Played three sets in a small bar last night with the bass pictured below. Strung up with Ken Smith Custom Balance Tapercore MD-7's. The rig was an SWR Goliath Sr. powered by a QSC 1602. The preamp was an Ampeg SVP Pro. The room is wide with a low ceiling and carpet with pool tables and tables between the band area and bar. No stage, set up right on the rug in the corner (this ain't the big time!) Anyway, despite the amazing light weight of this instrument (not only the lightest 7 I've ever held, possibly the lightest bass, period), the most prominent feature was its upper register strength and clarity. The low end was solid if unspectacular but the top end, as evidenced during solos and chord sequences, was pretty startling. The onboard preamp is an Aguilar DBP3 and it has a rather low output but a very sort of ringing clarity in the upper registers. One is tempted to call it "sweet." Yeah, I'd say sweet. I like this bass much better after a gig than just sitting around the house dinking around on it. And that's a good thing. So much so, in fact, that I'm postponing gigging with my new Conklin Sidewinder and taking the Elrick out again tonight for another club gig. Really anxious to hear it with a different cab, in this case, the Epifani T-310. The light weight of this bass and top end tone really has me enamoured. How does it stack up to my other sevens right now? Well, it can't touch the Roscoe or the Hanewinckel for low-end grunt and solidity. And the neck is rather chunky and nowhere near as fast as the Hanewinckel. We'll see how the Conklin works out but, for now, nothing with the Elrick makes me change my mind about the Hanewinckel: it rules my bass world!