Fixed 19mm center-to-center
Typically strung with:La Bella tape wound roundwound (.060, .070, .097, .115, .125)
Misc:African blackwood tailpiece, bridge and piezo modifications

In 2009 I was perusing the Interwebz and came across a for sale ad for this bass at the Bass Emporium site.  Immediately struck by its design and looks, I headed over to the Veillette Guitarssite in addition to finding several reviews online of their instruments.  It wasn’t long before it arrived at my doorstep.  In speaking with Joe and Martin from Veillette, the bass was shown at the summer NAMM in 2001 and then sold through Bass Emporium in Austin, TX.  I’m guessing it made its way back there via the original owner, and then I landed it.

This bass has quickly become one of my all time favorites.  It’s also single handedly made me sell off all my fretless lined basses.  After playing the Veillette for a while, lines just completely throw me off now (I suppose playing more double bass in recent years helps as well).  The Veillette is just so effortless to play, and anyone who has heard it is amazed at the tone.  I’ve had several other musicians tell me “that is the soundof bass”.  I’ve had band mates tell me I can’t play any other bass or they will disown me.  I had a recording engineer offer to buy the bass from me on the spot.  Yes, it’s that cool. 

Interestingly it’s not your typical fretless sound, which is why I’m going to keep a solid-body, metal strung, pickup laden fretless around for the foreseeable future.  While not really having the typical fretless ”mwah“, the Veillette offers a tone and color that, well, only the Veillette can offer.  To me it’s somewhere between a fretless vintage P and Jazz, with flatwounds, combined with a double bass thud, that still has the definition of a regular electric bass…while staying warm all the time.  Sounds too good to be true, but it is.  I have found in my opinion that “the sound” is most at home and alive through an amp and cabs.  Straight into a board it can tend to sound a bit odd, and even tweaking the signal with the onboard pre doesn’t quite cut it.  But plug it into a nice pre or even better yet a mic’d rig, and it really comes alive.  Martin Keith, who was involved in the original build, told me “…the ebony board and very dense Blackwood tailpiece, along with a slightly heavier-than-usual body gave this bass a lot of depth and low-frequency content.  I remember the instrument having a very thick, wide low end.”  I tend to agree ;)

The only issue I ran into with the bass was the bridge configuration and the piezo’s.  Not long after getting the bass, one of the La Bella tape wounds broke, so I bought a new pair.  After re-stringing the bass, it wasn’t the same.  The output was very different string to string, and I starting getting what sounded like preamp clipping/distortion/compression from a few of the strings.  I tried different amps, bypassing the on-board pre, playing with the saddles, all sorts of stuff.  It wasn’t long before I reached out to Joe Veillette, who put me in touch with Martin Keith who does all the electronics work.  Martin and I spoke on the phone for a while one day and he gave me some ideas.  I turns out the stock piezo element was actually divided in two sections; one for the B and E strings, and another for the A, D, and G (if I’m recalling correctly).  He explained there were several reasons they took this approach, which all made sense.  What seemed to be happening was the individual saddles (bone pieces I think, you can see them in the last two pics when the bass was “original”) needed to be sitting “perfectly” in order for things to be kosher.  Long story short, I screwed around with it for hours but just wasn’t having any luck.

Not being too far from the Veillette shop in Woodstock, NY, I figured I’d probably end up bringing it to them.  I then thought back to my days of screwing around with the electronics on my Ergo upright, and what I had achieved with the Artec piezo’s.  I once again ended up spending a whopping $19.95 on a piezo element and went to work.  With the purpleheard wood I had left over from the Ergo bridge project, I carved two different one piece bridge saddles (different heights) and worked on routing the slightly thicker cabling through the underside of the dovetailed African blackwood tailpiece.  I’ve been extremely happy with the results and very glad I spent the time to get it dialed in.  It’s basically become my go-to fretless bass, a la my Yamaha TRB-6p.

So now I’m contemplating what a 6 string fretless Veillette with metal strings and their Citron pickup sounds like…I hope to find out sooner than later…

Status: Own
Born: ???
Owned since: 1989
Made in: Likely USA
Serial number (neck): Likely 5OCT79B (hard to read black stamp on heel, “J. Torres” on back)
Serial number (body): I43440793 (carved into body)
Type: 4 string fretless
Body: Likely ash
Neck: Maple
Fingerboard: Ebony, ??? radius
Scale: 34″
Electronics: Typical J style controls, Fender highway 1 USA 048612 (neck) and 048613 (bridge) replacement pickups
Tuning: EADG
String spacing: Fixed 19mm center-to-center
Typically strung with: Rotosound Swing Bass (.45 .65 .80 .105)
Misc: Schaller tuners, unknown bridge

