Low frequencies really are the most fun frequencies of all.
Hotwire/Warmoth Custom 5
Made In: Germany/USA
Specs: Ash body, maple neck, maple fretboard
Electronics: 2 x Q-Tuner BL-5 pickups, ACG/East EQ-02 preamp
Controls: Volume and blend stack, bass filter stack, treble filter stack
The long and troubled history of this bass is best left elsewhere. However, having gone the custom route and been unhappy with the execution while still believing in the concept, I’m happy to say this bass is a triumph of persistence.
An ash-bodied 5-string Jazz bass with a maple neck is nothing new, but it is a known quantity and I wanted a secure vehicle for a pair of Q-Tuner pickups paired with a sophisticated electronics circuit. After much work and multiple times where cutting my losses seemed the easiest path, there’s a feeling of vindication now that the instrument itself is worthy of the electronics.
The Q-Tuners are an articulate and extremely powerful pickup with very detailed high-end. That’s not to say they’re short of low end, there is plenty in there too, just that there is more upper-frequency information in there than I’ve heard in any pickup. The closest pickup I can think of, in terms of sound, is the G&L MFD, but the MFD doesn’t have anything like the high-end of the Q-Tuner. It requires serious reining in to approach anything like a vintage tone, but that’s not what I wanted from this bass.
Replacing the neck has been an eye-opening experience. I’m not one who subscribes to the concept of particular woods meaning particular tonal characteristics, certainly not in electric instruments where the pickup plays such a substantial role in the voice of an instrument. The impact of replacing a maple/maple neck with a different maple/maple neck has been enlightening, however. Where one neck was muted and stifling, the other sings and I must praise the quality of Warmoth for their quality, while acknowledging that it is possible for a piece of similar wood to simply not work.
This bass is a traditional looking but elegantly voiced 5-string with extensive tonal capabilities. It took a lot of work to reach this point, but I feel it was worth the journey, both in terms of lessons learned and the supremely playable end result. It’s a unique sounding instrument in a traditional shell, the one I set out to achieve all those years ago.