More to come…

Status: Own
Born: May 2002
Owned since: 2006
Made in: Italy
Serial number: QSL0502589
Type: Six string lined fretless
Body: Kaya mahogany, rosewood top
Neck: 5 piece marple and purpleheart
Fingerboard: Phenolic resin with graphite inside the neck, ??? radius
Scale: 34″
Electronics: Active circuitry (bass + /- 12 db 40 Hz , treble +/- 13 db 4kHz, Mid 0 – 14 db 400 Hz), battery housed in the control cavity, custom wound Kent Armstrong pickup
Tuning: B E A D G C
String spacing: Fixed 19mm center-to-center
Typically strung with: D’Addario XL 6′s (EXL170-6); .032 .045 .065 .080 .100 .130
Misc: Unique string retention design, Neutrik locking jack

Sound clips: Sample 1, Sample 2, Sample 3

Here is my left-of-center Laurus Quasar T400, built in Italy by Pierluigi Cazzola.  I purchased it used from Brian Barrett at The Low End Bass Shop, and I highly recommend checking out his site for both new and used gear.  I wrote Pierluigi not long after receiving the bass and he responded promptly, answering all my questions (and providing most of the info above about the bass).

The Laurus is unique in many ways.  Besides some of the interesting design features (headstock, upper horn, neck profile, tuner/string locking/bridge), it has a fretless tone all to itself and not something I’ve heard on another bass.  The regular fingerstyle tone is kind of dark and complex, and different from what I’d call the typically fretless “mwah”.  When slapped, this thing sounds positively diabolical, especially on the low B.  I’m assuming the make-up of the fingerboard has something to do with it.

Getting back to the upper horn and headstock, the bass balances like nothing else I’ve ever played.  Sitting down is particularly comfortable as the bass balances almost perfectly in your lap, and seems like it could it there forever.  The thin, wide neck profile probably isn’t for everyone, but I find it very comfortable and easy to play.  The wide string spacing is one of the main reasons I bought it, and on this bass I find the 19mm spacing perfect.  I believe the person that had it before me played it quite a bit, as the fingerboard does show signs of wear.  In particular, whatever material was used to fill in the fretlines has deteriorated slighly in a few places, though I’ve come to find this has no structural impact on the instrument (unlike a wood fingerboard), since there is zero flex/give to the resin board.  Regardless, none of the wear has effected playability or performance.

Moving on to my dislikes, of which there are only two, but they do keep me from playing the bass as much as I’d like:

  1. String to body depth – The Laurus is a bit challenging for me to dig in for slapping and popping, due to the shallow depth between the string and the body.  I imagine this design is due to the fingerboard being relatively thin by most standards, probably because the resin doesn’t need to be as thick as a wood fingerboard to be as strong.  It’s not the end of the world, but it certainly feels different than any other bass I’ve owned.  For someone that plays with a ramp though, they may actually prefer this feel.
  2. The fretlines – I’ve come to find that the more fretless basses I’ve owned, the more I prefer not to have fretlines.  I don’t know if it’s because I got used to no lines on double bass back in high school, or perhaps the Fender fretless I’ve had forever, but in general fretlines tend to be visually confusing to me.  In the case of the Laurus, they are particularly irritating, and I don’t know why.  I’m guessing it’s the contrast of the filler color on the lines against the odd colored resin fingerboard.  It’s a shame that the bass is so comfortable and relatively effortless to play, but the fretlines on this bass just confuse the hell out of me…and I have no illusion that this is my problem and not really a problem with the bass per say.

The Laurus is a very unique and rare bass to see in the US, and I do very much enjoy the tones I can get out of it.  Only time will tell if it sticks around or if it gets filtered out along with my other lined fretless basses…

Status: Own
Born: ???
Owned since: 2008
Made in: Japan
Serial number: 570096
Type: 10 string (5x) fretted
Body: Ash with translucent blue 5A flame maple cap
Neck: Maple set-neck design
Fingerboard: Ebony, ??? radius
Scale: 34″
Electronics: 2 custom-wound humbucking SGC bar-magnet pickups, 18-volt active pre; Volume, Blend, Bass (+/-15 dB @ 90 Hz), Treble (+/-17 dB @ 8 KHz), and Notch Filter (-20 dB @ 850 Hz) with adjustable Midrange (+/- 12 dB @ 350 Hz – located in control cavity)
Tuning: bB eE aA dD gG (octave strings first)
String spacing: Fixed 18mm center-to-center (5 mm between octaves)
Typically strung with: Godlyke provided light gauge
Misc: Custom 10-string bridge by Gotoh, dual battery box

More to come…